The Choral Octavo as a Teaching Unit Social and Emotional Learning in the Music Classroom
Wait, you want me to teach what?!
PLUS: Prelude to the 2019 Conference FOA & Florida ASTA Fall Conference 2018
Executive Director Florida Music Education Association Kathleen D. Sanz, PhD
Hinckley Center for Fine Arts Education
402 Office Plaza Tallahassee, FL 32301 (850) 878-6844 or (800) 301-3632 (kdsanz@fmea.org)
Editor-in-Chief
Mark A. Belfast, Jr., PhD Southeastern University College of Arts & Media 1000 Longfellow Blvd. Lakeland, FL 33801 (863) 667-5104 (office) (mabelfast@seu.edu)
Editorial Committee Terice Allen (850) 245-8700, Tallahassee (tallen1962@hotmail.com) Judy Arthur, PhD Leon High School, Tallahassee (850) 488-1971 (arthurj@leonperformingarts.org) William Bauer, PhD University of Florida, Gainesville (352) 273-3182; (wbauer@ufl.edu) Alice-Ann Darrow, PhD College of Music, FSU, Tallahassee (850) 645-1438; (aadarrow@fsu.edu) Jeanne Reynolds Pinellas County Schools, Largo (727) 588-6055; (reynoldsj@pcsb.org) John K. Southall, PhD Indian River State College, Fort Pierce (772) 462-7810; (johnsouthall@fmea.org)
Advertising Sales Valeria Anderson (val@fmea.org)
Contents September 2018 Volume 72 • Number 2
F E AT U R E S
FOA & Florida ASTA 2018 Fall Conference Schedule. . . . . . . . 6 The Choral Octavo as a Teaching Unit. . . . . 10 Wait, you want me to teach what?! .. . . . . . 16 Social and Emotional Learning in the Music Classroom. . . . . . . . . . . . . . . . . . 18 Prelude to the 2019 Conference
Registration Fees and Procedures. . . . . . . . . 25
Registration and Ticket Policies.. . . . . . . . 26-28
Richard Brown (richard@fmea.org) 402 Office Plaza, Tallahassee, FL 32301 (850) 878-6844
Frequently Asked Questions.. . . . . . . . . . . . 28
Official FMEA and FMD Photographers
Student Conference Experience. . . . . . . . . . . 30
Bob O’Lary
Debby Stubing
2019 Contracted Hotels.. . . . . . . . . . . . . . . 29
Art Director & Production Manager
D E PA R T M E N T S
Lori Danello Roberts, LDR Design Inc. (lori@flmusiced.org)
Circulation & Copy Manager
Valeria Anderson, (800) 301-3632
Copy Editor
Susan Trainor
President’s Message..
. . . . . .
2018-19 FMEA Donors. .
. . .
Academic Partners.
. . . . . .
Corporate Partners.
. . . . . .
Component News.
. . . . . . .
5
Research Puzzles..
8
. . . . . . .
Committee Reports. .
22
Advertiser Index.
23
. . . . .
. . . . . . . .
35
36 39
Executive Director’s Notes. 40
31
Officers and Directors.
September 2018
. . .
41 3
Find your sound.
STUDY MUSIC AT UF. UNDERGRADUATE
Bachelor of Music Performance Theory Composition Combination with an Outside Field (Interdisciplinary Music) Bachelor of Music in Music Education Bachelor of Arts Music Theory & Composition History & Literature History & Literature (Ethnomusicology)
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Apply to the University of Florida by November 1, 2018 ADMISSIONS.UFL.EDU
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GRADUATE
Master of Music Performance Music Education (campus/online) Conducting Theory Composition History & Literature Sacred Music Ph.D. in Music Education Ph.D. in Music Composition Musicology/Ethnomusicology
AUDITIONS INCOMING FRESHMEN (scholarship consideration) January 19, 2019 January 26, 2019 January 27, 2019 TRANSFER STUDENTS March 16, 2019
President’sMessage
What Kind of Traveler Are You?
Kenneth Williams, PhD
T
President Florida Music Education Association
hinking back to when I was a youngster, I remember the excitement and joy when the
rare opportunity to go on a family vacation presented itself. I also recall a few bumps in
the road. When you traveled with my family, there was a constant struggle between two very powerful forces. You see, my dad was one of those “we are NOT stopping until we have reached
our destination” kind of guys. (And don’t ask me “are we there yet?”) At the other extreme of the spectrum was my mom. If she saw something interesting along the highway, she was immedi-
ately ready to abandon the travel schedule and explore, to experience something new, to feed curiosity. You can imagine the passion of those negotiations.
In your classroom, what does the learning journey look like? Is it full steam ahead toward the
target of the concert or the MPA performance? Or do you have the patience to allow exploration
Big things are accomplished only through the perfection of minor details.
– John Wooden
along the way, to take a detour that might take you from the straight and narrow to explore an element or an idea that presents itself, to ponder, to experiment, to reflect, to perfect?
I know exactly which journey I would most enjoy (and grow from). What about you? If you,
too, like to explore, make sure you take time to enjoy the very small things, those that might
be overlooked. Those tiny elements that perhaps seem insignificant are often the essence of what makes art.
I Challenge You!
Raise your right hand and repeat after me. “I solemnly swear (or affirm) to eradicate all the distractions that divert my attention from the things that matter most in my life: my own wellbeing, my family and friends, my students, and most important, being artful.” I know, easily
said but difficult to accomplish. I have often repeated to my students over these many years, “The largest difference between you and the professionals playing in a major symphony orchestra is that the professionals never allow themselves to be distracted in rehearsal or performance.” Words of wisdom gleaned from Edwin Santana, my mentor and supervising teacher
during my student teaching, have encouraged me to strive to be cognizant of day-to-day dis-
Most of what we say and do is not essential. If you can eliminate it, you’ll have more time, and more tranquility. Ask yourself at every moment, “Is this necessary?”
– Marcus Aurelius
tractions and to make an effort to eliminate them. Ed was fond of saying, “EVERYTHING is important, just NOT VERY!” Perhaps Aurelius says it in a way that will encourage you to take the pledge.
2019 FMEA Professional Development Conference • January 9-12 • Tampa
BR
AT I NG
Get an early start on your plans to attend. This is our 75th conference; do not miss it!
of this noble profession as you invest in the quality of life of the students you care for daily. Respectfully,
X
I hope you have a fantastic year! Work hard, take care of yourself and find joy as a member
X
CE
L
ARTISTRY: Teaching & Performing
E
YEAR
S
Kenneth Williams, PhD, President
Florida Music Education Association
September 2018
5
Florida Orchestra Association/FLASTA 2018 Fall Conference Schedule THURSDAY, SEPTEMBER 27 Registration Opens/Vendors Open
11:30am–12:30pm
Carrie Lane Gruselle Middle Level Madness— Managing the Menagerie
1:10–2:00pm
The middle schooler can be a bundle of enthusiasm, a deep thinker, an annoying eye-roller and a ray of sunshine riding an emotional rollercoaster—simultaneously. This session will present ideas for dealing with this unique species including thoughts on repertoire selection, classroom management, lesson planning and assessment. We will share stories of successes and lessons learned. 2:10–3:00pm
3:10–4:00pm
Brian Hellhake
Vivian Gonzalez
Technology in the Classroom
Fun for Everyone: Inclusion in the String Classroom
Shannon Lockwood Jacksonville University
Dr. Laurel Yu, Dr. Kristin Pfeifer Yu Valdosta State University
Learning and Teaching Low String Vibrato
Violin/Viola Set-up Workshop
4:05–4:35pm
Coffee and Cookies in the Exhibit Room
4:35–5:30pm
The Road Less Traveled: Exploring and Expanding Repertoire for Your String Orchestra Members of the Jacksonville University Orchestras Dr. Marguerite Richardson
4:15pm
6 F l o r i d a
EXHIBITS CLOSE Music Director
FRIDAY, SEPTEMBER 28 8:30am 9:00–9:30am
Registration Opens/Vendors Open Keynote Speaker: Peter L. Boonshaft Teaching: “Is It Talent or Is It Genius” A poignant and uplifting description of what is at the heart of being a music teacher: the essence of what we do and why we do it
9:40–10:30am
FOA & FLASTA General Business Meetings
10:40–11:30am
Peter L. Boonshaft Inspired Teaching: Something Old, Something New, Something Borrowed, Something Blue! Using time-tested wisdom, advances in modern technology, borrowed insights on how students learn and the message held in a simple blue box, we can inspire students to learn and flourish. Useful for conductors and teachers of any level and type of ensemble.
11:30am–12:50pm 1:00–1:50pm
LUNCH BREAK/FLASTA LUNCHEON Peter L. Boonshaft
Vivian Gonzalez
“Teaching Music With Purpose: 25 Things You Can Do Tomorrow to Improve Your Ensemble”
Building a Strong Foundation: Supporting and creating string program feeder patterns from elementary through high school
Improve your ensembles’ quality, make any rehearsal more productive and energize the power of your teaching. 2:00–2:50pm
Dr. William Wiedrich University of South Florida Give Them the Music: A conductor’s checklist to inspire meaningful musical relationships
3:00–5:00pm 4:30pm
Carrie Lane Gruselle Measures of Success for Strings: Taking Success Further “Where motivation meets assessment in the strings classroom.” Measures of Success for String Orchestra Books 1 and 2, published by FJH, will be explored and explained by one of its authors. The upcoming Book 3 will be previewed.
New Reading Session – Carrie/Peter conducting Bring your instrument EXHIBITS CLOSE
September 2018
7
8 F l o r i d a
Music Director
INSPIRE | CREATE | PERFORM
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September 2018
9
The Choral
OCTAVO as a Teaching Unit
M
by Sandy P. Hinkley, PhD
Most choral educators agree that lesson planning is a critical part of the music-making process. Various challenges can occur when writing plans, particularly if time is limited or when multiple ensembles require different lesson preparations. Traditional lesson plan formats are often difficult for choral directors to use, especially if administrators require unit plans to be submitted. One effective idea offered by music educators is to develop unit plans around each concert performance. This approach fits the construct of the ensemble rehearsal well and allows for unifying concepts to span several pieces. I found personal success in generating unit plans by perceiving each choral octa-
vo as its own entity. Specifically, each piece represented a single teaching unit that
was broken down into concepts/skills and formally assessed by a performance. I
wrote my unit plans for each choral piece at the beginning of the concert season, a process that was surely front-loaded, but made daily lesson planning much simpler. In using this approach, I found I could teach each piece with greater depth
and could cover the Next Generation Sunshine State Standards (NGSSS) in a more comprehensive way. Following is a basic description of how to use a choral octavo as a teaching unit, with examples of the process provided throughout.
Continued on page 12
10    F l o r i d a
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September 2018
11
The Planning Process The Choral Octavo Continued from page 10
The Planning Process
are taught during a single rehearsal, I
Identify core concepts to be taught with
facilitate the transfer of learning. This is
Step I—Identify Core Concepts.
each piece. Core concepts might include vocal-ensemble technique, music literacy, music history or style and text-liter-
ary connections. Other concepts deemed important or relevant to the piece can also be included.
Step II—Identify Essential Skills.
