Our Best Rehearsals Have Lots of Questions
Teacher Partnering Can Help All Teachers Survive … and Thrive
Bossa Nova:
Brazilian Rhythms for Class Piano
PLUS: De-Stress for Success! 2020 Conference Preview FOA & Florida ASTA Fall Conference 2019 September 2019
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UNIVERSITY OF FLORIDA APPLICATION
INCOMING FRESHMEN AUDITION DAYS
DEADLINE: Friday, November 1, 2019 admissions.ufl.edu
Saturday, January 18, 2020 Saturday, January 25, 2020 Sunday, January 26, 2020
SCHOOL OF MUSIC APPLICATION arts.ufl.edu/music
TRANSFER AUDITION DAY Saturday, March 14, 2020
MORE INFO: music@arts.ufl.edu or 352.392.0224
2 F l o r i d a
Music Director
ARTS.UFL.EDU/MUSIC
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)
Contents September 2019 Volume 73 • Number 2
Editor-in-Chief
D. Gregory Springer, PhD Florida State University College of Music 122 N. Copeland Street Tallahassee, FL 32306 (850) 644-2925 (office) (dgspringer@fsu.edu)
Editorial Committee Terice Allen (850) 245-8700, Tallahassee (tallen1962@hotmail.com) Judy Arthur, PhD Florida State University, KMU 222 (850) 644-3005 (jrarthur@fsu.edu) 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)
Director of Finance and Client Relations
Richard Brown (richard@fmea.org) 402 Office Plaza, Tallahassee, FL 32301 (850) 878-6844
Official FMEA and FMD Photographers
Bob O’Lary
Debby Stubing
Art Director & Production Manager
Lori Danello Roberts, LDR Design Inc. (lori@flmusiced.org)
Circulation & Copy Manager
Valeria Anderson, (800) 301-3632
Copy Editor
Susan Trainor
2020 Florida DOE Teacher of the Year. . . . . . .
7
De-Stress for Success! Eight Tips for Feeling Better . . . . . . . . . . . . .
9
Teacher Partnering Can Help All Teachers Survive … and Thrive. . . . . . . . . . . . . . . . . . 10 Our Best Rehearsals Have Lots of Questions.. 14 FOA & Florida ASTA 2019 Fall Conference Schedule. . . . . . . . . . . . 17 Bossa Nova: Brazilian Rhythms for Class Piano. . . . . . . . . 18 Prelude to the 2020 Professional Development Conference. . . . . . . . . . . . . . . 26 Registration Information and Fees, FAQs, Policies, Contracted Hotels D E PA R T M E N T S Corporate Partners. . . . . . . . . . 4
Component News.. . . . . . . . . 31
Share Your Success. . . . . . . . . 8 Academic Partners. . . . . . . . . . 8 2018-19 FMEA Donors. . . . 24-25
Committee Reports. . . . . . . . 38
President’s Message. . . . . . . . . 5
Research Puzzles. . . . . . . . . . 37
Advocacy. . . . . . . . . . . . . . 6
Advertiser Index. . . . . . . . . . 43 Officers and Directors.. . . . . . 44 Executive Director’s Notes. . . . 45
September 2019
3
Please take time to thank and support our 2019-2020 Corporate Partners.
GOLD PARTNERS
SILVER PARTNERS The Horn Section, Inc. BRONZE PARTNERS Eastman Music Co. Excelcia Music Publishing Music & Arts Noteflight Romeo Music Tampa Bay Institute for Music Therapy Partners as of August 7, 2019.
*Please visit FMEA.org/partners for partnership details or call 850-878-6844.
4 F l o r i d a
Music Director
President’sMessage
Celebrating Opportunities and Success
Steven N. Kelly, PhD
I
hope your new school year is off to a good start. I frequently travel across our state and have had many opportunities to observe the tremendous teaching our FMEA members are doing. I see so
many challenges, and I see so many successes. The very best teachers place students at the center of
President Florida Music Education Association
their efforts. This is a characteristic of a true professional. I was recently in a principal’s office and saw a saying on his desk stating “They don’t care how much you know until they know how much you care.” Florida music teachers care, and it’s important that we demonstrate how much we care at every
opportunity. Never allow yourself to assume your students, administrators, and parents understand
the value of music education. Always place students at the core of your planning, performances, and
instruction. Teach students to care about quality in their performances, how they represent your pro-
gram and school, and how they present themselves. Every effort—big and small—makes a difference, and it begins with caring about your students first.
As we move forward in this school year, I want to focus on the general theme of FMEA this year,
Celebrating Musical Excellence: Past, Present, & Future. I realize it is often too easy to get isolated in our
classrooms, and this isolation can contribute to a lack of professional self-awareness and impact. There
is much to celebrate, however, such as Dr. Jeffery Redding being selected the 2019 GRAMMY Music Educator and Dr. Dakeyan Chá Dré Graham being named 2020 Teacher of the Year in Florida. Both of these individuals are evidence that non-music
teachers are recognizing that music makes an impact. Your work is more than an entertainment
or service component in your school. Your stu-
dents learn so much from you! Use Jeff and Dré as Photo: Ashlee Wilcox Photography
motivation to maintain your beginning-of-school enthusiasm.
Other reasons to celebrate include the Florida
Music Education Association being awarded the
2019 NAfME Excellence in Advocacy Award for promoting music education in our state. Furthermore,
the collegiate chapter at Florida State University was recognized with the NAfME Chapter of Excellence
Award for its advocacy efforts, and the Tri-M chapter at North Broward Preparatory School was named Tri-M Chapter of the Year. Florida music education is having success and makes an impact!
There are so many opportunities for music educators in our state. I hope you will enjoy reading this
issue of the Florida Music Director, I hope you will plan to attend the FMEA Professional Development
Conference (January 8-11, 2020), and I hope you will consider attending the national NAfME confer-
FMEA leadership and collegiate members accept the 2019 Excellence in Advocacy Award for promoting music education in Florida.
ence here in our home state in Orlando, November 6-10. We have so many opportunities to grow and so much to celebrate.
Thank you for all you do. Please know that if I can ever be of assistance, I hope you will contact
me.
Steven N. Kelly, PhD, President
Florida Music Education Association
September 2019
5
AdvocacyReport
Jeanne W. Reynolds
Chairwoman Government Relations Committee
20-Year March to Advocacy Award
I
n June, we were thrilled and humbled
ing the 20 miles. This will always be a
Music Education (NAfME) Excellency in
down and waiting out bad conditions and
more successful approach than hunkering
to accept the National Association for
Advocacy Award
then doubling mileage on a good weather
. In today’s 15-minute
day. The point is that consistency and
news cycle culture, news from June is
an unwavering commitment to the goal
downright ancient. The irony is not lost
are always winning strategies, even in
on me that the first thing that came to
a fast-paced, ever-changing world. For a
mind when we were notified of the award
summary of the Collin’s 20-mile march
was the more than 20 years of day-to-day
concept click HERE
hard work the award represents. There is nothing lightening quick or instant about
.
Consistency is also a winning strat-
successful advocacy.
egy for successful advocacy. Advocacy
tendent, Dr. Michael Grego (2019 FMEA
when programs are in danger of being
A couple of years ago, my superin-
efforts are often ramped up dramatically
Superintendent of the Year), inspired
cut. Groups are formed, and people are
school leaders by referencing the 20-mile
energized to make phone calls, visit leg-
march concept that author Jim Collins describes
in
islators, and commit to the cause. When
his
danger is no longer immi-
book Great by Choice.
nent, many of these efforts
Collins suggests suc-
fade away. It is much more
cessful organizations
effective to have a structure
that are consistent,
in place that makes advocacy
rigorous, disciplined, and committed to
uncertainty,
chaos,
tive approach is why Florida was
always outperform
r Har pe
Collin
s Pub
lisher
story he uses to illustrate the point is a
race to walk 3,000 miles across the United
States. One walker commits to 20 miles a day no matter what the conditions. If
it’s cold, rainy, or snowy, the compet-
itor keeps his commitment to walk 20 miles a day, regardless of the conditions. Conversely, if it is a beautiful day and
the competitor is well rested and feeling great, he doesn’t walk 40 miles that day
to get ahead; he commits to complet-
6 F l o r i d a
system. Advocacy is our way of work. We
I believe our consistent, proac-
der, and despair will
tions. The powerful
effective when it is proactive
rather than reactive.
disor-
all other organiza-
kept music programs strong in the state
stated, advocacy is always more
hard work despite challenges,
part of our daily work. Simply
Music Director
s
despite massive changes to the education
walk the advocacy walk every day—it’s our 20 miles.
As recipients of this prestigious award,
honored by NAfME this past June.
FMEA has been presented with two flags,
“wins” legislatively and have successfully
The American flag was flown over the
Certainly, we have had impressive
opposed harmful legislation. But I believe
this award honors the “how” we accomplished this as much as it honors the
“what” we have accomplished. In many
the American flag and the Florida flag.
United States Capitol on June 9, 2019. The Florida flag was flown over the Florida State Capitol on May 13, 2019.
Congratulations to each and every
ways this award honors at least 20 years of
FMEA member. We have all been a part of
commitment to advocacy goes back much
done!
hard work by all FMEA members. FMEA’s further than 20 years. It is simply that 20 years ago, we made infrastructure changes to take our advocacy work to a new, consistent level. As a result, we have
the 20-year march to this award. Well Reference Collins, J., & Hansen, J. C. (2011). Great by Choice: Uncertainty, Chaos, and Luck—Why Some Thrive Despite Them All. New York: Harper Collins.
Congratulations
Dr. Dakeyan Chá Dré Graham Named 2020 Florida DOE Teacher of the Year
G
overnor Ron DeSantis and Commissioner of Education Richard Corcoran have named Dr. Dakeyan Chá Dré
Graham the 2020 Florida Department of Education Teacher
of the Year. Dr. Graham is an instrumental music educator at
C. Leon King High School and Teacher of the Year in Hillsborough
County. The announcement was made July 18 at an awards gala held in Orlando attended by educators from throughout the state who gathered to celebrate excellence in education. Dr. Graham
was chosen from more than 176,900 Florida public school teachers.
Governor DeSantis said, “It is my privilege to recognize Dr.
Dakeyan Chá Dré Graham as Florida’s 2020 Teacher of the Year.
Florida is nationally recognized for its top-notch education system, and teachers the caliber of Dr. Graham have made that
possible. As he begins his tenure as Teacher of the Year, I offer my heartiest congratulations and know he will represent Florida and the education profession well.”
“Congratulations to Dr. Dakeyan Chá Dré Graham on being
selected as the 2020 Florida Department of Education Teacher of
the Year,” said Commissioner Corcoran. “Dr. Graham personifies the ideals of the education profession, and it is my honor to
name him as Florida’s top teacher. A world-class education led by a high-quality teacher is the catalyst for students realizing their full potential, and I commend Dr. Graham for his innate
ability to consistently inspire and motivate his students toward excellence. I look forward to working with him during the coming year.”
