Florida Music Director - September 2018

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.

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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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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

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Music Director

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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

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September 2018

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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)

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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

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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

ADVERTISERS

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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.

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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).

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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.