Using the core concepts from Step I, iden-
suggest rehearsing similar concepts to also an excellent opportunity for students
to identify similarities and differences—a key Marzano strategy! A Unit Example
Here is an example of a unit planned around the treble piece Sure of This Shining
Night by Samuel Barber (Morning Star
• Students will demonstrate appropriate phrasing (unison versus
«« Music Literacy (MU.68.S.3.3, staggered breathing).
MU.68.S.3.4, MU.68.O.2.2)
• Students will identify all meter changes.
• Students will identify the correct key signature of the piece and
explain the rule of finding keys with flats.
tify a list of skills thought to be essential
Publishers MSM-50-9921). As can be seen
• Students will demonstrate accu-
mance time. These essential skills should
middle school choir.
• Students will explain the concept
tify” is observable whereas “to under-
1) IDENTIFY CORE CONCEPTS
• Students will explain the function
levels of Bloom’s Taxonomy to promote
teaching unit:
for students to demonstrate by perforcontain observable actions (e.g., “to iden-
stand” is not) and should include various critical thinking. Align each essential skill with the appropriate NGSSS.
Step III—Construct Assessments.
From the list of essential skills generated in Step II, identify those to be assessed
in a manner beyond teacher observa-
by the NGSSS, the unit is intended for a
Five core concepts were selected for this 1. Vocal/Ensemble Technique 2. Music Literacy 3. Music History
4. Text/Literacy Connections 5. Response to Conducting
tion and feedback. Construct formative
2) IDENTIFY ESSENTIAL SKILLS
ing that a performance will serve as the
essential for students to master, with the
assessments for these selected skills, notsummative assessment for the unit. When selecting which skills to assess, take into
consideration the number of rehearsals you have. Devoting time toward the
assessment of more complex skills usu-
The following skills were identified as appropriate NGSSS aligned with each
«« Vocal – Ensemble Technique skill:
ally makes for more efficient rehearsals!
It is also important to remember that
(MU.68.S.3.2)
• Students will demonstrate consistent space and lift throughout all vocal registers.
assessment does not always mean giv-
• Students will correctly perform all
the gathering of information, plus the
• Students will demonstrate correct
improving the students’ learning and
• Students will avoid vowel pollu-
ing a grade. Remember, assessment is provision of feedback, with the intent of guiding the teacher’s instruction.
Step IV—Develop Lesson Plans.
Develop lesson plans based on the essen-
tial skills and assessment tools from Steps II and III, noting any accommodations or modifications needed for students with
special needs. If multiple pieces (units)
12 F l o r i d a
Music Director
diphthongs.
treatment of “r” sounds. tion by “l” sounds.
• Students will demonstrate consistent legato articulation and sense of line.
• Students will demonstrate accurate intonation, particularly in register shifts.
rate pitches and rhythms. of a hemiola (m. 28-29).
of a natural sign and how an E
natural functions within the key of B-flat major.
• Students will discriminate
«« Music History (MU.68.H.1.1, between ties and slurs.
MU.68.H.1.2)
• Students will analyze and discuss Samuel Barber’s contribution to music history.
• Students will analyze and discuss characteristics of 20th century
«« Text – Literary Connections music.
(MU.68.H.3.1)
• Students will identify specific literary devices within the text.
• Students will analyze the meaning of the poetry and provide
«« Response to Conducting
their own interpretation.
(MU.68.O.3.2, MU.68.H.3.1)
• Students will demonstrate expressive elements as indicated in the
music and in response to the conductor.
• Students will demonstrate
emphasis on designated words/ syllables in response to the conductor.
• Students will demonstrate
appropriate rubato at the end in response to the conductor.
3) CONSTRUCT ASSESSMENTS
Seven of the essential skills were select-
Performance Assessments (SKILL #1)
PERFORMANCE ASSESSMENT WITH CHECKLIST (M. 1-4) 1 point
shi (ning)
primary vowel =
ah [ɑ]
1 point
night
primary vowel =
ah [ɑ]
concepts predicted to be problematic
1 point
made
primary vowel =
eh [ɛ]
Assessment tools were constructed for
1 point
round
primary vowel =
ah [ɑ]
ed for assessment beyond teacher obser-
vation and feedback. Specific places and helped to guide this selection process.
«« Skill #1 (MU.68.S.3.2): Students will
each skill. (See Figures 1 and 2.)
correctly perform diphthongs by shaping and sustaining the appropriate primary
«« Skill #2 (MU.68.S.3.2): Students will vowel.
demonstrate accurate intonation in the
«« Skill #3 (MU.68.S.3.3, MU.68.S.3.4): mid and upper vocal registers.
Students will demonstrate accurate
rhythms by chanting text to a steady
«« Skill #4 (MU.68.S.3.4): Students will discriminate between ties and slurs. «« Skill #5 (MU.68.H.1.2): Students will beat.
(SKILL #2)
PERFORMANCE ASSESSMENT WITH RUBRIC (M. 10-18) 5 points = Student consistently sings with accurate intonation and navigates between vocal registers in tune.
4 points = Student mostly sings with accurate intonation, but has issues when shifting between vocal registers.
3 points = Student sings with somewhat accurate intonation, but one vocal register is more in tune than another.
2 points = Student sings with inconsistent intonation in both vocal registers.
1 point =
Student sings with inaccurate intonation in both vocal registers and does not maintain a clear sense of tonality.
(SKILL #3)
1 point
m.25
CHECKLIST (M. 25-31)
1 point
m.26
1 point
m.27
rhyme within the text.
1 point
m.28
demonstrate emphasis on designated
1 point
m.29
1 point
m.30
1 point
m.31
analyze Samuel Barber’s contribution to
«« Skill #6 (MU.68.H.3.1): Students will music history.
PERFORMANCE ASSESSMENT WITH
identify alliteration, personification and
«« Skill #7 (MU.68.O.3.2): Students will
words/syllables in response to conductor.
4) DEVELOP LESSON PLANS
Lesson plans were then written, incor-
porating the essential skills and planned
(SKILL #7)
ple of a single lesson plan focusing on
Director will conduct small groups of students
assessments. Figure 3 provides an exam-
Skill #1 and previewing its assessment.
Transfer is made throughout the lesson so that the concept of diphthong performance is reinforced.
Continued on page 14
PEER PERFORMANCE ASSESSMENT WITH CHECKLIST (M. 1-9) while the rest of the class uses the checklist to
assess whether stress is being demonstrated on designed syllables or words.
1 point
shi (ning)
1 point
sha (dows)
1 point
side
Figure 1. Performance Assessments
September 2018
13
The Choral Octavo Continued from page 13
The Concert Performance: Summative Assessment
To synthesize concepts and skills, a per-
formance will serve as the summative
assessment for all pieces (units). Music should be memorized for this performance
Written Assessments
so students can demonstrate knowledge
of musical structure (MU.68.S.2.1). Prior to this performance, hold a discussion on how the development of essential
(SKILL #4)
skills has contributed to the successful
WRITTEN ASSESSMENT: In the specific measures listed below, mark each
learning of each piece. Students should
tie or slur with a T or an S. Above each tie, write the total number of beats
identify salient concepts between pieces
that notes should be held. Above each slur, draw a line over the first note
(MU.68.S.2.2) and set performance goals
to indicate where the primary stress should occur (measures: 4-5, 8-9, 13,
to use as reference for the post-concert
19, 24, 24-25, 25-26, 26, 28-29, 30-31).
reflection (MU.68.C.2.2). These goals should be geared toward the essential
skills of each unit, but may also include
(SKILL #5)
other important skills such as conductor
WRITTEN ASSESSMENT: Research the composer, Samuel Barber, and
eye contact or appropriate etiquette on
write a short paragraph about his contributions to 20th century music.
the risers. While an in-depth discussion
Format your writing in such a way that your work could be included in the
is encouraged, students should reflect on
concert program notes. Be prepared to share informally what you learned
the following basic questions: What went
in class. (If desired, a rubric can be designed to assess grammar and punc-
well? What did not go as expected? What will
tuation or an existing rubric from the FCAT writing can be used.)
you do differently as a result of this performance experience? To further reinforce crit-
ical thinking and reflection, ask singers if
(SKILL #6)
they thought their performance honored
WRITTEN ASSESSMENT: Identify each literary device within the text and
the composer’s intent and to justify their
mark your music as indicated. Be prepared to provide an additional exam-
answers using appropriate music vocabu-
«« ALLITERATION (two examples): Draw a circle around words of alliteration. «« RHYME (one example): Draw a triangle around words that rhyme. «« PERSONIFICATION (three examples): Draw a rectangle around text ple of each that is not in the music.
lary (MU.68.C.1.2).
Benefits to the Choral Educator and the Student
Using the choral octavo as a teaching
demonstrating personification.
unit provides a format to effectively identify, teach and assess relevant skills over
an extended period of time. This format also allows for a more comprehensive
Figure 2. Written Assessments
learning experience as well as multiple
opportunities for the transfer of learning.
Music educators will continue to be held responsible
for
teaching
a
stan-
dards-based curriculum—a process that this format helps to articulate more clearly. As repertoire lies at the heart of sing-
Dr. Sandy Hinkley is the associate director of choral activities and
coordinator of music education at Sam Houston State University in
Texas. Dr. Hinkley conducts the Men’s Choir and teaches classes in cho-
ral methods and content literacy. Her research interests include choral pedagogy and the developing singer.
ing, it seems fitting that the choral octavo
Reference
curriculum process.
Standerfer, S. L., & Hunter, L. R. (2010). Square peg for a square hole. Music Educators Journal, 96(3), 25-30.
be recognized as a structural part of the
14 F l o r i d a
Music Director
Lesson Plan PRIMARY LESSON OBJECTIVE: Students will correctly perform diphthongs by shaping and sus-
taining the appropriate primary vowel. (MU.68.S.3.2)
«« Select vocal exercises as appropriate, with at least one exercise that contains a diphthong. «« Introduce the performance rule of diphthongs. WARM-UPS (MU.68.S.3.2)
«« Read an exercise in the key of B-flat to preview the key of the rehearsal piece. «« Circle do, re and sol pitches to identify diphthongs; identify the primary vowels of each. «« Once the exercise is mastered, isolate and correct diphthongs as needed. SIGHT-READING (MU.68.S.3.2, MU.68.S.3.3, MU.68.S.3.4, MU.68.O.2.2)
REHEARSAL (MU.68.S.3.2, MU.68.S.3.3, MU.68.S.3.4, MU.68.O.2.2)
«« Secure rhythms on rhythm syllables; secure pitches on solfège. «« Transfer to text. «« Identify diphthongs in text (shining, night, made, round) and ask students to determine the primary vowel of each. «« Re-sing on text, isolating and correcting diphthongs as needed.
(Sure on This Shining Night – Samuel Barber; measures 1-4)
«« Preview the performance assessment checklist to be used at the end of the week. «« Demonstrate various examples of diphthongs in measures 1 through 4, asking students ASSESSMENT (MU.68.C.2.2, MU.68.S.3.2, MU.68.O.2.2)
to score performances (critical listening).