Dr. Graham holds the BME and MME (University of Florida),
the MEd in educational leadership (Concordia University), and
Dr. Dakeyan Chá Dré Graham, the 2020 Florida Department of Education Teacher of the Year, and Education Commissioner Richard Corcoran
As the 2020 Florida Teacher of the Year, Dr. Graham will serve
the PhD in music education (University of South Florida). He
for one year as the Christa McAuliffe Ambassador for Education,
C. Leon King High School, where he has been an educator for
tional teachers and the education profession. He will have
serves as the director of instrumental studies at his alma mater, 10 years. Throughout his time with Hillsborough County Public Schools, his students have demonstrated determination and focus, earning an opportunity to perform in the prestigious Carnegie Hall. Dr. Graham belongs to numerous professional
organizations and works in his community to promote and infuse music education into Title I schools. He is president of
the Hillsborough County Secondary Music Council, an FMEA Bronze Academic Partner.
working to create greater public awareness of Florida’s excepthe opportunity to promote and celebrate the countless con-
tributions of Florida’s teachers, provide professional learning
opportunities to educators, and recruit future teachers into the
education profession. Dr. Graham also receives from the Florida Prepaid College Board a two-year Florida college scholarship worth $8,000 to give to a student of his choice.
For more about the Florida Teacher of the Year program,
please visit Florida Teachers Lead
.
September 2019
7
ShareYourSuccess
Congratulations to Caroline Buechner, Santa Rosa County Teacher of the Year
C
aroline Buechner, choral music educator at Navarre High
School, was named Santa Rosa County Teacher of the
Year. Ms. Buechner is a former chairwoman for FVA District 1, and
recently
served
as
the
coordinator
All-State High School Concert Chorus.
for
the
Please take time to thank and support our 2019-2020 Academic Partners.
GOLD PARTNERS
BRONZE PARTNERS Florida Gulf Coast University Partners as of August 7, 2019.
*Please visit FMEA.org/partners for partnership details or call 850-878-6844.
8 F l o r i d a
Music Director
De-Stress for Success! Eight Tips for Feeling Better by Ella Wilcox, NAfME State Editors Meeting Washington, D.C., June 18, 2019
8. “Motion is lotion.” Physical therapists say that movement helps the joints
of the body function better.1 Couch potatoes may deny it, but exercise improves how we
feel and think. 2
7. Sleep is cheap. Those who insist that laughter is the best medicine need to crash
for a few hours and see what a long nap or good night’s sleep can do for mind and body. 3
6. Complaining
is draining. Telling others about how things “ought” to be
doesn’t get you nearer your goals. A positive outlook affects both you and those around you
for the better.4
5. Food sets the mood. A healthful diet can lift your spirits as well as lengthen your life.
Five fruits or veggies a day really does make a difference. 5
4. Drink
water? You oughta.
By the time you’re thirsty, you may already be
dehydrated. Keep your brain cells firing better by keeping your body hydrated and happy.6
3. Stretch, don’t kvetch! Getting up from your chair can help increase your alertness. 2. Focus is locus. The Star Wars character Qui-Gon Jinn insisted that what you focus on
determines your reality.7 Concentrate on things that uplift you, not the dark side!
1. Have an “attitude of gratitude.” You are everything your ancestors wished for. Count
your blessings, and realize that many of your problems are minor. Try life in a major key!
Information Sources 1. Rene Pelletier, https://www.renepelletierosteo.com/motion-is-lotion# 2. “Exercisers Achieve Greater Acute Exercise-Induced Mood Enhancement than Nonexercisers,” Science Direct, January 28, 2008, https://www.sciencedirect.com/science/article/pii/S0003999307016978 3. “Sleep cures 99 percent of humankind’s ills.”—Dr. Archer C. Wilcox, 1977 4. If you’re constantly fussing about your situation, you’re protected by the First Amendment, but you may find that changing your tone changes your perspective. 5. The “5 a Day” campaign is based on advice from the World Health Organization, which recommends eating a minimum of 400 grams of fruit and vegetables a day to lower the risk of health problems such as heart disease, stroke, and some types of cancer (https://www.nhs.uk/live-well/eat-well/why-5-a-day/) 6. Joe Leech, “7 Science-Based Health Benefits of Drinking Enough Water, Healthline, June 4, 2017, https://www.healthline.com/nutrition/7-health-benefits-of-water 7. “Always remember: Your focus determines your reality.”—Qui-Gon Jinn, The Phantom Menace [Film]. See a discussion of this perspective at https://www.youtube.com/watch?v=72w_fUJyVw4
September 2019
9
Teacher Partnering Can Help All Teachers Survive … and Thrive by Meghan Alfaro
10 F l o r i d a
Music Director
T
T
Steam) project is to provide innovative,
research projected that the United States
“Design Thinking played a role for the teaching partners as we designed strategies for each partnered teacher.”
teachers in the 2017-18 school year, with
who is now teaching a different popula-
Schools, 2019). Through the use of the
affected (Garcia & Weiss, 2019). What
she is accustomed. How can we provide
The teacher shortage crisis is one of the most important problems facing educa-
tion today. Wherever you look, you will find articles, blogs, and videos about
teacher shortages. Teacher resignation
letters posted online are going viral. The
National Education Association reports that 40% of teachers are leaving the
profession within five years (National
Education Association, 2008). Recent would have a teacher shortage of 110,000
high-poverty schools being the most can be done to give our colleagues in the
profession the support they need to stay the course?
New teachers are often provided with
Reynolds and Sue Castleman and coordinated by Lisa Lehmann. For those who
may be unfamiliar, “The purpose of the
Pinellas County Schools (PCS) Elevate A.R.T.S. (Arts Relationships Technology
collaborative and sustained profession-
al development for twenty-five music and art teachers in ten high poverty
schools, in order to reduce the high arts teacher turnover rate and to improve
student achievement” (Pinellas County Design Thinking Model©, teaching part-
tion of students than the one to which
ners worked in collaboration with grant school teachers to design solutions to the
new teachers with effective mentorship
unique challenges facing each teacher.
while also providing a network of sup-
The role of the teaching partner within
port systems to teachers throughout their careers?
the grant was one of support. The support
may or may not be someone who is in
solution. Teacher partnering differs from
ated over time as we learned which strat-
teachers are paired with a non-music
pairs an “experienced” teacher with an
a mentor in their first year. This mentor
the music education field. When music mentor, the support they are provided is
limited. Additionally, since many of us are silos within our schools, often work-
ing alone or with only one other teacher, it is easy to become isolated. It is possible
ing partners as we designed strategies
for each partnered teacher. Sometimes a
nering pairs teachers who may or may
teaching partner would go into the part-
not have similar experience levels and
nered teacher’s classroom to observe and
who can learn from one another.
give feedback. Other times this was not
I have been teaching in Title I elemen-
er the mid-career teacher who has made
the privilege of working as a teaching
education or perhaps the veteran teacher
Thinking played a role for the teach-
“inexperienced” teacher, whereas part-
tary schools in Pinellas County Schools
a job change to a different field of music
egies worked for which teachers. Design
teacher mentoring in that mentoring
that experienced teachers may also need
support throughout their careers; consid-
model of the Elevate A.R.T.S. grant fluctu-
Teacher partnering is one potential
something the partnered teacher wanted.
Determining which partnering strategies
for 18 years. During this time, I have had
are most effective has evolved over the last five years.
partner within the framework of the Elevate A.R.T.S. grant, written by Jeanne
Continued on page 12
September 2019
11
Teacher Partnering Continued from page 11
technology and wants to use more of it.
paramount. As a teaching partner, your
“Meaningful teacher partnering can provide teachers the support they need … building a teacher’s confidence.”
the challenges facing the teacher objec-
needs and wants of the partnered teacher,
begins to weigh him down.
the problem to the partnered teacher. This
educational career.
5. Lesson plan collaboratively.
saying. It will also make the person feel as
3. Always look for opportunities to
new things from a partnered teacher.
is perhaps the most powerful strategy one
Teachers in challenging situations often
I am excited to share some partnering
strategies that work and can be used to
support teachers not only in their beginning years, but throughout their careers,
which may lead to increased teacher longevity in the classroom. 1. Listen first.
Any teacher who has been in a challeng-
ing environment will tell you that trust is role is non-evaluative. You must listen to tively, without passing judgment. Restate
ensures that you understand what he is if his viewpoint has been validated. This can apply. Your partnered teacher may feel like what he is experiencing is unique
to him (it is not), and these feelings can
lead to a sense of isolation and frustration. It is of vital importance that teachers feel like they are not alone in their struggles. Listening first builds trust and ensures the teacher’s feelings are validated.
2. Accept them where they are.
Just as we would accept our students at whatever level they are, so should we accept our partnered teachers. Some may
be just beginning their career. Others
may be mid-career, and some may even
be seasoned veterans. The support needs for each teacher may share some commonalities, but they are also dependent
on personality and experience. Classroom visits are a useful tool; however, a sea-
soned veteran may not want the teaching
accepting the teacher where she is in her
embrace success.
feel like they just can’t get anything right.
As musicians, we tend to be our own worst critics! Always be on the lookout
for what is going well for your partnered teacher. Sometimes this can be a challenge to convey through conversation as
the teacher might not always be able to see his own successes. If you have the opportunity to visit your partnered teacher, be
on the lookout for the things at which
value of listening first. A good teaching partner will listen well and recognize the
12 F l o r i d a
need for more structured classroom man-
agement, or maybe a completely different classroom management model. Ask ques-
tions. When the partnered teacher has an exciting goal in mind, instead of the daily grind, it will motivate him to push
through and keep going when negativity
A teaching partner will always learn
Collaborative lesson planning is a fun way to work together and learn from one another. Discuss a common challenge you both face and come up with a lesson
together that addresses that standard. Implement the lesson and then share your
results. Tweak the lesson and try it out again with new students. It is always interesting to see that teachers in different situations still face similar curriculum challenges!
This can be in the form of classroom
astic? Each teacher has something he does
exceptionally well. A veteran teacher may have felt like he knew what he was doing
before but now feels as though that is no
longer true. Help your partnered teacher find or remember what it is he excels at and build upon it.
the teacher is really great at, now is the
model that fits all. This demonstrates the
challenge in the way? Perhaps there is a
especially compassionate? Is he enthusi-
for selecting engaging literature? Is he
or smothered. Meanwhile, a beginning the extra set of eyes! There is no one
trative support? Is there a scheduling
6. Be available.
4. Find the spark.
teacher right out of college may welcome
Does the teacher need more adminis-
he excels. Does the teacher have a knack
partner in the classroom, as this may
lead to the teacher feeling embarrassed
What are the roadblocks to this goal?