PERFORMANCE ASSESSMENT WITH CHECKLIST (M. 1-4) 1 point
shi (ning)
primary vowel = ah [ɑ]
1 point
night
primary vowel = ah [ɑ]
1 point
made
primary vowel = eh [ɛ]
1 point
round
primary vowel = ah [ɑ]
LESSON SUMMARY (MU.68.C.2.1, MU.68.S.3.2, MU.68.O.2.2)
Review the performance rule of diphthongs and ask students to sing a major scale demonstrating both correct and incorrect treatment of do, re and sol (discrimination).
Figure 3. Example of a daily lesson plan focusing on an essential skill
September 2018
15
WAIT, you want me to teach what?!
by Sarah Guarrine
Hold on … what am I teaching? I thought this interview was for a middle school orchestra position, but you want me to teach not just middle school orchestra, but handbells, piano and elementary orchestra, too?
Y
Yes, that’s correct, friends. Many of
developing into the new norm. In reality,
the cut and dry band, orchestra and
mold, and our purpose as music educa-
today’s music education positions are not choir positions we once knew. Don’t get
me wrong, there are programs out there
that still include only band, orchestra or choir for the entire day; however,
including a variety of ensembles or music
16 F l o r i d a
classes in the daily schedule seems to be
Music Director
not every student fits into the standard tors should be to provide music education
for all, as reflected in the FMEA Mission Statement: “To promote quality, compre-
hensive music education for all Florida students as a part of their complete education.”
So, how do you prepare for multiple
ensembles you didn’t intend to teach when you chose this career path? Many
“… all of my previous experiences have prepared me for the classes I am now teaching.”
of you may have the mindset that you are going to be just an orchestra direc-
tor, band director or choir director. I can
Florida music education graduates
practice! Does it require more time on
but we all know that each of us has our
ought to strive continually to learn and
honestly say that when I was in college,
receive a degree in K-12 music education,
of the classes I have taught, and I didn’t
niche. My area of expertise is string music
I never imagined myself teaching some
expect the incredible experiences they have provided over the years.
I’m a violist, and I always knew I want-
ed to be a music teacher. It’s my passion. I’m now in my 14 year of teaching, and th
I’ve experienced a variety of instructional positions and classes. I started as an itinerant elementary string teacher and trav-
eled between numerous schools each day, teaching K-5 students how to play the
violin, viola, cello and bass. Sometimes
my own room. After that year, I accepted
a full-time elementary string position at
one school, so I didn’t travel anymore, and I even had my own room! While
there, I also learned how to teach and play handbells because that was one of
the school’s ensembles. It wasn’t my pri-
mary responsibility, but I teamed up with
the general music teacher and gained exposure to an ensemble I may or may
After all, we should all aspire to be lifelong learners, and flexibility is key.
bell ensemble does not have a separate
Another benefit of having multiple
set of music standards. I simply take the
musical concepts and national standards
ensembles is that they can have amazing
handbells as the medium through which
beautiful thing, friends! It is important to
combined performances. This is truly a
we follow for other music classes, and use
see the bigger picture of how the varied
my students learn those concepts and
groups might fit together to create a more
standards.
comprehensive view of music education
You have to exercise your due diligence
ence with it. There are numerous resourc-
mostly from a cart because I didn’t have
improve our musicianship and pedagogy.
ferent ensembles and classes. My hand-
in the hallways, courtyards or anywhere year teaching elementary general music
do what is best for our students, but to
of the musical skills I have learned to dif-
in learning about the instrument you are
I was able. A few years later, I spent one
incorporate new strategies, not only to
education; however, I can still apply many
I had a designated space to use as my classroom while at other times I taught
your part? Yes! As teachers, however, we
at your school. All of my ensembles and
classes perform on our school programs
teaching if you do not have prior experi-
as well as in the community. We are able
to combine with the choir and band
es and avenues you can explore to gain
ensembles for even more variety. For
that knowledge. To be able to effectively
example, we recently did a piece on our
teach my students, I have spent plenty of
spring program that combined men’s
time talking to other colleagues who have
choir, handbells and part of the jazz band.
handbell experience, researching infor-
The possibilities are endless if you have
mation about handbells, practicing the
the right mindset. Think outside of the
different ringing and mallet techniques
box, be willing to take on new challenges,
and learning as much as I could about
keep an open mind and most of all, share
how the instrument is played and how
your musical passion through any outlet,
to care for it properly. These are the same
ensemble or class you may have the
methods I would use while preparing to
opportunity to teach. You might be sur-
teach any of my classes.
prised how it impacts your life in unex-
I also teach piano classes and have a
not have had the chance to experience
variety of students, with experience rang-
the arts, where I have been for the past
of experience. Again, I am not a pianist,
Sarah Guarrine is the orchestra director at
a child, and I expanded those skills in col-
holds bachelor’s and master’s degrees from the
otherwise. I now teach at a K-8 school for
four years. My facilities are wonderful, and my classes include middle school orchestra, middle school handbells, middle school piano and fourth/fifth grade elementary orchestra. In retrospect, all of
my previous experiences have prepared
me for the classes I am now teaching. All that is required is the ability to transfer
knowledge and skills from one classroom setting to another.
pected ways.
ing from true beginners to several years
but I had basic piano skills developed as
Davenport School of the Arts. Mrs. Guarrine
lege through piano classes that were part
University of South Florida. She is the coordi-
of my degree requirements. When you get
nator of the Middle School
to teach a class or an ensemble that isn’t
All-State Honors Orchestra
within your strong area of expertise, you
for FOA and is an active
must draw on any and all resources avail-
member of ASTA, NAfME
able to help you learn. Take some lessons,
and FMEA. She performs
get a basic piano book and work your way
locally and statewide with
through it, and then practice, practice,
numerous artists.
September 2018
17
Social and Emotional in the Music Classr
E
Educational trends, theories and philosophies seem to come and go at an increasing rate in our society today. Even though
it can be difficult and sometimes frustrat-
ing to navigate the unending vocabulary and acronyms we are expected to know and implement, I believe one recent educational term is essential to the growth
and development of our students: social
and emotional learning. This is not a new
concept for music educators; we have been teaching our students social and emotional skills for many years. In this article I will provide insight into the cur-
rent definition of social and emotional learning, the implications for music edu-
cation and ways to implement it in your classroom.
As music educators we are fully aware
of the skills and techniques needed to play an instrument or to sing a song. On a deeper level, we know that music
teaches students to be respectful, to work together and to see beauty in the world.
It is this heart and soul of learning that is at the core of music education and social
and emotional learning. According to
the Collaborative for Academic, Social,
and Emotional learning (CASEL), “Social
and emotional learning (SEL) is the Continued on page 20
18 F l o r i d a
Music Director
Learning sroom
by Joani Slawson Chairwoman, FEMEA District 8
September 2018
19
Social and Emotional Learning in the Music Classroom Continued from page 18
process through which children and
ities allow students to convey emotions
ful of all opinions is a skill students can
knowledge, attitudes, and skills neces-
ulary. Students can also learn accurate
Music Education and Social and Emotional
tions, set and achieve positive goals, feel
engage actively in musical choices during
adults acquire and effectively apply the sary to understand and manage emo-
and show empathy for others, establish and maintain positive relationships, and make responsible decisions.” Music edu-
cators foster the skills outlined in the aforementioned definition every day.
CASEL has also created five core
competencies: self-awareness; self-man-
agement; social awareness; relationship skills; and responsible decision making.
1
when they lack the appropriate vocab-
self-perception when they are allowed to rehearsals. Recognizing strengths and weaknesses is an essential skill when
learning a musical instrument. Keeping
a music journal is an effective way for students to reflect on how far they have come on their musical journey.
2
SOCIAL AWARENESS: This com-
ponent focuses on how well some-
one knows the broad population
SELF-AWARENESS: This compo-
around himself or herself. It includes
one knows herself or himself. It
diversity and respect.
nent focuses on how well some-
perspective,
empathy,
appreciating
use throughout their lives. In the book Learning, Scott N. Edgar suggests a fun and musical way to get students more in
tune with others’ emotions. Students play a short phrase from a piece or improvise with the inflection of how they are feeling
while other students respond either musically or verbally to guess how they feel.
This can be done in pairs, in small groups or by the whole class, as well as be used
as a warm-up so the teacher can perceive the emotional state of the class.
3
SELF-MANAGEMENT: This com-
ponent focuses on impulse control, stress management, self-motiva-
Music is the universal language, and
tion, discipline, goal setting and organi-
strengths, needs and values; self-effica-
sity through a wide range of music.
Since learning a new skill or technique can
The variety of genres and styles of music
through music with important text, but
includes recognizing emotions; accu-
rate self-perception; acknowledging cy; and spirituality.
enable students to express and discuss a wide variety of emotions. In the elemen-
tary music classroom, movement activ-
students can learn to appreciate diver-
The ability to empathize can be learned
also when students are taught the story and/or history of a song. Accepting different perspectives while being respect-
zational skills.
cause frustration, goal setting is an essential part of music education. Teachers
begin by setting goals in ensemble settings, which easily transfers to students
setting individual goals. Solo and ensem-
ble, all-state auditions and lead roles in musicals are all examples of self-motiva-
tion in music programs. Self-management is also about learning to regulate one’s
own emotions. Students often learn the type of music that helps them relax and gain self-control when needed.
4
RELATIONSHIP SKILLS: This component addresses communica-
tion, social engagement, building
and maintaining relationships, working
cooperatively, negotiating refusal and conflict management.
A musical ensemble often can feel like
a family, and for many students it is the place they most feel they belong.
Building and maintaining relationships can happen naturally in music class, and
20 F l o r i d a
teachers can reinforce these bonds with Music Director
team-building activities and by promot-
as part of their curriculum. As Dr. Martin
cum laude from the University of Central
ful music program is built on working
plus character—that is the goal of true
ment is voice, and her specialty is choral direct-
ing leadership opportunities. A successcooperatively while maintaining high
standards and conflict management.
Students will use these skills throughout their lives.
5
RESPONSIBLE DECISION MAK-
ING: This component includes identifying problems, problem
solving and personal responsibility.
The music-making process requires
reflection and identifying problems on a daily basis. In musical ensembles, indi-
Florida with the BME. Her primary instru-
Luther King, Jr., once said, “Intelligence
ing. She has taught music in Florida public
education.” Teaching the whole child is
schools for 18 years and is the music teacher at
an essential part of our advocacy for
Saturn Elementary School in Cocoa. Joani was
music education, and social and emotion-
a 2018 semi-finalist for the GRAMMY Music
al learning is key as we continue this
Educator Award. She served as the clinician
important work for our students.
for the Elementary Choral Reading Session
References
at the 2017 FMEA Professional Development
Conference. In 2011, she was selected a Yale
Edgar, S. N. (2017). Music Education and Social Emotional Learning. Chicago: GIA Publications Inc.
Distinguished Music Educator. In 2007, she
was the Saturn Elementary Teacher of the
The Collaborative for Academic, Social, and Emotional Learning. (2018). What is SEL? Retrieved from https://casel.org/what-issel/.
Year. Ms. Slawson is chairwoman of FEMEA District 8. She has served as a member
of the Brevard County Curriculum Writing
entire group. Musicians learn that per-
The Collaborative for Academic, Social, and Emotional Learning. (2018). Core SEL Competencies. Retrieved from https://casel. org/core-competencies/.
growth as well as the success of the
Joani Slawson is a proud product of Brevard
Mentor Council. She is
Some states have begun to incorporate
chorus throughout her formative years and
vidual problem solving goes hand in
hand with problem solving within the sonal responsibility will impact their own group.
social and emotional standards, and
many schools are embracing these skills
Team and serves on the Music Advisory Board, Music Leadership Team and Brevard County director of the Brevard
County Public Schools. She was active in
Youth Chorus and also has
a thriving private studio of
is a 1995 graduate of Eau Gallie High School
voice and piano students.
in Melbourne. In 1999, she graduated summa
September 2018
21
Please take time to thank and support our 2018-2019 Academic Partners.
GOLD PARTNERS
BRONZE PARTNERS Boynton Beach Community High Cannon Music Camp - Appalachian State University Florida College Florida Gulf Coast University Jacksonville University Palm Beach Atlantic University Rollins College Department of Music University of Miami University of North Texas University of Tampa Valdosta State University Partners as of August 1, 2018.
*Please visit FMEA.org/partners for partnership details or call 850-878-6844.
22
Florida Music Director
Please take time to thank and support our 2018-2019 Corporate Partners.
GOLD PARTNERS
SILVER PARTNERS
The Horn Section, Inc. West Music Company
BRONZE PARTNERS Cadence Music Carl Fischer Music Eastman Exclecia Music Publishing Festivals of Music & Music in the Parks MakeMusic, Inc.
Music & Arts Music Man, Inc. Neil A. Kjos Music Company Romeo Music Super-Sensitive Musical String Co.
Partners as of August 1, 2018.
*Please visit FMEA.org/partners for partnership details or call 850-878-6844. September 2018
23
ARTISTRY: E
BR
AT I NG X
CE
L
Teaching &Performing
X YEAR
S
2019 CONFERENCE REGISTRATION All registration information must be entered online (click here ). At the end of the online form, you will have the opportunity to print an invoice to send in with a check until one week before the preregistration deadline or to pay online instantly with a credit card until the preregistration deadline. PLEASE NOTE: Exhibitors will scan the barcode on your badge. Students and chaperones will also have a barcode on their badges. In order for them to receive information from the exhibitors, we ask you to provide the ACTUAL MAILING and EMAIL ADDRESSES for each of your students and chaperones.
24 F l o r i d a
Music Director
2019 FMEA Professional Development Conference & All-State Concerts January 9-12, 2019 // Tampa Convention Center
REGISTER FOR CONFERENCE
Registration Fees and Procedures
The following information is for your information only, and is not an invoice for registration. In order to register for the conference, you must click the Register for Conference button.
DESCRIPTION
Director/Member
Collegiate Member
Retired Member
Preregistration (Sept. 22 - Dec. 7)
On-Site Registration
$50
$80
$130 $0
$160 $0
Non-Teaching Spouse
$65
$90
Paid Chaperone
$45
$65
All-State Student
$55
$85
Non-Teaching Spouse of Retired Member Free Chaperone
$0
$0
$0
$0
Tri-M Student
$30
$30
Preconference Workshop (First-Year Teachers)
$25
$25
Preconference Workshop Concert Tickets
VIP Member
VIP Preconference Workshop
Leadership Workshop Student
Leadership Workshop Chaperone
Student Experience - Student
Student Experience - Chaperone
$50 $15 $0 $0
$30 $0
$30
$30
$60 $15 $0
$0
$30 $0
$30
$30
To take advantage of early discounted rates, you must register and pay before the deadline. If you are
mailing a check to the FMEA office to pay for your registration, it must be postmarked SEVEN DAYS BEFORE the preregistration deadline.
September 2018
25
ARTISTRY:
Teaching &Performing
Registration Policies 1. All participants—directors, students, chaperones and guests—must be registered for the conference.
2. Only directors may register their groups or pick up registration materials if preregistered.
3. All participating students must be chaperoned. As required by the Florida School Music Association, at least one chaperone, other than a director, is required for every 10 students
or fraction thereof; however, FMEA policy allows for one free chaperone for every six students or fraction thereof.
4. An additional paid chaperone may be registered for (a) each six students registered or (b) for each all-state rehearsal site where registered students are performing.
5. If a participating student is not accompanied by the direc-
6. Student observers are not allowed to attend the conference.
If any student observers are brought to the conference, the offending school’s participation in the conference may be eliminated the following year. (Tri-M students registered and
participating in sessions or working for the all-state concerts are exempt from this rule.)
tor from that student’s school, then the principal from that
7. All school music teachers must register for the confer-
school or school district who is to be in charge of that student.
FMEA. This includes directors of invited performing groups,
school must furnish a letter designating the person from the The letter shall be addressed to the FMEA executive director, must explain the extenuating circumstances preventing the
director from attending and must be submitted with registration materials. The school will be notified of approval.
ence as FMEA directors and must be current members of
mini-concerts and session presenters. All-state conductors from Florida schools, colleges or universities must also be FMEA members. No current music teacher may register as a chaperone.
Concerts at the Straz Performing Arts Center If tickets have not been purchased for them by a registered director, all nonregistered attendees (parents, family members, guests, etc.) may pur-
chase tickets for any Straz concert they wish to attend at $15 per ticket
at the FMEA registration desk between 11 am on Thursday and 7 pm on Friday. Starting at 9 am on Saturday, all remaining tickets for Straz con-
certs will be sold outside of the Straz Performing Arts Center.
Registered (BADGED) conference attendees no longer need to pick up free
tickets in advance.
There will be a separate line for badged attendees. An FMEA staff
member or volunteer will be standing at the front of this line leading into the Straz center to distribute tickets to badged attendees as they walk into
the performing arts center. Only one ticket per badged person will be dis-
tributed, and that person must immediately walk into the Straz center and give the ticket to the Straz staff member who is collecting tickets.
26 F l o r i d a
Music Director
All-State Ticket Policy 1. Registered (BADGED) attendees do not require tickets to attend any all-state concert. This includes directors/members, directors’ non-teaching spouses, performing all-state
students, registered chaperones, collegiate student members, retired members and VIP guests that you entered as part of your conference registration.
2. All nonregistered (NONBADGED) attendees (parents, family
members, guests, etc.) are required to purchase tickets for any all-state concert they wish to attend at $15 per ticket.
3. There are no free or allotted tickets. All concert attendees
must either wear their conference badge or purchase a ticket.
4. A director who preregisters online may reserve and prepay for all-state concert tickets for nonregistered attendees for concerts in which he or she has registered all-state students. If paid for online, these tickets will be preloaded into the director’s registration package.
5. A director who registers on site may purchase all-state con-
cert tickets for nonregistered attendees for concerts in which he or she has registered all-state students during the on-site registration process.
6. A director with all-state students may purchase additional
concert tickets for nonregistered attendees for concerts in which he or she has performing students at the conference on-site registration desk or at a designated ticket sales loca-
tion at any time.
7. General ticket sales for all-state concerts will begin at 11
am on Thursday at the FMEA registration desk. There is no requirement that the director or any other registered attendee be the person to purchase tickets after this time.
8. All ticket sales are final. Concert tickets are non-refundable. 9. For entrance, ticketing and concert purposes, a concert is defined as the pair of ensembles that are performing in the
same venue in a common, defined block of time. An example of a concert for purposes of entrance, ticketing, etc., is the 2 pm concert on Saturday for the Middle School Honors Band and the High School Honors Band.
September 2018
27
ARTISTRY:
Teaching &Performing
Refund Policies 1. Full registration refunds are available for cancellation requests made through December 15, 2018.
2. No registration refunds will be made for cancellations made after December 15, 2018, except for emergency situations. These will be reviewed on a case-by-case basis.
3. Refunds must be requested in writing (email is acceptable). 4. All requests for refunds must be received no later than January 31, 2019. Requests received after that date will not be processed.
5. All refunds will be issued after the conference is completed. 6. Concert tickets are non-refundable.
Chaperone Registration
Chaperone registration is based on the following rules:
«« For each elementary student registered, one free chaperone and one paid chaperone may be registered. «« Any additional attendees must purchase a guest pass at Elementary Students
on-site registration for entry into the convention center.
«« For every six students registered, one free chaperone and
Middle School and High School Students
one paid chaperone may be registered. No other chaperones
«« Any additional attendees (chaperones or guests) must purmay be registered until the seventh student is registered.
chase a guest pass at on-site registration for entry into the convention center.
«« If you have students in more than one performing ensemble,
EXCEPTIONS
you may pay for a chaperone for each performing ensemble
«« If you have students from different schools, you may pay for in which you have registered students.
a chaperone for each school for which you have registered students.
Frequently Asked Questions Do I get free tickets for my students’ family members to attend the concert?
No. You can pre-order and pay for their tickets when you preregister.
Can I get free tickets to any concerts?
No. Registered attendees (directors, chaperones, students) are allowed admission to concerts with their name badge, so no ticket
is necessary. Attendees who are not registered for the conference (parents, family, etc.) must purchase tickets. At the Straz
Performing Arts Center, registered attendees with their conference name badge will be handed a ticket immediately before they walk in the door.
Can I buy extra tickets any time?
If you are an FMEA member registered for the conference, you
may purchase tickets at the computers in the on-site registration area at any time during the regular registration hours. Everyone else may purchase tickets beginning at 11 am on Thursday.
There are more family members and guests com-
ing to watch my all-state student than I have tickets. How and when do I get tickets for them?
Extra tickets may be purchased when general ticket sales open on
Thursday at 11 am. Tickets will be sold at the main registration area for $15 each.
28 F l o r i d a
Music Director
Hotels Contracted for 2019 FMEA Professional Development Conference
HOTEL – Cutoff date: 11/10/18
Barrymore Hotel Tampa Riverwalk 111 West Fortune Street, Tampa, FL 33602 Courtyard by Marriott Downtown Tampa 102 East Cass Street, Tampa, FL 33602 DoubleTree by Hilton Tampa Airport Westshore 4500 West Cypress Street, Tampa, FL 33607 Embassy Suites Downtown 513 South Florida Avenue, Tampa, FL 33602 Embassy Suites Westshore 555 North Westshore Blvd., Tampa, FL 33609 Four Points by Sheraton Suites Tampa Airport Westshore 4400 West Cypress Street, Tampa, FL 33607 (includes comp internet) Hilton Downtown 211 North Tampa Street, Tampa, FL 33602 Holiday Inn Tampa Westshore Airport 700 North Westshore Blvd., Tampa, FL 33609 (includes comp internet & parking) Marriott Waterside 700 South Florida Avenue, Tampa, FL 33602 Residence Inn 101 East Tyler Street, Tampa, FL 33602 (includes comp breakfast & internet) Sheraton Tampa Riverwalk Hotel 200 North Ashley Drive, Tampa, FL 33602 Westin Tampa Waterside 725 South Harbour Island Blvd., Tampa, FL 33602 Discounted parking: $10/self & $15/valet
Single
(813) 223-1351 Group Code: FMEA (813) 229-1100 Group Code: FMEA (813) 879-4800 Group Code: FMEA (813) 769-8300, ext. 1 Group Code: FMEA (800) 749-2974 Group Code: FMEA (888) 627-8261 Group Code: FMEA (800) 445-8667 Group Code: FMEA (800) 315-2621 or (813) 289-8200 Group Code: FMEA (888) 236-2427 Group Code: FMEA (800) 627-7468 Group Code: FMEA
(800) 325-3535 Group Code: FMEA (800) 937-8461 Group Code: FMEA
ROOM RATES Double Triple
Quad
$139
$139
$139
$139
$152
$152
$152
$152
$153
$153
$153
$153
$239
$239
$249
$259
$189
$189
$199
$209
$140
$140
$140
$140
$205
$205
$205
$205
$124
$124
$124
$124
$205
$205
$205
$205
$171
$171
$171
$171
$197
$197
$217
$217
$194
$194
$194
$194
September 2018
29
ARTISTRY:
Teaching &Performing
2019 FMEA Student Conference Experience The purpose of the Florida Music Education Association’s Student Conference Experience is to expand access to the annu-
al conference to students throughout the state. Participating
students will interact with amazing clinicians and educators, college representatives and incredible performing groups.