Once you have jointly established what time to ignite that spark. Brainstorm ideas
for how he can implement his strengths to a greater degree. The goal does not
have to be a lofty one. Little things
matter. Perhaps the teacher is skilled in
Music Director
Be available to your partnered teacher. visits, emails, calls, texts, or virtual visits with Skype or Facetime. Let your partnered teacher know when she can text
or call you freely without worry of dis-
turbing you. Set aside a time for this to happen. It will encourage communication
between you and your partnered teacher.
Send a weekly email or text to check in on how things are going. When important
deadlines are approaching, send a quick email or text to ask if she has any ques-
tions. Sometimes your partnered teacher may not feel inclined to call or text you, or
maybe she just forgets you are available
as a resource to her. Help your partnered teacher remember you are there.
7. Encourage the teacher to build a support network at school.
Suggest that the teacher find a trustworthy staff member in which to confide.
Since your role of mentor is typically not at the same work site as your partnered teacher, you may not always be immediately available. Another staff member at the school, maybe right down the hall,
might be just the listening ear the teacher
teacher to invite the administrator into the
Meghan
going super well! Remind the teacher to
years of experience
administrators.
Principals are busy people. They are bom-
barded by problems on all sides. Teachers in challenging situations may also face administration challenges. Encourage your partnered teacher to stop by the
principal’s office and share a positive story of the day, or bring some students
into the principal’s office to perform a quick song. Encourage your partnered
serves as a district
that when things don’t go as planned, the
and site-based men-
balance doesn’t tip the scales too far in the
tor, and previously as a teaching partner in
wrong direction!
the Elevate A.R.T.S. grant. Mrs. Alfaro has
Teaching can be an extremely reward-
have passed. Teaching longevity can lead
8. Share tips for building allies in
County Schools. She
can make with their administrators so
our students, it is important for us to do for ourselves.
ry music in Pinellas
ty arises. These are all deposits teachers
ing career. Often, the fruits of our labor
ing is not only important for us to do with
teaching elementa-
thank the administrator if the opportuni-
needs to keep going. Relationship build-
Alfaro
(FSU ’01) has 18
classroom in the middle of a lesson that is
presented her work at both state and national
conferences. Contact her at alfarome@pcsb.
are not evident until after many years
org.
teachers to find joy and fulfillment from their chosen career path. At the beginning
References
students’ successes not only in school, but
Design Thinking for Educators. (2013, April). Retrieved from http://designthinkingforeducators.com/
of my 19th year, I am able to see my former
in life. This is something I wish for every
Garcia, E. & Weiss, E., 2019. The teacher shortage is real, large and growing, and worse than we thought. Economic Policy Institute, March 26, 2019.
teacher! Meaningful teacher partnering can provide teachers the support they
need to stay the course. Most important,
National Education Association, 2008. Research Spotlight on Recruiting & Retaining Highly Qualified Teachers, accessed June 2019, http://www.nea.org/tools/17054.htm
building a teacher’s confidence through partnering can increase the teacher’s efficacy, which provides students the oppor-
Pinellas County Schools, 2019. Performing Arts, Elevate ARTS, accessed June 2019, https://www.pcsb.org/domain/5910
tunity to grow, learn, and achieve their potential.
2020 F M E A P rofess i o na l Deve l o p me nt Co nfe re nce
! r o t i b i h x E Be An DEADLINE
November 15, 2019
R E S E RSVPEO T Y O U RD AY ! TO
LEA R N MOR E AT:
FMEA.org/Exhibits
For information specific to the Trade Show Exhibition, please email Exhibit Managers Byron and Bobbie Smith at exhibits@fmeaexhibits.com.
September 2019
13
Our Best Rehearsals of Questions
N
14 F l o r i d a
Music Director
Have Lots
N
by Jim Colonna and Travis Weller
No matter the experience level of the
conducting gestures the director chooses
of questions, some of which could be
rehearsal management continues to be
a wonderful opportunity for a director
rehearsal resumes. For example, if the
director or the size of the ensemble, an important skill that directors need to cultivate and develop. Often, directors see a large number of students in their rehearsals. Maintaining the engagement
and interest of many different students of varied skill levels is of paramount
importance for the ensemble to make progress on the repertoire being studied. The answer of how to create and maintain
however, the pressure of the next per-
ensembles. Part of that culture involves seeking to establish a shared responsibil-
ity for making musical decisions in every rehearsal and performance. If it is truly a
shared responsibility for the program, then
students need to be given opportunities
to make musical decisions and to analyze the artistic results of those choices. With
this in mind, directors need to make sure
they provide opportunities for students to
express their ideas for interpretation in a constructive and supportive fashion.
The director is, first and foremost,
Director: Is it the whole band, or just a section of the band?
Directors may be apprehensive about cre-
Low brass student: It sounds like the woodwinds are getting behind.
musicians, as it could disrupt the overall
Director: Woodwinds, do you agree
structure of rehearsal. It is possible for an
with that assessment?
ensemble to behave in a well-mannered
fashion and to observe the expectations
Flute student: I think the low brass are
conceivable that students in the same
posed to be playing lightly because of
playing too heavy, and we are sup-
for etiquette in a rehearsal. It is also
the articulation markings.
ensemble could be completely inattentive or disinterested in contributing positively
Director: Full band, measure 43 again.
to the musical success of the ensemble. If
Let’s listen and focus on maintaining
a director can find the right questions to
tempo in this section and then let’s
pose to the ensemble within the rehearsal,
discuss what happened if we get to
the musical minds of these students can
measure 59.
be guided toward a deeper understand-
(Full group resumes playing)
ing and appreciation for the repertoire being studied, as well as the musical con-
It’s Not You, But It Might Be Me
cepts and skills being discovered.
The above scenario can certainly bring
As directors draw upon their own
would best serve the perspective of the
pedagogy within the rehearsal, and the
tempo.
between musicians and their teacher.
college degree and the teaching creden-
has informed the repertoire selection, the
Clarinet student: We are dragging the
sometimes replace meaningful dialogue
skills and experience, they can begin to
tial. The vast and varied experience that
tempo that is forcing us to stop?
detection mode,” and one-way directions
the most accomplished musician in the
room and is the person who has the
Director: What is happening with
formance can force a director into “error
ating space for conversations with the
a culture of accountability within their
discussion:
ing about the music they are rehearsing;
ensembles during the flow of rehearsal.
Many directors aspire to create and instill
a piece, consider the following rehearsal
stimulate deep and purposeful think-
Choosing Our Conversations
Musical Decision Making
ensemble is struggling with tempo within
to ask questions of the musicians that
that engagement might be found in the kinds of questions directors pose to their
answered in just a few words before
to utilize should not be ignored. There is
about peer assessments that might put
certain sections at odds over responsi-
make choices about the conversations that
bility. The best ensembles acknowledge
that individual members depend on
students. Rather than a one-direction-
each other in turn as other members are
al diagnosis from director to student, students can respond to the most basic
Continued on page 16
September 2019
15
Lots of Questions Continued from page 15
depending on them. If the concepts of
product is a natural outgrowth. Directors
should be aware that the ensemble could
been established, a conversation like the
they should listen to every passage and
pretation of the work. They can then iden-
trust and collective responsibility have
example above could provide an opportunity for honest self-assessment. These
conversations also heighten the level of respect that students hold for each other and the work that each section must do to master its individual part.
Peer assessments can provide an effec-
tive way of maintaining student engagement while rehearsing a small section
of the ensemble. A simple question to
can give their ensembles a reason why how to respectfully suggest ways to
improve that sound. Whether it is making a comparison of articulations in unison
rhythm passages between the brass and
woodwinds or where the breath should take place in a melodic passage, there
are plenty of opportunities to guide their ensembles to make positive decisions as a group.
This rehearsal suggestion is not about
another group within the band can serve
the debasement of the director as author-
where you will resume rehearsing, and 2)
in which the director can cultivate the
the purposes of 1) letting students know
ity in the rehearsal hall, but rather a way
express a different yet acceptable inter-
tify sections of the ensemble that align with that vision, and use those students to model the sound for the group. This process allows the students to share their musical thoughts openly and encourages
others to come to the same understanding in their own music making. Engaging
students in listening and modeling can result in students’ enhanced understand-
ing of the music they are rehearsing and
knowledge of how to create art beyond the written page.
Calling on students to answer or play
right attitudes toward and concepts of
by name is a powerful reward and an
Director: Brass, I am going to start
ate that their ideas and perspectives may
inviting them by name strengthens the
at measure 43. Looking at your part
musical result. This provides them with
which measures do not sound “clean”
and the music-making process. The idea
attention. Upper woodwinds that I
evaluate their own ensemble, to give them
identifying what you are trying to accomplish. Consider the following example:
ensemble playing. Students will appreci-
with the flutes, oboe, and clarinets
be voiced and can be utilized to hear the
for measure numbers, keep track of
a sense of ownership in the ensemble
or where the rhythmic precision needs
is to give students reasons to listen and
called, let’s begin at measure 43.
an opportunity to assist in the interpre-
(Woodwinds perform the section) Director: Those of you who just played, as the brass call out measure numbers
they think need attention, raise your hand if you agree with them.
tation process, and to understand how subtle changes in the attention to details
of a group of people can make a large difference in terms of the musicality of an ensemble.
Directors should allow students to col-
When students know their peers are
laborate in a musical manner as well. It is
may motivate them to perform better. As
all ages have something to offer musically.
evaluating them, their pride as a musician
it happens collaboratively and with guidance from their director, these kinds of
constructive critiques are nonthreatening and have the best interest of the ensemble in mind.
Directors Can’t Go It Alone
Ensembles deserve to be engaged and invested in the process of the music
important to remember that students of Directors must remember that students are thinking and feeling people and that they attend rehearsal to show what they
cator, and musician. It is also paramount
that directors equip their students with
the necessary conceptual tools and skills to analyze and evaluate the music they hear being performed. Directors who seek
to create more engaged rehearsals might just find the solution in the questions they ask.
Jim Colonna, DMA, is director of bands at
Messiah
College
(Mechanicsburg, Penn.), where he teaches graduate and undergraduate
instrumental conducting and conducts the Messiah College Wind Ensemble. Travis Weller, PhD, is
for students to perform the repertoire that
tion at Messiah College,
Directors need to create an atmosphere is the most appropriate for their musical maturity.
During the rehearsal, directors should
listen to the ensemble and seek the aural
and evaluating to improve the musical
consistent with their vision. Directors
16 F l o r i d a
reputation of the director as a leader, edu-
do know instead of what they do not know.
selected for study, so finding ways to involve students in listening, describing,
indication of their worth to the group;
representation of the music that is most
Music Director
director of music educawhere he teaches meth-
ods courses, oversees student teachers, teaches in the graduate program
in conducting, and conducts the Symphonic Winds.
Florida Orchestra Association/FLASTA 2019 Fall Conference Schedule THURSDAY, SEPTEMBER 26 12:00n
Registration Opens/Vendors Open
1:00–1:30pm
Keynote Speaker: Deborah Baker Monday How Did We Get Here? Where Are We Headed?
1:40–2:30pm
FOA & FLASTA General Business Meetings
2:40–3:30pm
3:35–3:55pm 4:00–5:00pm 4:15pm
Adding a Fiddling Component to Your Curriculum: Why, When, How, and What Erik Bryan
Bass Pedagogy in the String Ensemble Brian Powell
Coffee and Cookies in the Exhibit Room Fiddle Jam Session featuring B-Dog and the Fun-Town Fiddlers Bring your instrument and play along! EXHIBITS CLOSE
FRIDAY, SEPTEMBER 27 8:30am 9:00–9:50am
Registration Opens/Vendors Open Trade Secrets – to Share Deborah Baker Monday
10:00–10:50am
The Habit Loop and Applications to Rehearsal Strategy Scott Laird, ASTA Board Member, NCSSM
Ask the Composer Deborah Baker Monday
11:00–11:50am
Conducting: Precision or Approximation Anthony Hose
Through the Ear and Not the Eye: The Fundamental Role of Ear Training in String Playing and Teaching Victor Fernandez
12:00n–1:30pm 1:40–2:30pm
2:40–5:00pm 4:30pm
LUNCH BREAK/FLASTA LUNCHEON Instrument Repairs on the Fly Al Hudson
Orchestra Outreach: Building Your Elementary Feeder Pattern Vivian Gonzalez
New Reading Session – Deborah Baker Monday conducting Bring your instrument EXHIBITS CLOSE
September 2019
17
Bossa Nova:
Brazilian Rhythms for Class Piano
A
by Ricardo Pozenatto
As educators, we are always encour-
Brazilian people and captured their imag-
instance, students can understand the
and cultural exchange through our sub-
was an artistic and cultural movement
the bossa nova, as well as the complex har-
aged to bring diversity, social inclusion, ject matter and through our own teaching
style. Many consider exposing students to music from foreign countries to be an effective way to cultivate an appreciation
for other cultures. Brazilian musical cul-
ture has gained a wide appeal in many parts of the world. Consider how the samba has become a popular dance and the basis for some pop music. Another Brazilian musical style that has become
inations. More than that, the bossa nova that gained popularity as the country
monic musical language underpinning
ization and industrialization (Napolitano,
can greatly benefit from the development
went through a period of intense modern2010). For that reason, the birth of the bossa
nova represented not only a milestone in the history of Brazilian popular music,
it also reflected a phase of progress and
18 F l o r i d a
tiful melodies of bossa nova songs.
In this article, I briefly summarize the
istics of this style that made it popular
by students of different ages and ability
were immediately attractive to the
syncopated rhythms present in the beau-
The group piano class is a perfect set-
try.
The bossa nova music style was born in
2001). The syncopated musical sounds
of body coordination while learning the
history of the bossa nova, describing some
ting where the Brazilian rhythm of the
Brazil during the late 1950s (Napolitano,
this attractive style. In addition, students
technological advancements in the coun-
famous, and is a top American favorite, is the bossa nova style.
complexity of rhythmic structures behind
bossa nova can be discovered and explored levels. There are many benefits associated with incorporating this musical lan-
guage in the class piano curriculum. For
Music Director
of the events that defined the characterin America during the late 1950s and
the early 1960s. Furthermore, I provide suggestions regarding how to utilize and
incorporate this language in the group piano setting—through the famous song Garota de Ipanema (Girl From Ipanema)—
which will not only enhance one’s teach-
parrot that showcased the Brazilian
mations the country was undergoing. The
exchange to the music class. Although my
Portuguese-born Brazilian dancer, singer,
bossa.”
ing but will also help to bring cultural focus will be on group piano instruction,
the suggestions presented here could be easily adapted to any group teaching scenario that utilizes other instruments. From Samba to Bossa Nova: An American Influence
Although this musical style was born in Brazil during the late 1950s, the historical
look was a fruit hat—shined on American
intense growth, the city of Rio de Janeiro,
energy and happiness of the Brazilian
developed. Social discrepancies were evi-
carnival and samba. On the other hand,
José Carioca brought to life a Brazilian
of the city received a greater number of
American tourists compared to its north
music while their movie theaters featured
side. Although the south was influenced
American movies more than ever before.
The expression bossa became stronger
directions. During the 1950s, the expres-
countries grew. Walt Disney’s character
dent in cultural aspects, as the south side
Brazilian radios were playing American
ic aspects, the United States expanded al exchange, as tourism between both
in particular, was not being entirely
stages, television, and radios, sharing the
and more realistic to Brazilian people
its relations with Brazil through cultur-
Despite Brazil facing a period of
and Broadway actress—whose signature
roots of the bossa nova are closely linked
to external factors. In addition to econom-
literal translation of bossa nova is “new
samba to America. Carmen Miranda, the
by the American culture of jazz, the
north side of Rio kept its Brazilian musi-
cal roots in the samba. The impact of the
as the country developed in different
social and economic contrasts in Rio’s
sion bossa nova became synonymous with
society would result in an artistic mani-
festation where the blending of Brazilian
versatility and everything that was the
and American musical styles based on
current trend (in both economic and artistic ways), reflecting all the deep transfor-
Continued on page 20
September 2019
19
Bossa Nova: Brazilian Rhythms for Class Piano continued from page 19
the rhythm of samba would later be called
On July 6, 2019, at the age of 88, João
difficult for one student to execute simul-
“Maybe I would like to go back when I
melody styles of the bossa nova. Therefore,
taneously both the accompaniment and
the bossa nova.
Gilberto passed away. He once said,
do Amor Demais (Too Much Love Song),
was a boy. After that I learned too many
the activities proposed here are based on
now I refine and refine until I can get back
rhythmic independence. There are many
The well-known musical album Canção
from 1958, featured the song title that would represent the birth of the bossa nova,
Chega de saudade (Enough of Nostalgia). Garota de Ipanema (Girl From Ipanema)
would become another milestone within the bossa nova style “characterized by
the intermingling of the polyrhythmic
voice and guitar of João Gilberto with the
things, and they came out in my music. So to the simple truth” (Ratliff, 2019, final
paragraph). More about João Gilberto’s
life story and accomplishments can be
read in a tribute article by Ben Ratliff (2019) in The New York Times.
subtle piano of Antônio Carlos Jobim”
Teaching the Bossa Nova
1964, this song reached the whole world
plex musical style, it is appropriate to
(Araújo, 2000, p. 122). A few years later, in through necessary rhythmic accommo-
dations demanded by the English version
in the voice of Astrud Gilberto and the saxophone improvisations of Stan Getz.
20 F l o r i d a
Because the bossa nova rhythm is a combreak it down into parts for students as
they share the learning process through
ensemble playing. Due to frequent syn-
copations, it is possible that it may be too
Music Director
group playing with the focus on students’
benefits related to ensemble playing in group piano settings, such as a greater
understanding of musical concepts like steady pulse, rhythm, continuity, musical
flow, and proper balance related to the execution of correct dynamic markings. Above all, any type of ensemble playing will certainly bring essential elements of
cooperative learning to the class piano setting, which include positive interdependence, face-to-face interactions, individual accountability, social skills, and group processing (Fisher, 2010).
Figure 1.
Basic bossa nova rhythmic patterns.
Bossa Nova Style in Three
Musical Layers
The Brazilian samba is made of fast, ener-
getic, and syncopated rhythms. Bossa nova, on the other hand, utilizes some of
the syncopated rhythms present in the samba but in a slower and gentler manner. The basic bossa nova rhythms can be seen in Figure 1. Notice that this musical style
should be played with straight eighth notes that are highly syncopated. (There is no “swing” in bossa nova.) In many instances, it will be easier for a student
to understand the same rhythmic pattern
Figure 2.
Hand coordination rhythmic exercise.
within the “bigger beats” of a cut time
(2/2) signature instead of a common time (4/4) signature.
The bossa nova style is composed of
three layers: melodic line, harmonic struc-
ture, and bass line. Since all elements are formed by syncopated rhythms, it is strongly advised that students become familiar with the complexity of the rhythms before attempting to play at the
piano. To achieve efficient coordination on the instrument, clapping and tapping
exercises are useful tools that can be practiced away from the piano. To develop strong coordination between hands,
students can tap different rhythms at the same time using both hands, as seen in Figure 2. The left hand half notes could
possibly reinforce a steady pulse if the rhythmic structure is thought of in a
Figure 3.
Rhythmic variations on the bossa nova style.
2/2 time signature, as previously men-
tioned. Naturally, variations of the bossa nova rhythm can be found as syncopation
becomes more frequent and more evident. There are no rules concerning the rhythmic structure of this musical style; the
style is preserved if rhythmic variations are syncopated. Figure 3 shows rhythmic variations commonly found when executing harmonies and chords in the bossa Continued on page 22
September 2019
21
Bossa Nova: Brazilian Rhythms for Class Piano continued from page 21
nova style. The two-measure patterns can
be both hands playing the same chord
ing when playing chords, resulting in
octave below, for instance). The teacher
one octave apart (left hand playing one
be repeated with appropriate voice lead-
should evaluate what is more appropriate
the characteristic style of the bossa nova.
according to each student’s capabilities
Students may also clap and tap utiliz-
and level. Since there are so many possi-
ing these rhythmic variations, as their
bilities for adaptation, even a piano class
coordination and independence begin to develop. The
variations
demonstrated
containing students of different playing levels can benefit by performing this piece
in
Figure 3 can be used in several different
bossa nova songs. I find rhythmic variation
or they can all practice the same layer as
song The Girl From Ipanema. In order to
learning). If there is an advanced student
A to be effective when working with the
prepare students for the necessary coor-
dination to play this song, the physical coordination exercises mentioned can be
taught a couple of weeks prior to the introduction of the melodic and harmon-
ic contents of the piece. While teaching these rhythms and their variations, one
bass line layer—should be played by the
in the class, one could attempt to play the
Notice that the notes that form the bass
harmonic and bass line layers simulta-
neously (see Figure 5). Even though the rhythmic coordination may be a chal-
lenge, the benefits of this practice would be tremendous.
The melodic line should be played by
the right hand as it contains the high notes
ers, triangle, and tambourine could be
play it one octave higher than written
brought into the class, and while a set of
instruments plays one rhythm, another set could play a different rhythm while the third set could maintain a steady beat. The Girl From Ipanema in Piano Ensemble Playing
As mentioned previously, the three layers of the bossa nova style are melodic
line, harmonic structure, and bass line. Figure 4 brings together each element for
the first eight measures of The Girl From Ipanema. It is advisable that all elements
be taught to all students first, and then
assign parts to individual students or groups. That way, students will be able to
recognize and listen to parts other than
the ones they play. After all students have
learned all parts, the class can be divided
into smaller groups (possibly three to five students per group). Each student
in the group can play a different layer,
22 F l o r i d a
The final but very important layer—the
one student helps the other (cooperative
could enhance the activities through the use of percussion instruments. Egg shak-
as an ensemble.
located in the treble clef. Students can also while using different timbres offered by the digital piano (clarinet, flute, or piccolo,
left hand, as it is fitted for lower notes. line are roots and fifths of chords. That is the reason why each chord presented in
the harmonic layer does not contain the
root of the chord. This enables the use of extended harmonies (chords with seventh
and ninth). Rhythms of the bass line could vary and be alternated between the root
and fifth notes of the chord; however, one should always keep in mind the syncopation aspect of the style.