These students will have memorable experiences they can take back and share with their high school music programs.
«« Online nominations will begin on September 23. «« The conference schedule and the list of clinicians/sessions will be available no later than October 1. «« Updates and information can be found at FMEA.org. Program Details
«« Student participants must be nominated by their music teacher. «« The music teacher must be a current member of FMEA. «« Music teachers must be registered for and attend the FMEA conference in order for their students to participate. «« All nominations will be reviewed by a select committee, and all decisions are final. «« High school students in grades 9-12 are eligible. «« A school, regardless of the number of music teachers, may nominate up to three students. «« Participating schools are required to have one parent chap-
Criteria/Guidelines
erone attend all Student Conference Experience activities at the conference. The music teacher may not serve as the
«« All participating students and chaperones will be required chaperone.
to stay at the conference hotel designated for the Student Conference Experience.
Any questions should be directed to Michael Antmann (michael.antmann@ocps.net)
and Charlene Cannon
(charlene.cannon@ocps.net) , coordinators of the FMEA
Student Conference Experience.
30 F l o r i d a
Music Director
ComponentNews
FLORIDA ORCHESTRA ASSOCIATION
Jason Jerald, President
T
he 2018-19 school year has finally arrived! In the midst of fine-tuning
your beginning of the year agenda, much planning has already taken place with
your FOA Executive Board during our
district chairperson training. I would like to welcome our new district chairpersons: Jenna Vincitore
District 8
Paul Jackson
District 10
David Heroux
District 13
Kelsey Lin
District 14
David Cruz
District 16
Kayla Lisa
District 18
Boonshaft
Thank you to all of our district chairper-
registering, reserve only the rooms need-
ful year for your districts! Remember
to release any rooms you don’t need so
sons for setting the stage for a successthat your district chairperson is there to
support you with any FOA questions or suggestions you may have throughout the year.
ward to seeing you there!
others can reserve them. The hotel room
are required to attend training in the
5 pm.
which are being implemented in the 2018-
available on our FOA website (myfoa.
help with all-state judging, September
29 at the Hilton Orlando. Please contact your district chairperson if you are interested. FOA would like to thank Brian
Hellhake and all those volunteering to assist with this process.
As you make your plans for the year
ahead, you don’t want to miss the FOA/
FLASTA Fall Conference or the FMEA Professional Development Conference. Hotel registration for the FMEA confer-
ence begins September 22 at 9 a.m. When
use of the new FOA adjudication forms, 19 school year. Should an adjudicator not
Our 2018 Fall Conference will take
check your district calendar for your this event. Volunteers are also needed to
As a reminder, all current adjudicators
cancellation deadline is November 10 at
place on September 27-28 at the Hilton
audition date and volunteer to assist with
be something for everyone. We look for-
ed for your students. Please remember
The all-state audition window is quick-
ly approaching, September 10-15. Please
Gruselle
participate in the training, he or she will no longer be an approved FOA adjudica-
Orlando. Registration is now open and org).
tor. There are two sessions available for this required training, September 26 or 27,
We are excited to have Peter
just prior to the Fall Conference. There are
Boonshaft and Carrie Lane Gruselle as
sufficient slots in the two training times
our keynote speakers. Be sure to view
to allow all current adjudicators to attend
the full schedule on the FOA website for
the training; however, the available slots
additional information about our excit-
will be filled on a first-come, first-served
ing sessions. The conference is a great
basis. Check our website, myfoa.org, for
way to reconnect with colleagues and
additional information.
friends, to meet other educators and to
As always, I hope the very best for
gain ideas for your classroom. We also
have some amazing vendors attending.
you and your students this year. Please
and music stand for the music reading
hesitate to share your suggestions or ask
stay involved in your district and do not
Don’t forget to bring your instrument
for assistance. Your FOA is here to help.
session to assist you with your music
In the midst of emails, faculty meetings
selections for the year. There is sure to
and after-school rehearsals, I want to
encourage you with words from Robert
Interested in submitting an article for publication in the Florida Music Director?
Schumann:
To send light into the darkness of men’s
Learn more at:
hearts—such is the duty of the artist.
FMEA.org/FMD
Keep shining.
September 2018
31
ComponentNews H
FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION
Rosemary Pilonero, President
everyone!
one or both regionals to observe
refreshing to begin a new
performance. We hope this will
ello,
best practices in rehearsals and
It is exciting and
be a wonderful opportunity to see
school year. This time of
quality process of teaching and
year always feels more
learning in action. Please visit the
like “Happy New Year”
FEMEA website at femea.flmu-
to me than January. I hope
siced.org
your first few weeks of
school have gone smooth-
for detailed infor-
mation about these new events
ly and you are beginning
as well as audition information,
to get back into the groove.
deadlines and packets. We have
The FEMEA board has
implemented changes to help
been busy planning for
our new endeavor, the Northern and
Southern Regional will be held Saturday,
Orff Ensembles. We are excited to offer
University in Lakeland. Lu Anne Leone
Southern Regional Honor Choirs and
more performance and learning oppor-
tunities for the wonderful students and
teachers of Florida! Northern Regional
will be held Saturday, October 27, at the University of Florida in Gainesville. Barbara Sullivan Mansfield will direct
the choir, and Le Ann Hasker and Eldean Hagans will direct the Orff Ensemble.
November
3,
at
Florida
Southern
streamline the paperwork and payment processes, so please read through everything carefully.
Special thanks to Jenn Sullivan,
will direct the choir, and Sandy Lantz
FEMEA executive director, who has
Orff Ensemble. Students will be selected
make these changes and updates pos-
and Gretchen Wahlberg will direct the
for these groups, along with all-state groups, through the all-state audition process.
Regardless of student participation, all
FEMEA members are invited to attend
FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION
Stacie Rossow, DMA, President
worked tirelessly over the summer to sible. Remember to renew your FMEA/ FEMEA membership by the September
15 deadline if you wish to have students audition for any ensemble. You might
consider asking administrators for help
with those funds, especially if you are submitting student auditions.
Now is also a great time to speak
with your administrators about attending the FMEA Professional Development
A
Conference to be held in Tampa, January
our collegiate and supervisor friends have welcomed us back—this year to the
the conference. The FMEA Professional
t this point, I hope the semester is going well for everyone. As you get back
into the school year, I do hope you are making your plans to join your
colleagues at the Fall Conference. After many years of absence from the event,
University of Central Florida on Sunday, October 28, and Monday, October 29. We
are in the process of working out the schedule, but please watch your email and
our Facebook page (@Florida College Music Association) for details. Encourage all
of your colleagues to attend and participate. We want to grow this event and our collaboration within the state.
Also, please take this time to renew your FMEA membership. Far too often,
our college professionals delay their renewal until just before the conference or when it is time to submit a proposal for the conference. I ask that you renew early
in the fall so we can include you in correspondence and planning. And Like us on Facebook so we can better communicate with you.
Looking forward to seeing many of you in October!
32 F l o r i d a
9-12, 2019. Be sure to educate them
about all of the professional development opportunities available to you at
Development Conference is the second largest of its kind — just after Texas — in
the nation! Maybe you can even get your
administration to pay all or part of your costs ... it never hurts to ask!
Please be sure to visit femea.flmu-
siced.org for all FEMEA information,
and never hesitate to reach out to any board member at any time. We are here
working for YOU! Best wishes for a won-
derful year filled with the joy of making music!
Music Director
FLORIDA COLLEGIATE NAFME
Jennifer Luechauer, President
Participating in Marching Band During College: A Benefit Analysis
M
ost of us remember our high school
If you are a music education major,
obvious difference in leading a sectional
learning valuable educational lessons. It
State University. The college position was
marching band days: waking up
marching in college can be beneficial for
band camp; staying late to run over the
was eye-opening to compare the different
early during the summer to make it to same sets; keeping your cooler filled with ice water; and always having a tube of
sunscreen handy. For most people, four years of playing an instrument and mak-
ing forms on a field were quite enough. But what are the benefits of participating
in a collegiate marching band that may be overlooked?
A common misconception is that col-
lege marching band is just a repeat of high school marching band. Contrary
to popular belief, that is not the case.
At most colleges, the environment is less competitive than the typical high
school program. There are usually fewer
rehearsal days for less time than during high school. On average, college march-
ing bands rehearse four days a week for approximately two hours a day. The structure of rehearsals tends to be less
serious and more relaxed than high school rehearsals. Instead of spending our practice times preparing a show for a
music performance assessment or a com-
petition, college marching bands place an emphasis on entertaining a crowd
instead of winning a title, like most
band members are so accustomed to. The
relaxed and fun atmosphere comes from
in their jobs. Teaching a larger number of students at once, managing the atten-
Chiefs. Seeing the difference between
dance of 50 students and reporting back
teaching drill and signature maneuvers
to directors on the section’s progress pro-
to 400 students compared to 50 students
vided a brief glimpse into my future as a
at my high school was extremely valu-
director, more so than what I experienced
able. You can observe critical classroom
as a high school section leader. The same
management skills for reducing talking
can be said for nearly every collegiate
during rehearsals and keeping the focus
leadership position, e.g., drum major,
on the field, as well as how to keep the
drill instructor, color guard captain, band
ensemble morale positive. The age dif-
captain or librarian. In the real working
ference between high school and college
world, your employer will entrust you
students means that educators must shift
with a greater number of tasks and obli-
how they speak to their students. You
gations than ever before, and what better
wouldn’t speak to a high school fresh-
way to get experience managing multiple
man the same way you would speak to a
jobs at once than in your college march-
college freshman. Along those lines, you
ing band?
wouldn’t speak to a college freshman in
A more relaxed rehearsal schedule,
the same manner you would speak to a
college senior. If you can witness first-
multiple opportunities to observe a vari-
to change his or her tone of voice and
ening your leadership skills are just a few
ety of teaching behaviors and strength-
hand how frequently a director needs
of the reasons students decide to enroll in
approach to fit the diverse age of students
marching band during college. I highly
in a college marching band and to ensure
suggest that everyone, across all majors
that every student is treated like an adult,
and walks of life, march in their collegiate
you can be one step ahead of other col-
band at least one season to experience
leagues who may not learn this lesson
the difference between high school and
until later in their educational track.
college marching bands. The three years
Though most college marching bands
and simply participate because they gen-
sibilities are much greater. I had the priv-
musicians.
responsibilities that music educators face
the Florida State University Marching
have student leadership positions similar
uinely enjoy marching amongst other
structured more closely to the duties and
styles of teaching at my high school with
the fact that many of the band members are not required to take marching band,
of 10 flutists compared to 50 at Florida
I spent as a member of the Florida State University Marching Chiefs were inde-
to those of high school bands, the respon-
scribable, and I hope every collegiate stu-
dent can have this opportunity as well.
ilege of serving as a section leader both in
March on!
high school and in college. There was an
September 2018
33
ComponentNews A
FLORIDA BANDMASTERS ASSOCIATION
Cathi Leibinger, President
s a child, I loved watching the
in your own FBA district. Each district
in Miami, I had moved from Illinois and
Book based on the book by Rudyard
experienced ones. The first benefit is hav-
meeting, Wayne Hoffmann invited every-
Disney animated feature The Jungle
Kipling. Singing along with King Louie
as he wailed “I wan’na be like you” was a favorite pastime. Louie really wanted Mowgli to teach him how to make fire.