The teacher could enhance the ensem-
for instance). The middle layer—the har-
ble’s performance by bringing back the
hand or both hands together (doubling
triangle, and tambourine) to the class-
monic layer—could be played by either the harmonic layer). Because the bossa
nova style is made of extended harmonies through seventh chords, ninth chords,
and certain dissonant sonorities (diminished intervals), some students may find
difficulty in playing the blocked chords
percussion instruments (e.g., egg shakers,
room. The guitar is also an important
instrument in the bossa nova musical style, and it could be added to the ensemble if the teacher or one of the students
knows how to play it. Finally, because
The Girl From Ipanema is such a popular
that contain four or more notes. Students
song, students should be encouraged to
two hands in order to facilitate the per-
accompanied by other students or while
can divide the chord structure between
formance of the harmonic layer. Other students may find excitement in playing
those challenging chords using one hand only. This should definitely be encouraged by the teacher if the student’s hand is large enough and if the large chord
does not cause unnecessary strain for
the student. Another possibility would
Music Director
learn its lyrics and sing along while being accompanying themselves. All these extra
activities will enhance students’ aware-
ness of pulse, syncopation, and musical flow, as they become part of the ensemble in different ways.
The process of breaking apart the
musical layers of the bossa nova style is very useful and is recommended when
teaching the style in class piano settings.
Figure 4.
nova songs, either in two or three layers, at
(Myette, n.d.).
One can always break apart other bossa
the teacher’s discretion depending on the
Elements of bossa nova on piano playing in opening measures of The Girl From Ipanema
goals for the class and the students. In
additional to all the music-learning bene-
fits that the bossa nova brings, cultural inclusion and cultural exchange are also introduced in an appealing way to students. Above all, music educators should
keep in mind that any ensemble playing in group instruction must evoke positive interaction among the students. All these advantages can certainly be offered in
class piano settings through the teaching of the bossa nova music style.
Brazilian pianist Ricardo Pozenatto is a
PhD student at Florida State University in the piano pedagogy program. He also serves as
vice president of programs
of the MTNA@FSU, the collegiate chapter of the
Music Teachers National Association at Florida State University. References Araújo, S. (2000). Brazilian identities and musical performances. Diogenes, 48(191). doi:10.1177/039219210004819110
Figure 5.
Fisher, C. C. (2010). Teaching piano in groups. New York, NY: Oxford University Press.
opening measures of The Girl From Ipanema (Myette, n.d.).
Harmonic and bass line elements of bossa nova put together for the advanced piano student in
Myette, W. (n.d). Bossa nova piano - Girl from Ipanema. Retrieved from https://pianowithwillie.com/bossa-nova-piano-girl-ipanema/ Napolitano, M. (2001). A arte engajada e seus públicos (1955/1968). Estudos Históricos, 2(28). Retrieved from http://bibliotecadigital.fgv. br/ojs/index.php/reh/article/view/2141/1280 Napolitano, M. (2010). Seguindo a canção: Engajamento político e indústria cultural na MPB (1959-1969). Retrieved from https://www. academ ia.edu/3821530/SEGUINDO_A_ CANCAO_digital Ratliff, B. (2019, July 6). João Gilberto, an architect of bossa nova, is dead at 88. The New York Times. Retrieved from https://www.nytimes. com/2019/07/06/arts/music/joao-gilberto-dead-bossa-nova.html
September 2019
23
FLORIDA MUSIC EDUCATION ASSOCIATION 2019-2020 DONORS
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Our donors support specific causes by donating to the FMEA funds of their choice: FMEA Scholarship Fund Music Education Advocacy General Fund
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24 F l o r i d a
Music Director
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September 2019
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2020 FM E A Professi ona l Development Conference E CEL
B
IN R AT
G
J a n u a r y 8 -1 1 , 2 0 2 0 Ta m p a C o n v e n t i o n C e n t e r 3 3 3 S o u t h F r a n k l i n , S t r e e t , Ta m p a , F l o r i d a All registration information must be entered online, beginning September 21 (click HERE ).
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26 F l o r i d a
Music Director
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conference, but there are no free tickets. 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.
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Extra tickets may be purchased when general ticket sales open. Tickets will be sold at the main registration area and cost $15 each.
Does my 2-year-old or 3-year-old need to buy a ticket?
Everyone who will be taking up a seat will need a ticket. Babies who are being held by a parent or sitting on a parent’s lap for the duration of the concert are welcome without a ticket, but children who are old enough to sit in their own seat will need a ticket.
September 2019
27
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
FSMA, 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 director from that student’s school, then the principal from that school must
furnish a letter designating the person from the school or school district who is to be in charge of that student. The letter should 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. This does not release the director from the requirement that he or she must be registered for the conference. If approved, the person designated in the letter will pick up the
director’s preregistration packet and supervise the student at all times.
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 or those approved for the Student Experience program who are registered and participating in
sessions or working for the all-state concerts are exempt from this rule. Chaperones or other attendees are not allowed to bring
children who are not participating in an all-state ensemble. Only
registered students, teachers, and chaperones wearing a conference badge are allowed in and around the rehearsals and conference
areas. Please make child care arrangements before attending the conference.
CHAPERONE REGISTRATION Chaperone registration is based on the following rules:
«« For each elementary student registered, one ELEMENTARY STUDENTS
free chaperone and one paid chaperone
«« Any additional attendees must purchase a may be registered.
guest pass at on-site registration for entry into the convention center.
MIDDLE SCHOOL AND HIGH SCHOOL STUDENTS
«« For every six students registered, one free chaperone and one paid chaperone may be registered. No other chaperones may
be registered until the seventh student is
«« Any additional attendees (chaperones registered.
or guests) must purchase a guest pass
at on-site registration for entry into the convention center.
«« If you have students in more than one EXCEPTIONS
performing ensemble, you may pay for a
chaperone for each performing ensemble in
«« If you have students from different schools, which you have registered students.
you may pay for a chaperone for each school for which you have registered
7. All Florida school music teachers must register for the conference
as FMEA directors and be current members of FMEA and NAfME.
students.
This includes directors of all-state students, invited performing
Chaperones are not allowed to bring children
from Florida schools, colleges, or universities must also be FMEA
ensemble. Only registered students, teachers,
Collegiate students must be collegiate members of FMEA and
are allowed in and around the rehearsal
members of NAfME. Attendees who live outside of the United
chaperones are aware of this policy before
groups, mini-concerts, and session presenters. All-state conductors
who are not participating in an all-state
members. No current music teacher may register as a chaperone.
and chaperones wearing a conference badge
NAfME. Attendees who live outside of Florida must be current
areas. Directors are asked to make sure their
States may contact our office for registration instructions.
agreeing to serve as a chaperone.
28 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 attendees (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 packet.
5. A director who registers on site may purchase all-
state concert 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
ALL CONCERT TICKET SALES ARE FINAL.
NO REFUNDS OR EXCHANGES. Please make sure you know the exact name of the all-state
ensemble for which you need tickets before approaching the ticket sales window
performing students at the conference on-site
registration desk or at a designated ticket sales location 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 nonrefundable.
9. For entrance, ticket, 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
REFUND POLICIES 1. Full registration refunds are available for cancellation requests made through December 15, 2019.
2. No registration refunds will be made for cancellations made after December 15, 2019, 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, 2020. Requests received after that date will not be processed.
purposes of entrance, ticketing, etc., is the 2 pm
5. All refunds will be issued after the conference is
and the All-State SSAA Chorus.
6. Concert tickets are non-refundable.
concert on Saturday for the All-State TTBB Chorus
completed.
September 2019
29
2020 FM E A Professi ona l Development Conference
Hotels Contracted for 2020 FMEA Professional Development Conference The Florida Music Education Association has contracted the following Tampa hotels for the January 8-11, 2020, Professional
Development Conference. Please tele-
phone your hotel of choice directly from the list on the following page beginning
September 21, 2019, at 9 am EDT. Guest
rooms at the contracted rates are available until the room block is full or until the
cancellation deadline of November 9, 2019, at 5 pm. If your hotel of choice is sold
out, please continue to try to make a res-
ervation until November 9, 2019, as FMEA attendees will periodically release surplus guest rooms.
A maximum of five (5) guest rooms
may be reserved per teacher and/or
parent. Each and all rooms reserved on
November 12, 2019, will be charged a non-refundable, one-night fee to the
responsible credit cardholder. (Invalid credit cards risk a reservation cancellation.)
We urge any guest holding surplus
reservations/rooms to cancel excess reser-
vation(s) as soon as possible and no later than 5 pm on November 9, 2019, and you
must secure a cancellation confirmation number. (This courtesy will make sur-
plus rooms available to other guests.) In order to receive complimentary rehearsal
and meeting space, you should book guest rooms in the hotel you are using for your group functions.
NOTE: FMEA IS NOT offering a
housing bureau service. All participants
MUST call the hotels directly beginning September 21, 2019, at 9 am EDT and request the “Florida Music Education
Association” room block rate and confirm the guest room rate posted below. We look forward to seeing you in Tampa!
30 F l o r i d a
ROOM RATES
HOTEL — Cutoff date: 11/9/19
Group Code: FMEA unless otherwise noted
Single
Double
Triple
Quad
Barrymore Hotel Tampa Riverwalk 111 West Fortune Street, Tampa, FL 33602 (813) 223-1351, Comp. internet; $10 parking
$143
$143
$143
$143
Courtyard by Marriott Downtown Tampa 102 East Cass Street, Tampa, FL 33602 (813) 229-1100, ext. 1, Comp. internet; $20 valet only
$154
$154
$154
$154
DoubleTree by Hilton Tampa Airport Westshore 4500 West Cypress Street, Tampa, FL 33607 (800) 514-3959, ext. 1, Comp. internet & parking
$157
$157
$157
$157
Embassy Suites Downtown 513 South Florida Avenue, Tampa, FL 33602 (813) 769-8300, ext. 1
$249
$249
$259
$269
Embassy Suites Tampa Airport Westshore 555 North Westshore Blvd., Tampa, FL 33609 (800) EMBASSY, Group Code: FME or FMEA 2020
$193
$193
(up to 5 in room)
(up to 6 in room)
Four Points by Sheraton Suites Tampa Airport Westshore 4400 West Cypress Street, Tampa, FL 33607 (800) 368-7764, Comp. internet
$142
$142
$142
$142
Hampton Inn Tampa Downtown Channel District 1155 East Kennedy Blvd., Tampa, FL 33602 (813) 525-9900, ext. 1, Comp. internet & breakfast; $15 parking
$185
$185
$185
$185
Hilton Downtown 211 North Tampa Street, Tampa, FL 33602 (800) 445-8667, ext. 1, $9.99 internet (Comp. for HH); $24 valet
$208
$208
$208
$208
Holiday Inn Tampa Westshore Airport 700 North Westshore Blvd., Tampa, FL 33609 (800) 465-4329, Group Code: FMA, Comp. internet & parking
$124
$124
$124
$124
Home 2 Suites Tampa Downtown Channel District 1155 East Kennedy Blvd., Tampa, FL 33602 (813) 525-9900, ext. 2, Comp. internet & breakfast; $15 parking
$215
$215
$215
$215
Marriott Water Street Hotel (formerly Marriott Waterside) 505 Water Street, Tampa, FL 33602 (888) 789-3090, ext. 3, Comp. internet for Bonvoy members; $27 overnight valet & $15 daytime valet
$205
$205
$205
$205
Residence Inn 101 East Tyler Street, Tampa, FL 33602 (813) 221-4224, Comp. internet; $17 self-parking
$176
$176
$176
$176
Sheraton Tampa Riverwalk Hotel 200 North Ashley Drive, Tampa, FL 33602 (888) 236-2427, Comp. internet
$199
$199
$219
$219
Westin Tampa Waterside 725 South Harbour Island Blvd., Tampa, FL 33602 (800) 937-8461, Comp. internet; $30 valet
$199
$199
$199
$199
Music Director
$203
August 2019
$213
30
ComponentNews T
he 2019-20 school year has finally arrived! In the midst of fine-tuning
your beginning of the year agenda, much
planning has already taken place by your FOA Executive Board during our dis-
trict chairperson training. I would like to welcome our new district chairpersons: Lauren Kirkland – District 1, Andrea
Newhouse – District 6, Robin Benoit –
District 9, Will Whitehead – District 11,
Rose Francis – District 17, and Mindy Curtis – District 19. Thank you to our
district chairpersons for setting the stage for a successful year for your district! Remember that your district chairperson is there to support you with any FOA
questions or suggestions you may have throughout the year.
The all-state audition window is quick-
ly approaching, September 9-14. Please check your district calendar for your
audition date and volunteer to assist with
this event. Volunteers are also needed to help with all-state judging, September 28
at the Hilton Orlando. Please contact your
district chairperson if you are interested. The FOA would like to thank Brian Hellhake and those volunteering to assist with this process.
I am very excited about our upcom-
ing
FOA/FLASTA
Fall
Conference,
September 26-27 at the Hilton Orlando.
Our keynote speaker will be string teach-
er and composer Deborah Baker Monday. Other sessions will focus on string pedagogy, conducting, rehearsal techniques, and mentorship, as well as instrument
repair. Bring your instrument because we will have a new music reading session and a fiddle “jam session” as well!
Registration information is available on our website. See below for a special Fall
Conference preview from one of our many outstanding conference clinicians, Victor Fernandez.
FLORIDA ORCHESTRA ASSOCIATION
Matthew Davis, President
A Message From FOA Member and Director Victor Fernandez: presenting on the critical During the upcoming FOA Fall Conference, I will be strings during a presenrole ear training plays in beginning and intermediate Fundamental Role of Ear tation titled “Through the Ear and Not the Eye: The g this session is to shift Training in String Playing and Teaching.” My aim durin an activit y of secondary our perception of the role of ear training from one of all beginning and interimportance to being the core center around which e, and high school string mediate string learning revolves. Elementary, middl directors should find it beneficial. years. I experienced For a bit of historical background, let me rewind a few I took over the string this paradigm shift (importance of ear training) when Beach in 2013. I had the program at The Conservatory School @ North Palm rgarten, at the age of unique opportunity to start children on violin in kinde , but over the subsequent 5. The program originally only went to fourth grade strings to the entire K-8 years, it expanded, giving me the opportunity to teach h! spectrum. What an opportunity for reflection and growt educator to successfully Since 2013, I have had to really stretch myself as an been a journey filled with meet the needs of such a diverse age group. It has not have ever dreamed immense challenges but also musical rewards I could of experience teaching were possible. By far, the insights I gleaned from years my approach to teaching 5-, 6-, and 7-year-olds have been responsible for how radically changed. This middle school and high school has fundamentally and tation: how ear training transformation is what I wish to share in my presen in which our string players should have a primary role in every musical activit y ping tonal awareness, engage. I will speak about the role of harmony in develo reading, and its natural the critical role of singing, sight singing, and sight I will cover. impact on intonation. These are just a few of the areas rsations with Itzhak To support my presentation, I will share my conve hand fingers as a prereqPerlman on the importance of independence of the left work with the Perlman uisite for vibrato, my experiences and reflection of his a conservatory of music Music Program, my musical upbringing in Cuba in my friend, colleague, and founded on Russian pedagogy, and the teachings of teaching experience. mentor, Herbert Gardner, with his 60 years of string to email me at victor. If you wish to get in touch with me, feel free you can follow me on fernandez@palmbeachschools.org . Additionally, forward to seeing my colTwitter with the handle @Bring_The_Music. I look new ones! leagues from throughout the state and making many Sincerely,
Victor Fernandez
Victor Fernandez, Orchestra Director The Conservatory School @ North Palm Beach
September 2019
31
ComponentNews
FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION
John D. Ash, President
Florida’s State Colleges
I
grew up in Tennessee and graduated
mined to go to college. I think in many
place in higher education and are a place
(ETSU). When I was in high school, com-
many states and especially among high
bachelor’s degree. According to the
from high school and college there
munity colleges did not have a respected
reputation. They were viewed (wrongly; please read the PS at the bottom) as a
place you went to if you couldn’t get into a
cases you will still find that mentality in school students, but in Florida, our state
colleges are very different and should never be viewed in that negative way.
State colleges, community colleges, or
university. Community colleges were not
junior colleges, whatever you call them,
they were vocational schools by nature
two-year (primarily) schools in our state.
a place for the top-performing students;
and not a place for any student deter-
chances are you are talking about the
These institutions have taken a special
to allow students to progress toward a
Florida Department of Education, there are 28 state colleges in Florida with more than 70 campuses employing 20,000-plus
faculty members. As of the 2015-16 enroll-
ment, 801,023 students were enrolled in
these institutions, compared to 341,000 enrolled in universities. While many of
the students enrolled in the state col-
leges are not traditional students (they are older, part-time, certificate-seeking,
FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION
Ernesta Chicklowski, President
T
etc.), a number of students are on the path toward a bachelor’s degree and may
require a transfer from the state college
to a university, though many state col-
he school year is finally starting to settle in for most of us. I hope your students,
leges in Florida offer bachelor’s degrees
exciting year of music making. Thank you for your time and effort of preparing
Arts degrees in accounting, agribusiness
things are going on behind the scenes as we prepare for the 2020 All-State Chorus
management, logistics and supply chain
paperwork and answering questions over the past few weeks. Our all-state coordi-
istration, as well as Bachelor of Science
and getting music prepared for this year’s ensembles. Our FEMEA executive direc-
nursing.
auditions. We are grateful to these leaders for the time and energy they dedicate
colleges do so for many different reasons.
The FEMEA All-State Elementary Chorus will perform on Thursday, January
to why they make this choice, like cheaper
January 10, at 1 pm. The All-State Chorus will be under the musical direction of
they didn’t get into the university of their
will be under the artistic and musical direction of Josh Southard and Lisa Sullivan.
for others it has to do with the location of
rehearsals at the conference. In addition to all-state preparation, the FEMEA
students work and take care of family
Registration opens on September 21. This may the perfect time to speak to
education that doesn’t require a move or a
classrooms, and ensembles are finding their “groove” and ease of another
now. At our college, we offer Bachelor of
and submitting all-state auditions during this busy start of the school year. Many
management, equine studies, health care
and Orff Ensemble. Our district chairpersons have been busily handling all-state
management, and public safety admin-
nators, Robert Todd and Holly Mullenix, have been diligently preparing materials
degrees in early childhood education and
tor, Jennifer Sullivan, has been taking care of processing all of the finances for the
Students who choose to go to state
to our organization to prepare this wonderful musical experience for our students.
You can probably think of a few reasons as
9, at 1:30 pm, and the FEMEA All-State Orff Ensemble will perform on Friday,
tuition or it was their fallback school if
Robyn Lana with commissioned composer Peter Robb. The All-State Orff Ensemble
choice. While these are reasons for some,
You are welcome to observe these fine directors work with our students during
the college as well (Hillman, 2016). Many
Executive Board actively serves during the annual FMEA conference.
members and need a place to further their
your administration about attending the 2020 FMEA Professional Development
lengthy commute every day. Others may
for all conference information and details.
until they have to. At my college, we give
Conference to be held in Tampa, January 8-11. Please visit FMEA.org/conference Don’t forget to follow us on Facebook by searching for FEMEA: Florida
Elementary Music Educators Association, or simply click HERE
32 F l o r i d a
Music Director
.
choose to stay close to home and not move out quite a bit of scholarship money each year, and for many of our students, that is
a deciding factor. Our president says that
three-quarters of our students finish their
in our state have transfer audition dates
conversation. Together we can create a
to (and for) many students. Regardless
leaving the transfer students scrapping
and programs.
AAs with no debt, which is a huge deal
of the reasons students come to us, state colleges have been and will continue to be a source of bright, young, talented
individuals who are deserving of a spot
in the university system when it is time to transfer.
Many of the state colleges have articu-
lation agreements with state universities
that allow students to transfer after finishing an associate’s degree. These agree-
ments are commonly referred to as 2+2
articulation agreements and are a great way for students to finish the first two years of their bachelor’s degree without
having to move, pay higher tuition, or
after all of their other audition dates,
system that works for all of our students
for spots that may not exist anymore.
P.S. My sister Alice went to a communi-
Others treat transfer students as unpre-
ty college and earned an AA as a radiog-
require them to repeat sophomore- or
up in that world, becoming the director of
pared and, regardless of their auditions,
raphy tech. She has since worked her way
freshmen-level lessons. The system is not
radiology at a hospital in California, and
perfect, and by no means do I advocate for
now she is the assistant director of radiol-
blind trust between the state colleges and
ogy at a larger hospital just outside of
the universities, but with state and federal
San Francisco. Her salary is significantly
funding issues, credit hour problems, and
higher than most of ours.
graduation data being held over all of our heads, we have to create conduits of trust
Reference
truly dedicated to this field.