The problem was Mowgli didn’t know
how. Maybe Louie should have been a little more selective in choosing a mentor.
One of the greatest benefits of our
profession is that we are surrounded by like-minded people who are genuinely
works hard to match new directors with ing help navigating all of the paperwork
and meeting deadlines for school FSMA membership, NAfME/FMEA/FBA membership and activities such as all-state
auditions/honor band and our various
MPA events. There are so many tasks to manage, and missing one can add unnecessary stress to our already hectic work-
load. It is also helpful to be able to bounce ideas and concerns off someone who has
didn’t know a soul. After every district
one to go to lunch (usually at Shorty’s or Bar-B-Q Barn), and we would get to know each other over pulled pork and
a tasty beverage. By getting to know my
colleagues as people first, band directors second, I was able to find those personalities with whom I clicked. Those first rela-
tionships are still some of my strongest professional ones today.
Under the leadership of KC Crocco,
traveled this journey before you.
our FBA Mentoring Committee continues
op great programs, we strengthen the
for support from others, and the time
and advice on the Mentoring page of
Bandmasters Association, we have some
the need becomes critical. To truly ben-
interested in our success. We know that by helping other band directors devel-
profession as a whole. In the Florida
great success stories of directors from a wide variety of experiences and circum-
stances coming together to form positive
working relationships as well as lifelong friendships.
For directors who are new to our
ranks, one of the first places to look is
You never really outgrow the need
to develop those relationships is before
efit from a mentoring relationship, you must be comfortable with vulnerability. That doesn’t come without creating
safe relationships over time. I encourage every district to create some time for social interaction before or after a meeting. When I was just beginning my career
to create a wonderful resource of articles the FBA website. (Look under the For
Directors tab.) Take the time to read them, even if you’ve been teaching for many years. You never know when you will
find a new nugget of wisdom. If you have any ideas to contribute or would like to
serve on that committee, please contact
KC at mentoring@fba.flmusiced.org.
I’m sure she would welcome the input. If you need a mentor or would like to be one, contact your FBA district chair-
person. You may develop a friend and colleague for life.
Now that I’m older, I am starting to
read some of those classic books upon which the Disney movies of my child-
hood were based. It’s ironic that while
King Louie was my favorite character, he wasn’t in the original book. In spite
of that, I’ve been able to take a popular quote and use it as a mantra for life.
“For the strength of the Pack is the
Wolf, and the strength of the Wolf is the Pack.” ― Rudyard Kipling, The Jungle Book
(P.S. The character of King Louie was
based on and played by Louis Prima. If anyone finds an original King Louie Pez
dispenser, feel free to send it my way. It’s
34 F l o r i d a
been on my list for years.) Music Director
ResearchPuzzles for music teachers
RESEARCH COMMITTEE CHAIRMAN
Don D. Coffman, PhD University of Miami
What factors predict future music participation?
F
or this month’s column, I have chosen to
positive attitudes about their music making are
of Research in Music Education. NAfME mem-
study is the next step. In phase 2, the researchers
summarize a report from NAfME’s Journal
bers can view the journal by logging into
nafme.org, finding the Publications link on the My Classroom tab and then selecting the JRME link, which leads to Sage Publications.
I have selected “Singing Ability, Musical Self-
Concept, and Future Music Participation” by Steven M. Demorest, Jamey Kelley and Peter Q. Pfordresher because it is currently the most read article in the journal.
The authors used a two-step approach, sur-
veying 328 sixth-grade students in five elemen-
tary schools prior to the registration time for
agreed to have their singing abilities tested. The
and researchers.
(32 music participants, 23 non-participants) who procedures involved singing “Happy Birthday”
students had selected elective music courses
(band, choir, orchestra). Using a statistical pro-
cedure called multiple logistic regression, they
and short patterns in their comfort range. Using
computer software to analyze pitches and judges to analyze the performance of “Happy
Birthday,” the researchers observed no differ-
ence in singing ability between students who signed up for music and those who did not.
The short story here confirms notions we
for continuing in music are not solely based on about their musical abilities may not be accurate.
Educators who take steps to understand their
students’ perceptions may be able to counter potential misperceptions and guide students into continued music making.
I hope this bit of information intrigues you
analyzed the influence of various variables to
sufficiently to browse other articles in JRME.
not students opted to participate in school music
Reference
variables (musical self-concept, attitudes toward
Steven M. Demorest, Jamey Kelley, and Peter Q. Pfordresher. (2017). Singing Ability, Musical SelfConcept, and Future Music Participation. NAfME Journal of Research in Music Education, 64(4), 405-420.
see how well the formula predicted whether or the next school year. Variables included attitude
music, cost as barrier, peer influence), family
FMEA teachers
and singing back (echoing) pitches, intervals
their abilities. Moreover, students’ self-concepts
the registration period, researchers noted which
awareness of
research issues for
students’ own and their family’s musical backparticipation, and basic demographics. After
to stimulate
randomly selected students from both groups
all have probably suspected—students’ reasons
ground, their attitudes about music and music
column seeks
more likely to continue. But what I like about the
selecting seventh-grade courses. In phase 1, two
questionnaires gathered information about the
This on-going
background (piano study, instrumental study,
family musical engagement) and gender. The model predicted categorization (sorting music participants vs. nonparticipants) with 74% accu-
racy, showing that musical self-concept and family background were strong contributors.
This finding isn’t remarkable; students with
Email your questions and feedback to
d.coffman1@miami.edu with a subject heading Research Puzzles. Your questions, if selected for publication, will remain anonymous.
September 2018
35
CommitteeReports W
DIVERSE LEARNERS COMMITTEE Alice-Ann Darrow, PhD Chairwoman
elcome to the new school year! I
Browns or The Osmond Brothers), as a
ing lessons to children who present cog-
the diverse learners chairwoman. I am
sing or play together or as a passive
Rarely do private music teachers have
look forward to serving FMEA as
always open to requests for specific top-
ics to be addressed in the Florida Music
Director and in sessions at the FMEA
shared activity where family members activity where music is played in the home. The role music takes in family life
is dependent upon the musical experi-
Professional Development Conference.
ences of family members and upon the
a network of individuals with a mutual
bers. Much has been written about the
My goal as chairwoman is to establish interest in diverse learners so we can work together to promote music education for all of Florida’s students.
As we begin this new school year, and
parents begin to enroll their children in music classes and private lessons, I want to emphasize the importance of including
value placed on music by family memimportance of music in child development (Campbell, 2001). As a result, many parents now place a higher value on music
in their children’s lives. Numerous pro-
grams such as Kindermusik (kindermusik.
com)
and the Musikgarten (musikgar-
ten.org)
have been created to support
children with disabilities in those plans.
the development of children and the inte-
music and to study privately. As parents
Nearly three million children have
All children have the right to learn about
gration of music in family lives.
attend to their children’s musical prog-
disabilities and are an integral part of
become an important part of family life.
greatly from a musical environment in the
ress, they may well find that music has
Family, Disability and the Role of Music
The role of music in family life can take
many forms. Music can serve as the cornerstone of the family (as in The 5
their families. These children will benefit
home and from musical activities enjoyed by other family members. Children with
disabilities frequently want to take music
lessons as their siblings do; however, it
may be difficult for their parents to find private teachers who feel capable of giv-
nitive, physical or behavioral challenges.
any formal training in working with children who have disabilities, and so their
teaching methods are most often devel-
oped through trial and error. Fortunately,
many private music teachers have shared their experiences and provided a type of peer education by publishing articles
in professional journals (Cantan, 2017; Cross, 2003; Tracia, 2016).
Beyond training, the primary dif-
ference between the practices of pub-
lic school music educators and private music teachers is the public educators’
legal obligation to teach students with disabilities. Private music teachers may consider it their moral obligation to teach
students with disabilities; however, they may also choose their students and, if
they wish, exclude certain students. Private music teachers who are willing
to give piano lessons or other types of
lessons to children with disabilities will likely find many parents who are interested in their services. Children with
disabilities, like all children, should have
the opportunity to learn to sing or to
play an instrument and to experience the thrill of an appreciative audience.
The litmus test for a private teacher
should be that a child’s performance
does not highlight his or her disability,
but rather abilities. Some children will
require adapted music lessons, which may take the form of adapted music
scores or musical instruments. Music notation can be enlarged or color-coded, or have note names written into the
score. Most instruments can be physi-
cally adapted to suit a child’s disability. Keyboards can also be color-coded or
have note names adhered to the keys. The music teacher and the parents should
36 F l o r i d a
accept whatever adaptations the child Music Director
needs to be musically successful.
munity life. Music therapists can
ments have been adapted especially
tal assimilation of a child with
do much to assist in the socie-
Various music curricula and instru-
a disability. They can do so by
for children with disabilities. Many
directing the child and family to
of these products can be purchased
opportunities for positive com-
through West Music (westmusic. com).
munity interactions. As a family advocate, they can encour-
All young musicians benefit from
age the continued musical, social
the support of their parents. Like
and interpersonal growth of the
most children, children with dis-
child and family by presenting
abilities may not have the self-dis-
opportunities for music making
cipline to practice on their own.
in the community. Community
Parents can support their child’s
ensembles, church choirs, open
success and the teacher by ensuring that quality practice happens on a
mic night at various venues and
regular basis. Children with disabilities
tions that prevent them from participat-
civic concerts are opportunities for
ents also participate in their lessons and
Music’s universal appeal and adaptabili-
generally open to all individuals, and
will likely progress more rapidly if par-
assist them with practice. Such collabora-
tions may also provide opportunities for parents and children to perform togeth-
er, and thus spend quality time enjoying a shared interest.
Music as an Agent for Family Cohesiveness
Many parents are at a loss as to what
activities they can share with a child who has a serious disability. Not all parents are musicians. Some parents may
not feel comfortable actively making music, but all parents and children can listen to music together—in the home, in
the car or in the community. Nearly all families can enjoy children’s concerts in
the community. Many libraries and book stores have special musical events for young children. Music programs such
as Musikgarten and Kindermusik provide
more formalized musical experiences for parents and children.
By playing and singing together,
music can also serve as a leisure activity
families can participate in them together
ty make it a desirable leisure activity for
regardless of musical skills or disabili-
families. Participation can be active or
ties. Participation in such organizations
passive, depending on the talents, pref-
or performance events may make the
erences or abilities of family members.
transition from school to community life
In addition to the field of music edu-
more rewarding and less threatening for
cation, the music therapy profession
children with disabilities, and indeed for
has also become more involved in the
the entire family.
lives of families (Abad & Edwards, 2004;
Wetherick, 2009). Music educators and private music teachers are concerned
References
development. Both differ from music
Abad, V., & Edwards, J. (2004). Strengthening families: A role for music therapy in contributing to family centered care. Australian Journal of Music Therapy, 15(2004), 3-17.
with children’s musical growth and therapists, who use music primarily to achieve non-music goals such as academ-
Campbell, D. (2001). The Mozart effect: Tapping the power of music to heal the body, strengthen the mind, and unlock the creative spirit. New York, NY: Harper Collins.
ic, physical, social or emotional goals.
Families may find that music therapy provides much needed support for a
Cantan, N. (2017). What you need to know to teach piano students with special needs. Retrieved from https://colourfulkeys.ie/ need-know-teach-piano-students-with-special-needs/.
child with a disability. Professionals in
both fields have found that music can make important contributions to a fami-
Cross, R. (2003) Teaching children with Down syndrome to play the piano. Down Syndrome News and Update, 3(2), 43-44.
ly’s quality of life; however, parents need to decide whether musical or therapeutic
goals are most appropriate for their child
Tracia, A. (2016). Teaching piano to students with disabilities: A collective case study (Unpublished master’s thesis). University of Massachusetts, Amherst, MA.
with a disability.
Finally, the music therapist or music
for the family. All families need time for
educator can serve as a family advocate
have physical and/or cognitive limita-
a disability from the home into com-
leisure. Children with disabilities often
music making and/or listening that are
ing in many traditional leisure activities.
Wetherick, D. (2009). Music in the family: Music making and music therapy with young children and their families. Journal of Family Health Care, 19(2), 56-58.
by helping to transition the child with
May 2018
37
CommitteeReports
AWARDS COMMITTEE
Debbie Fahmie, Chairwoman
I
Knowing all of the challenges that
love many things about the fall
work against high enrollment in music at
season. In fact, it is my favorite
the high school level (dual enrollment,
season of the year. It is always
AP coursework, IB, career and tech
exciting to return to school, not
coursework, etc.), FMEA has adjust-
just to reconnect with colleagues
ed the percentage required for the
and students but to meet the
award this year. If you are one of
new faces that have entered our
those schools that have just missed
world since the summer break.
the cut-off criteria in the past, this is
Energy multiplies when colleagues
great news. We hope this adjustment will
share about their summer activ-
ities, oftentimes involving creative
help you to attain the Music Enrollment
the coming school year. Another source
there are wonderful models out there
Award. The FMEA board recognizes that
ventures that have birthed new ideas for of excitement and energy for me comes from receiving the FMEA awards nomination packets, and I trust this year will
be no exception. The awards committee
members and I are always motivated and inspired by reading about the exemplary things going on throughout the state
in music education. It is a time when I reflect and realize how blessed I am to be a part of the music education scene in Florida.
Welcome back to your new school
year! I hope it will be one full of wonder
and that, through contact with your stu-
dents, you are constantly reminded of just how valuable music education is.
Whether you are new to FMEA or a
longtime member, I would like to remind
you that the FMEA Awards Program is a dynamic part of our annual conference,
as it connects all components of the FMEA membership and brings together music educators, administrators, school board members and the business community to celebrate individuals who have
made outstanding contributions to music
I look forward to recognizing the fol-
«« Hall of Fame «« Distinguished Service «« District School Board/School Board Member of the Year «« Superintendent of the Year «« Administrator of the Year «« Music Educator of the Year «« Leadership Award for Music Education «« College Music Educator of the Year «« Exemplary Model Program/Project lowing at the 2019 Awards Ceremony:
The deadline for the above is September 7.
«« Middle/High School Music
Enrollment Award (Please note the
new criteria for the High School Music
Enrollment Award; it has been adjust-
«« Music Education Service Award ed to 30%.)
(includes 25+ years of service and 50+ years of service)
The deadline for the above is November 3. If you have reached your 25-year land-
education. The awards ceremony also
mark in teaching or if your school has
for all who attend. It’s a great way to get
have until November 3 to submit those
plays a pivotal role for music advocacy
district leadership to the conference and
give them an opportunity to hear about all the great programs and partners we have throughout the state.
38 F l o r i d a
high enrollment in music programs, you
nominations. These two awards have very simple application processes. It takes
approximately 15 minutes to self-nominate for either award.
Music Director
with 30% enrollment in music courses, and we want to recognize and honor
those schools. Therefore, the criteria is now set at 30% of the total student population enrolled in music education at the high school level. (This can include
musical theater if taught by an FMEA member.)
Please note that in addition to the
25-Year Service Award for members with
25 years or more service, we also have the 50-Year Service Award, which seeks
to recognize members who have dedicated 50 years to the profession, meaning
that even beyond retirement they have
remained active members of FMEA. If
you know of any individuals who are eligible for this award, please let me know.
If you or your school is eligible, you
owe it to yourself to submit your appli-
cation for the Music Education Service Award and/or the Middle/High School
Music Enrollment Award. All award
recipients will be formally recognized at the 2019 FMEA Professional Development
Conference. I look forward once again to honoring worthy individuals who further the mission of FMEA by promoting
quality, comprehensive music education for ALL Florida students as part of their complete education.
I hope you have a wonderful start of
the new school year.
MULTICULTURAL NETWORK Bernard Hendricks, Chairman
G
reetings, fellow music educators. As we start the 2018-
19 school year, I want to remind everyone that the
Multicultural Network is in place to assist ALL music educators throughout our state in the areas of diversity, cultural awareness and acceptance in the music classroom. Our goal is to provide professional development, best practices and strategies
for music educators to meet the needs of our ever-changing,
diverse population of students in Florida schools. In some areas of the state, things are going great, but in other areas, there is a struggle just to hold on to music programs. With that in mind,
I encourage you to consider joining the MCN as we continue to
Advertiser Index The Florida Music Director is made possible by the participation of the following businesses whose advertisements appear in this issue. They make it possible to provide you with a high-quality publication, and we gratefully acknowledge their support of our mission. We hope you will take special notice of these advertisements and consider the products and services offered. It is another important way you can support your professional association and the enhancement of Florida music education. The publisher does not endorse any particular company, product or service. The Florida Music Education Association (FMEA) is not responsible for the content of any advertisement and reserves the right to accept or refuse any advertisement submitted for publication. Information for advertisers (rate card, insertion orders, graphics requirements, etc.) can be found at FMEAMediaKit.org.
identify areas of need within our state and address the issues
that are sometimes overlooked. It is a simple registration addi-
tion when you renew your membership. After our awesome
Summer Workshop this year, we are planning even bigger things for our 2019 summer and 2020 annual conferences. As
we begin another new year, please take a moment to renew your FMEA membership. It is imperative that we all continue not only to provide the best for our students, but also to connect
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and network with our colleagues to continue to grow ourselves and our teaching methods.
On a more personal note, I’m entering my 22nd year of
teaching here in Orange County, and I’m just as excited today
as I was 22 years ago. For dedicated music educators, our students are a main focus in our lives, and sometimes this focus
can become overwhelming and even intrude upon our personal lives. What we do as professional educators is important, but
nothing is more important or valuable than our relationships with family and friends.
This summer my family had a chance to get away in the
mountains of Gatlinburg, Tennessee. As we were walking down the street on our last night in town, I felt a tug and then a grasp to hold hands as we were walking. It wasn’t from my 7-year-old (as he does when we are in large crowds), and it
wasn’t from my wife (as we do all the time). This tug was from my 17-year-old—about to be a senior in high school—daughter. YES, a teenager who just wanted to hold Dad’s hand as we walked through downtown. In that moment, LIFE was put into
perspective, and I realized how important our families and friends are and just how valuable they are in supporting us in our time-consuming profession of music education. So, my encouragement at the beginning of this year is to do what you
believe is necessary to be a successful educator, but at the same
time, never lose focus of those who love, support, appreciate and need you the most! Have a great year.
SUBSCRIPTIONS: Direct correspondence regarding subscriptions to: Hinckley Center for Fine Arts Education, 402 Office Plaza, Tallahassee, FL, 32301-2757. Subscription cost included in FMEA membership dues ($9); libraries, educational institutions and all others within the United States: $27 plus 7.5% sales tax. CIRCULATION: 4,500 educators. Published eight times annually by The Florida Music Education Association, Hinckley Center for Fine Arts Education: 402 Office Plaza Tallahassee, FL 32301-2757. FMEA reserves the right to approve any application for appearance and to edit all materials proposed for distribution. Permission is granted to all FMEA members to reprint articles from the Florida Music Director for non-commercial, educational purposes. Non-members may request permission from the FMEA office. SUBMISSIONS: Article and art submissions are always considered and should be submitted on or before the 1st of the month, one month prior to the publication issue to: Mark A. Belfast, Jr., PhD, mabelfast@seu.edu. All articles must be provided in digital format (e.g., Microsoft Word). All applicable fonts and images must be provided. Images must be at least 300 dpi resolution at 100 percent of the size. All submissions must be accompanied by a proof (color, if applicable). Ads may be submitted via email to val@fmea.org. Florida Music Director reserves the right to refuse any ad not prepared to the correct specifications OR to rework the ad as needed with fees applied. 2018-19 FMEA Membership: You are eligible for membership in The Florida Music Education Association if you are an individual engaged in the teaching, supervision or administration of music in elementary and secondary schools, colleges or universities within the state.
to learn Visit FMEA.org/membership more about the benefits of active membership.
September 2018
39
ExecutiveDirector’sNotes FMEA Executive Director Kathleen D. Sanz, PhD
Ready to Lead the Charge
W
e’ve been back in school for close to a month
Every Student Succeeds Act (ESSA)
and have met our students for this school year.
As of this writing, the Florida Every Student Succeeds
ers. The students appear enthusiastic, and teachers are
States Department of Education. As an association,
I’ve read lots of great Facebook posts from our teach-
ready to lead the charge. Music teachers are incredi-
ble, conscientious and so dedicated. What a wonderful and important profession!
Act (ESSA) has not been approved by the United we have been disappointed in the plan due to the lack of inclusion of music education.
Once the plan is approved, the intent is for there to
We hope that all of the music teacher positions have
be more flexibility at the local level, so be cognizant of
we are aware, there has been a teacher shortage in
and at the school level. Once the plan is approved,
been filled with certified and qualified educators. As Florida for many years. We need to advocate for music
in our schools to prepare future music teachers and to encourage interested students to become music educa-
tors. We need to make a serious effort to motivate the field to encourage our profession for the sake of our
the implementation of the plan in your school district technical assistance documents will be released to the districts. Whenever possible, try to participate on any district-level and school-level committees. 2018 Elections
future music educators.
The primaries are over, and we will have the oppor-
school. You can get more information about this pro-
6. We will be able to vote for school superintendents,
Consider sponsoring a Tri-M chapter in your
gram on the NAfME website, or call the FMEA office and we will be happy to assist you.
tunity to vote in the General Election on November
school board members and local officials. In addition, I listed the constitutional amendments that are on the ballot in my August column. Please refer to that arti-
ARTISTRY: Teaching & Performing
cle for additional information on the elections.