Hillman, N. W. (2016). Geography of college opportunity: The case of education deserts. American Educational Research Journal, 53(4), 987-1021.
to send and receive students who are
Join FCMEA and let’s continue this
uproot their lives altogether to attend a university. In our music programs, however, the transfer process is not a guar-
antee from any state college into a state university, nor should it be, necessarily. The state universities in Florida have
some of the finest programs in the world and are the leaders in research in music
education and pedagogy. They should
be protective as to who comes through their doors and who represents them in
the field after graduation. But the size of the state college system should not be overlooked nor deemed unworthy of
any state university. Most of the students
who successfully finish two years in a
Elementary, Middle, and High School Band, Choir, and Orchestra 2020: April 3 April 17 April 24
2021: April 9 April 16 April 23
2022: April 8 April 22 May 6
state college music program are serious
www.SMMFestival.com
treated as music students and not the
or call:1-855-766-3008
about their futures and deserve to be
bottom of the barrel. Some universities
September 2019
33
ComponentNews
FLORIDA COLLEGIATE NAFME
Mark A. Belfast, Jr., PhD, Advisor
Sage Advice From the Fabulous Hudson Hornet
W
hen it comes to entertainment in
the Belfast house, it all boils down
to two big ideas: 1) Apple—all things
Apple. Period. Leave your Android and PC devices at the door. As they say, Ain’t
nobody got time fuh dat; and 2) Disney—
movies, videos, channels, games, resorts,
theme parks, etc. If it’s Disney, we’re all in. So when we asked my 4-year-old son
what he wanted to do when he turned 5 this summer, we were not surprised to
photobucket.com
hear him shout, “Let’s go to Cars Land!” Before long, we were headed to sunny Southern California and the Disneyland
Resort. Since its inception, the Disney
Company has been unparalleled in its
ability to tap into the imaginations of both children and adults, blend the boundaries
tells those leaving Ramone’s, “Come on
cloudy day (or year!).
tional experiences for everyone.
Now get out there and do us proud.” After
alone. So when the stress of #musicedlife
(… yeah, it was our son’s favorite ride), I
Hudson’s words:
of fantasy and reality, and provide educaI am always amazed at the way Disney
is able to toss a HUGE moral, profession-
al, or social lesson into the most brief or silly moments in their films and attrac-
tions. For example, at one point during the Radiator Springs Racers attraction in
in, Rookie. Shiny paint don’t win a race.
hearing those statements over and over couldn’t help but think how profoundly
As you all know, the typical music
your situation. The new semester, new
what Doc was trying to tell us.
Tires for a set of new whitewall tires, or
experiences, and performance expecta-
paint job. What happens next is what gave
me pause and caused me immediately to
think of the thousands of preservice and veteran teachers in our state. As riders move out of Luigi’s or Ramone’s and into
position for the race, they are greeted
by Doc Hudson (the Fabulous Hudson Hornet) who gives them one of two pieces of advice. Riders who went to Luigi’s
hear, “Come on in, Rookie. It takes more than new tires to win a race. I’m your new
crew chief, and I’ll tell you when to pitch
it hard and get it into the groove. So, pay
attention and do us proud.” Similarly, Doc
34 F l o r i d a
It takes more than new tires to win
a race. Cosmetic manipulations are not
education degree program is quite a behe-
Ramone’s House of Body Art for a new
threatens to consume you, remember Doc
important it is for our teachers to hear
Disneyland’s Cars Land, riders enter one of two ride experiences, Luigi’s Casa Della
I don’t believe we were designed to be
moth! The large number of classes, field
tions can become overwhelming. That
stress is only compounded by the pres-
sure of passing all sections of the Florida Teacher Certification Examination (FTCE),
when the most recent data available indicate only 59% of first-time test takers are passing the Mathematics and Reading
portions of the General Knowledge Test (if there was ever a need for a wide-eyed
likely to make a significant impact on professor, or new GKT practice test will net the same results unless fundamental changes in your behavior take place. In the same way, once you finally get
your gig, focus on your students and do
good work. Avoid the temptation of new tires or a shiny paint job (make the transfers …), because neither will help you to be successful if the behavioral, moral,
and spiritual components of your life and work are not in order.
I’m your new crew chief … Who is
emoji … this would be it). I know it can be
yours? Do you have a reliability observer,
NEED you! The students in our schools
you accountable (for your work AND
frustrating and exhausting, and yet … we
need you to persevere and succeed. You
are the ones for whom we have been waiting! You will be the sunlight in a child’s
Music Director
someone who is watching and holding
your rest!)? Do you have someone who has demonstrated success doing what you want to do speaking into your ear when
FLORIDA VOCAL ASSOCIATION
Jason Locker, President
N
ow that we are a few weeks into the new school
year, all-state audition season is upon us! For
many of us, the afternoons and/or the early morning hours are inundated with practice sessions featuring
vocabulary words, interval and triad ear training, error detection exercises, and of course, a myriad of sight-singing exercises! Though they may not always remember to tell you, your students are grateful for the
time you give to help them prepare for their opportunity to
to answer our members’ calls for new sight-reading practice
September is the month for the All-State Musicianship
Sight Reading Factory (SRF) to make unlimited sight-reading
be in the Florida all-state choruses.
and Sight-Singing Exams. There have been only a few modifications to these exams this year. First, the vocabulary
lists for both middle and high school have been refreshed. Each list now contains 50 terms with more concise definitions, and approximately one-third of each list has new
vocal/choral terms that were not previously included. The other big update this year is that the 6/8 sight-reading exer-
cise that was introduced for middle school two years ago has been increased from four to eight measures in length.
The minimum passing score for middle school sight reading, however, has not changed.
Make sure you are carefully following the calendar of
all-state deadlines established by your district chairperson,
examples. Thanks to his leadership, FVA has partnered with examples, which use the FVA All-State Sight-Reading Exam
parameters, available to you and your students. Sight Reading
Factory is a reasonably priced subscription service that can be used in the classroom and by individual students at home. I encourage you to look at SRF’s website (sightreadingfactory. com ) and give it a try! Also, as you consider purchasing
learning tracks for this year’s all-state repertoire, we are pleased to inform you that this year Choral Tracks is beginning a gradual transition to the use of a female singer for the
treble voice parts on its products. For complete all-state infor-
mation, please consult the All-State Omnibus on our website (FVA.net ).
I wish you all the best for this all-state audition season! We
and don’t forget to thank him or her for all of the work on
constantly strive to improve our programs and to make them
what incredible work David Verdoni, our all-state chair-
our state. I invite your constructive feedback on this and on
your behalf. While we are thanking people, let me tell you
man, has done over the summer in preparation for this
year’s audition cycle. In addition to facilitating the testing changes I mentioned above, David has worked very hard
you’re not sure of your next move? Better
the best they can be for the choral students and educators of
every program of the Florida Vocal Association. We exist to
support our members, and if I can do anything for you to that end, please don’t hesitate to contact me!
So, pay attention and do us proud! In
a favor. Click this link (mabelfast@seu.
2019, it can be quite easy to become dis-
questions or topics you would like to see
yet, who is in your pit crew? Lightning
the sociopolitical and economic climate of
the residents of Radiator Springs. Each
couraged and distracted by all the noise.
McQueen had Doc, Mater, Sally, and all resident had a specialty, and each grew
to believe in and support Lightning as he worked to achieve his goals. We all need people to help refill our tank when we’re
low on gas or to change our tires when
we’ve lost traction or a blowout causes us
to veer off course, and we need folks to wash the bugs off our windshield so we can see clearly the road ahead.
edu ) and send me a brief message with covered in this column. I hope to mine
Maintain your focus. Invest in people (i.e.,
the wisdom of my colleagues across the
your family, your mentor or mentee, your
country to help us all become better musi-
students, etc.). One of my mentors often
cians and educators. Until next time …
says, Show me your friends and I’ll show you
Ka-chow!
your future. As you dig into the groove of this academic year, surround yourself
Reference
you win the race. Then, just do your thing!
FTCE/FELE longitudinal pass rates by test/subtest. (2019). Retrieved from http://www. fldoe.org/core/fileparse.php/5627/urlt/firsttime-ftce-examinees.pdf
with a crew that is dedicated to helping Now … if you’ve read this far, do me
September 2019
35
ComponentNews A
FLORIDA BANDMASTERS ASSOCIATION
Cathi Leibinger, President
s I get older, the days seem to fly by
me and that my training had prepared
believe that as I write this, I’m in the last
my regulator and reminded myself to just
me for this situation. I put my hand on
so much more quickly. It’s hard to
breathe, following my guide to the next
days of summer and it’s time to get back
adventure. The next day, 100 feet felt com-
into school mode. I did have some fabu-
pletely normal. It struck me how this story
lous experiences and travels during my
parallels what we do with our students.
vacation and would like to share some of
Sometimes we take them through expe-
the things I learned along the way.
riences that make them uncomfortable at
My first trip of the summer was to
first, but if they trust us as their guide,
France to celebrate the 75th anniversary
know that we’ve trained them for difficult
of the D-Day invasion in Normandy. I
tasks, and learn to just breathe through it,
had the opportunity to play in a 200-plus
they will be safe as we lead them to the
piece band under the direction of Colonel
next big adventure.
Arnald Gabriel, presenting a concert in
Many of you may know that I’m on a
Paris with the Eiffel Tower as a backdrop,
quest to visit all 50 state capitol buildings.
and a second concert on Omaha Beach, right where the Allied forces landed. I was blessed to have two FBA members
Facebook: @ fsumarchingchiefs
(Dayna Cole and Carlos Perez) along on
guide took us through a pass-through. I
friends from eight different states. We
apprehension. When we came out the
that trip, joined by 13 of my band director
had an amazing time making music and sharing the experience together, as well as talking shop and swapping ideas. Florida
State University also participated in the celebration. Seeing Patrick Dunnigan and
David Plack leading those amazing musicians really made me Florida proud. It
was truly a once-in-a-lifetime opportunity with music at the center. We often forget that we provide those
couldn’t see the exit but followed without other side, I felt a bit strange. Upon check-
ing my dive computer, I realized I was 100-plus feet under water for the first time in my life. The pressure on your body can
be a bit uncomfortable, and breathing
feels different. Still, you can’t just swim
to the surface and quit; doing that is extremely dangerous. My only option was
to trust that my guide was looking out for
same types of experiences for our students and never fully
understand the impact they make.
I recently received my
scuba certification and decided to head to the Cayman
Islands in July for my first
I started in March 2018, and tomorrow
I’m leaving to visit #25, so I’m halfway
there. During these visits, I make a point
to meet up with band director friends
from each state. While we’re enjoying some quality time together, the conver-
sation will always steer toward what is happening in our programs. My school is
moving to a block schedule this year, and I’ve been fortunate to gain insight and
resources from a wide variety of situations. We’ve also discussed how our state
organizations are run. As I explain the details and structure of the FBA and our relationship with FMEA and
FSMA, there is always a feel-
ing of appreciation from my non-Florida friends for the support we give our mem-
bers. I’m proud of who we are and what we do, and I hope you can be as well.
Here’s to another wonder-
destination dive. I had some
ful year of making music with
was “on the wall” that I have
May you have many success-
poignant revelations while I come to regard as “bubble
thoughts.” Here’s my favorite:
On my very first dive, my
36 F l o r i d a
Music Director
our students and each other. es and remember, if the pres-
sure gets to be a bit much, just breathe through it.