Conference and All-State Concerts
Florida Legislature
al development time to attend the 2019 confer-
March 5 and will continue until May 3. Bills relating
2019 FMEA Professional Development Plan now to ask your administers for profession-
The 2019 Florida Legislative Session will begin on
ence, January 9-12. The preconference will begin
to education will soon begin to be filed for con-
on Wednesday with a culmination of concerts on Saturday. We will include significant information
in the Florida Music Director between now and the
conference. In addition, if you need talking points to assist you in developing your professional develop-
ment request, we will include them in a future edition of the FMD.
Remember that the window for booking your hotels
is September 22 through November 10. Information is in this issue of the FMD. Rooms tend to sell out early, but then there is a release of rooms that become avail-
able during the booking period, so check back weekly if you need rooms.
sideration. FMEA will monitor the education bills.
We will continue to work with other arts education associations to work toward increased recognition of the importance of music education and arts edu-
cation. We will provide periodic updates. This year the Government Relations/Advocacy Committee will
provide webinars for our members to keep them updated on the processes used. Keep an eye on the
FMEA website for the dates and times of the webinars.
Thank you for all of your dedicated work promot-
ing music education and a well-rounded education for Florida’s students. Sincerely,
40 F l o r i d a
Kathleen D. Sanz PhD Music Director
F L O R I D A M U S I C E D U C AT I O N A S S O C I AT I O N OFFICERS AND DIRECTORS EXECUTIVE BOARD President..............................Kenneth Williams, PhD 3610 Beauclerc Rd.; Jacksonville, FL 32257 (904) 521-7890; kenwms@fmea.org Past President........................John K. Southall, PhD Indian River State College 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810 johnsouthall@fmea.org President-Elect....................... Steven N. Kelly, PhD College of Music, FSU 128 Housewright Bldg.; Tallahassee, FL 32306-1180 (850) 644-4069; Fax: (850) 644-2033 skelly@admin.fsu.edu FBA President.................................. Cathi Leibinger Ransom Everglades School 2045 Bayshore Dr.; Miami, FL 33133 (305) 250-6868; president@fba.flmusiced.org FCMEA President..................... Stacie Rossow, DMA Florida Atlantic University 777 Glades Rd.; Boca Raton, FL 33431 (561) 297-4230; srossow@fau.edu Florida Collegiate NAfME President.......................Jennifer Luechauer Florida State University, 2220 Sandpiper Street Tallahassee, Florida 32303 (954) 643-1149; jll14e@my.fsu.edu Florida Collegiate NAfME Advisor................. Shelby R. Chipman, PhD FEMEA President.......................Rosemary Pilonero The Villages Elementary of Lady Lake 695 Rolling Acres Rd.; Lady Lake, FL 32159 (352) 751-0111; rosemary@femea.flmusiced.org FMSA President......................................Scott Evans Orange County Public Schools 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; scott.evans@ocps.net FOA President........................................Jason Jerald Blake High School 1701 North Blvd.; Tampa, FL 33607 (813) 272-3422; jason.jerald@sdhc.k12.fl.us FVA President.................................Thomas Jomisko Manatee High School 902 33rd Street Ct. W.; Bradenton, FL 34205 (941) 714-7300; jomiskot@manateeschools.net Member-at-Large....................................Ted Shistle Douglas Anderson School of the Arts 2445 San Diego Rd.; Jacksonville, FL 32207 (904) 346-5620; shistlet@duvalschools.org EX-OFFICIO MEMBERS Historian/Parliamentarian Kathleen D. Sanz, PhD Hinckley Center for Fine Arts Education 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 kdsanz@fmea.org Executive Director...............Kathleen D. Sanz, PhD Hinckley Center for Fine Arts Education 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 kdsanz@fmea.org
FMD Editor-in-Chief......... Mark A. Belfast, Jr., PhD Southeastern University 1000 Longfellow Blvd.; Lakeland, FL 33801 (863) 667-5104; mabelfast@seu.edu FSMA President...........................Craig Collins, EdD College of Arts & Media, Southeastern University 1000 Longfellow Blvd.; Lakeland, FL 33801 (863) 667-5657; cscollins@seu.edu FMEA COMMITTEE CHAIRPERSONS Awards............................................... Debbie Fahmie Fine and Performing Arts Resource Specialist Osceola District Schools (407) 870-4904; fahmied@yahoo.com Budget/Finance, Development........................Kenneth Williams, PhD 3610 Beauclerc Rd.; Jacksonville, FL 32257 (904) 521-7890; kenwms@fmea.org Committee Council.......................... Debbie Fahmie Fine and Performing Arts Resource Specialist Osceola District Schools (407) 870-4904; fahmied@yahoo.com Conference Chairman...........John K. Southall, PhD Indian River State College 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810; johnsouthall@fmea.org Contemporary Media...............David Williams, PhD University of South Florida 4202 E. Fowler Ave., MUS 101; Tampa, FL 33620 (813) 974-9166; davidw@usf.edu Diverse Learners.................Alice-Ann Darrow, PhD Florida State University Music Education and Music Therapy 123 N. Copeland; Tallahassee, FL 32306 (850) 645-1438; aadarrow@fsu.edu Emerging Leaders....................... Mary Palmer, EdD 11410 Swift Water Cir.; Orlando, FL 32817 (407) 382-1661; mpalmerassoc@aol.com FMEA Corporate & Academic Partners...Fred Schiff All County Music 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fredallcounty@aol.com Government Relations.............Jeanne W. Reynolds Pinellas County Schools, Administration Bldg. 301 4th St., SW, P.O. Box 2942; Largo, FL 33779-2942 (727) 588-6055; reynoldsj@pcsb.org Multicultural Network..............Bernard Hendricks Ocoee High School 1925 Ocoee Crown Point Pkwy.; Orlando, FL 34761 (407) 905-3009; bernard.hendricks@ocps.net Professional Development............. Carolyn Minear carolynminear@fmea.org Research.................................Don D. Coffman, PhD University of Miami d.coffman1@miami.edu Retired Members................................Cynthia Berry 1341 Dunhill Dr.; Longwood, FL 32750 (407) 310-1254; cberry1314@gmail.com Secondary General Music........................Ed Prasse Leon High School 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net
Student Leadership............................. Ian Schwindt Titusville High School 150 Terrier Trail S.; Titusville, FL 32780-4735 (321) 264-3108; schwindt.ian@brevardschools.org
Executive Director........................ Jennifer Sullivan 1750 Common Way Rd., Orlando, FL 32814 (321) 624-5433; slljenn@aol.com
PROFESSIONAL DEVELOPMENT CONFERENCE
President.................................................Scott Evans Orange County Public Schools 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; scott.evans@ocps.net
Exhibits Managers........... Byron and Bobbie Smith 4110 Tralee Rd.; Tallahassee, FL 32309 (850) 893-3606 fmeaexhibits@fmea.org Local Co-Chairman.................................... Ted Hope Hillsborough County Public Schools School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4861; ted.hope@sdhc.k12.fl.us Local Co-Chairwoman.................Melanie Faulkner Hillsborough County Public Schools School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4461; melanie.faulkner@sdhc.k12.fl.us FLORIDA BANDMASTERS ASSOCIATION President.......................................... Cathi Leibinger Ransom Everglades School 2045 Bayshore Dr.; Miami, FL 33133 (305) 250-6868; president@fba.flmusiced.org Past-President...................................Jason Duckett Bartram Trail High School 7399 Longleaf Pine Pkwy.; St. Johns, FL 32259 (904) 343-1999; pastpresident@fba.flmusiced.org Executive Director................................ Neil Jenkins Florida Bandmasters Association P.O. Box 840135; Pembroke Pines, FL 33084 (954) 432-4111; Fax: (954) 432-4909 exec@fba.flmusiced.org FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION President.................................. Stacie Rossow, DMA Florida Atlantic University 777 Glades Rd.; Boca Raton, FL 33431 (561) 297-4230; srossow@fau.edu Past President........................Patricia Fleitas, PhD pfleitas@fau.edu President-Elect...........................................John Ash ashj@cf.edu FLORIDA COLLEGIATE NAfME President................................... Jennifer Luechauer Florida State University, 2220 Sandpiper Street Tallahassee, Florida 32303 (954) 643-1149; jll14e@my.fsu.edu Past-President............................Michael A. Gabriel Florida State University (561) 762-0016 mgmagabriel@gmail.com FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION President....................................Rosemary Pilonero The Villages Elementary of Lady Lake 695 Rolling Acres Rd.; Lady Lake, FL 32159 (352) 751-0111; rosemary@femea.flmusiced.org Past President.................................... Marie Radloff marie.radloff@ocps.net
FLORIDA MUSIC SUPERVISION ASSOCIATION
Past President............................Angela Hartvigsen ja.hartvig@comcast.net Treasurer.................................................... Ted Hope Hillsborough County Public Schools School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4861; ted.hope@sdhc.k12.fl.us FLORIDA ORCHESTRA ASSOCIATION President................................................Jason Jerald Blake High School 1701 North Blvd.; Tampa, FL 33607 (813) 272-3422; jason.jerald@sdhc.k12.fl.us Past President......................................Valerie Terry vterrymusic@gmail.com Executive Director........................Donald Langland 220 Parsons Woods Dr.; Seffner, FL 33594 (813) 502-5233; Fax: (813) 502-6832 exdirfoa@yahoo.com FLORIDA VOCAL ASSOCIATION President.........................................Thomas Jomisko Manatee High School 902 33rd Street Ct. W.; Bradenton, FL 34205 (941) 714-7300; jomiskot@manateeschools.net Past President.............................Carlton Kilpatrick ckilpat444@gmail.com Executive Director.............................. J. Mark Scott 7122 Tarpon Ct.; Fleming Island, FL 32003 (904) 284-1551; fva.scott@gmail.com Financial Officer..........................................Jo Hagan 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260 business@fva.net CENTER FOR FINE ARTS EDUCATION STAFF 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 Executive Director...............Kathleen D. Sanz, PhD kdsanz@fmea.org Director of Operations............................Valeria Anderson, IOM val@fmea.org Business Manager & Special Projects...................... Richard Brown, CAE richard@fmea.org Technology Director.........................Josh Bula, PhD josh@fmea.org Public Affairs & Communications Coordinator......Jenny Abdelnour jenny@fmea.org Marketing & Membership Coordinator.....Jasmine Van Weelden jasmine@fmea.org
September 2018
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2019 FMEA Professional Development Conference & All-State Concerts
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January 9-12, 2019 Tampa Convention Center The FMEA Professional Development Conference is one of the largest music education professional development events in the United States. In addition to approximately 250 sessions and concerts, it is host to 22 all-state ensembles featuring Florida’s top band, orchestra, chorus, guitar, and elementary students conducted by world-class conductors and teachers. It is attended by more than 10,000 people, including secondary music directors, elementary music teachers, music supervisors, college students, college music teachers, school administrators, K-12 students performing in the all-state ensembles, students and professional musicians performing with invited performing ensembles, exhibitors and parents of performing students.