ResearchPuzzles FOR MUSIC TEACHERS This on-going column seeks to stimulate awareness of research issues for FMEA teachers and researchers.
RESEARCH COMMITTEE CHAIRMAN
Don D. Coffman, PhD University of Miami
What factors influence student retention in school ensembles?
A
necdotal observation and a number of research students have found that students who enroll in school band, choir, and strings electives differ from nonmusic students on a number of nonmusic factors, including ethnicity,
sex, socioeconomic status (SES), native language, standardized test scores, GPA, and parent education level. Daryl Kinney (Kinney, 2019) noted that in many of the studies “minorities, students of lower SES, English language learners,
and students whose parents/guardians earned a high school diploma or less are underrepresented in music ensemble electives,” so he devised a study that examined school records in an urban school district that was: 1) predominantly
composed of minorities (62.0% Black, 25.9% Caucasian, 8.9% Hispanic, 3.0% Asian, 0.2% Native American); 2) had a majority of students enrolled in free or reduced meal programs (78.5%); and 3) had other characteristics that could impact participation in school music (16.9% of students were considered transient, the attendance rate was 91.7%, and
the four-year graduation rate was 77%). His purpose was “to predict initial enrollment and retention in one urban school district’s middle and high school band, string, and choir elective classes using academic achievement, SES,
family structure, mobility, ethnicity, and sex as predictor variables.” He focused on data from sixth, eighth, and tenth grade students and applied multinomial regression techniques to determine what combination of factors would predict (relate mathematically) to whether a student was enrolled in a school ensemble at those grade levels.
At each grade level, he observed differences between band, string, and choir students from nonmusic students on
most factors as well as differences between instrumental and choir students. Kinney reports:
Choir students differed from instrumental students in terms of academic achievement, SES, family structure, and mobility. These factors revealed more congruence with the population of nonmusic students than instrumental students. Factors influencing initial enrollment in band, string, and choir remained relatively stable over reten-
tion models, with notable exceptions: SES became a weaker predictor of band enrollment in high school, whereas
number of parents/guardians at home became more salient for this group. All music participation was predicted by academic achievement; however, this was evidenced only in reading test scores for choir participants, whereas math and reading achievement predicted enrollments in instrumental music electives.
That choir students differ less from nonmusic students than instrumental students is not so surprising because
educators have sensed for some time that the financial costs of acquiring instruments might influence who partici-
pates in instrumental music. That said, the summary findings reported above do reveal numerous more nuanced
differences at the grade level. For example, Kinney observed that SES was a salient predictor of choir enrollment in tenth grade, but not in sixth or eighth grades. This is one of the first studies to explore nonmusic factors influencing initial enrollment and persistence in school band, string, and choir ensemble electives, so I encourage you to read the full report. Reference Kinney, D. W. (2019). Selected Nonmusic Predictors of Urban Students’ Decisions to Enroll and Persist in Middle and High School Music Ensemble Electives. Journal of Research in Music Education, 67(1), 23-44. https://doi.org/10.1177/0022429418809972
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 2019
37
CommitteeReports Here’s what FMEA Emerging Leaders are saying about this year’s Summer Conference: I am extremely grateful to have attended the Summer Leadership Conference. My eyes were opened to what leadership in the arts really looks like. It’s much bigger than the immediate teaching influences. It includes advocacy and action. I met leaders who are truly inspiring.
— Luis Rios Spessard L. Holland Elementary School Polk County
… eye-opening and necessary for me as a rising leader and educator. It gave me the confidence I need to step out and make changes in my district and to be a voice for music education. I’m so glad I was nominated and decided to go through with the whole process! 2019-20 FMEA Emerging Leaders
O
ne of the great things about being an FMEA Emerging Leader is the opportunity to get to know and bond with colleagues from across the state. Another
is the opportunity to meet and interact with the incredible people who lead FMEA/ music education in so many and varied ways. Like our Emerging Leaders, I am inspired and humbled by the work of fabulous colleagues.
Our annual Drive Into Leadership Conference at UCF in Orlando included
a fantastic array of inspiring leaders from all corners of Florida. Our deepest
thanks to the Conference Committee: Dr. Kelly Miller (our UCF host/professor); Scott Evans (FMEA professional development chairman); and Debbie Fahmie
(FMEA awards chairwoman). Speakers included Representatives Carlos Guillermo Smith and Anna Eskamani (via video); Jeanne Reynolds (FMEA government rela-
tions chairwoman); Dr. Steve Kelly (FMEA president); Dr. Jeffery Redding (2019 GRAMMY award-winning music teacher); Chev Lovett (Opera Orlando); Sandra
Collins (FMEA District 5 chairwoman); Terry Olson (Orange County Government
arts “instigator”); Ken Williams (FMEA past president); and Beth McCall (Marion County School Board and FMEA award winner). BRAVO to each and every one of our presenters and to our 2019-20 FMEA Emerging Leaders!
Let’s be very ALIVE and embrace each day! It’s truly an exciting time for music
education! Each day we have the opportunity to make lasting changes in the lives of our students, their families, and our communities. Seize the days … and make a
difference. I am inspired by our FMEA Emerging Leaders … and I look forward to an amazing future, filled with MUSIC.
38 F l o r i d a
Music Director
— Giselle Panagiotakis Lakewood Ranch High School Manatee County
… incredibly empowering to have one-on-one conversations with state representatives and high standing music educators about the importance of music and the arts within our individual communities and at the state level. It was a privilege to collaborate with other Emerging Leaders throughout the state.
— Jenetta Sawyer Pea Ridge Elementary School Santa Rosa County
… not only informative, but inspiring as well! I am more than eager to start the new school year with a fresh approach and new ideas. I gained a new network of colleagues. I look forward to it with new friends across the state!
— William J. Molineaux Osceola County School for the Arts
EMERGING LEADERS COMMITTEE
Mary Palmer, EdD, Chairwoman
Malissa Baker, Manatee County music educator extraordinaire and the amazing support
system of our FMEA Emerging Leaders program, shared two memorable quotes from Dr. Redding’s keynote:
“Often people stopped here (his classroom) because it was safe.” “You can be technically clean but spiritually dead.”
Scott Evans, Terry Olsen, Dr. Mary Palmer, Dr. Jeffery Redding, Dr. Kenneth Williams
… wonderful event that challenged aspiring leaders from across the state to advance and advocate for music education in our Florida school system. It was amazing to hear from the speakers who approached leadership in differing ways but with the common goal of building outstanding programs for our students. Dr. Jeff Redding shared his contagious passion for music and reminded me why I love teaching music. Rep. Carlos Guillermo Smith showed us how to reach out to government officials in order to call for legislative changes. All of the speakers compelled us to think deeply about the importance of what we do and the power we have to improve our field. This conference reinforced why it is so important to make connections with others. We sometimes live on our own classroom islands, but great things can come about through positive, constructive interactions with others. I was inspired to share new ideas with my administration. — Karl Sidnam Willis Elementary School Manatee County
… incredibly refreshing and inspirational to collaborate with current leaders and to reconnect with colleagues from around the state. This conference really drove home the point that we all need to be advocates in our communities not only for our own programs, but for the importance of a quality music education for every student in our schools. I’m inspired to use my position as a music educator to help advocate for a quality music education for all children!
— John R. “Rusty” Koenig band director River Springs Middle School of Technology & Innovation Volusia County
… an enlightening experience. … showed me how to take our teaching beyond the four walls in which we teach. I feel so much more prepared to use my strengths and talents and share the importance of music education within my school community, county, and beyond. Music is so important for our students, and I’m ready to do everything I can to share that message.
— Erin Coatney, DeBary Elementary School Volusia County
Debbie Fahmie, Dr. Mary Palmer, Representative Carlos Guillermo Smith, Malissa A. Baker, and Leiland Theriot, executive director, Florida Alliance for Arts Education
September 2019
39
CommitteeReports
DIVERSE LEARNERS COMMITTEE Alice-Ann Darrow, PhD, Chairwoman
Embracing Differences … in Learning
A
s we begin the new school year, the
dent said “elephant,” to which his class-
area that is affected. Problems can be
in music classes undoubtedly will have
asked why an elephant, he said because
auditory or visual perception difficulty),
number of students with disabilities
increased since last year. Learning disabilities is the most prevalent of all disabilities
served under IDEA. Several years ago,
I was covering learning disabilities in
class. A student raised his hand and said, “I have a learning disability, but I prefer
to call it a learning difference. I can learn
mates laughed inappropriately. When
crocodiles and elephants both have rough
skins. Brilliant! He was thinking texture when everyone else was thinking shape. I love how students who think differently
often take a left turn when other students take a right.
most anything my classmates are capable
Characteristics of Learning
ferently.” Since that day, I have thought
Nearly 40% of all students served under
of learning. I just have to go about it difof and frequently referred to learning disabilities as only learning differences.
Learning differences is more appropriate to the characteristics of the disability: a difference can be adjusted to or overcome;
a disability is considered a lifelong trait. How boring the classroom would be if all our students were the same, even in how
they learn. Embracing their learning differences is easier if we understand them.
After singing Never Smile at a Crocodile,
students were asked, “What else looks similar to a crocodile?” Living in Florida, the teacher likely expected the students to
say an alligator. The first student replied, “a lizard.” An acceptable answer, the stu-
dent was thinking shape, though not size as the teacher had expected. The next stu-
Sometimes, the most brilliant and intelligent students do not shine in standardized tests because they do not have standardized minds. – Diane Ravitch
40 F l o r i d a
Disabilities
IDEA have learning differences. Boys are twice or more likely to be identified as having a learning difference than are girls; however, their differences may go
undetected in high school or in the music classroom. By high school, some students
have learned strategies to address their
differences, or their differences may not
be as apparent in a classroom where music learning is the focus. When stu-
dents do identify themselves as having a
related to accessing information (input:
making sense of information (integration: problems with sequencing, abstraction, and organization of information), storing
and later retrieving information (memory: problems with working memory, short-
term memory, or long-term memory), and responding with information through words, writing, or gestures (output: lan-
guage disability or motor disability). Students with learning differences may
have a variety of additional presenting
problems that limit their academic and social success in school, including social
withdrawal, inattention, hyperactivity,
and low frustration tolerance (Lerner & Johns, 2015). The table on the next page
provides the terms for and describes the many types of learning differences music
educators may encounter among their students (Hardman, Egan, & Drew, 2017).
learning difference, it is an opportunity
Effects of Learning Differences
and to discover new ways of teaching or
have a variety of presenting problems
for music educators to learn from them approaching a musical task.
The term learning differences describes
a heterogeneous group of differences. A learning difference is a neurological condition that affects a student’s ability to store, process, or produce information.
Students then may have difficulties with memory, or in listening, speaking, reading, writing, spelling, or doing mathematical computations. As with disabilities, a student may have mild to severe learning
differences, and he or she may have only
one specific learning difference or a combination of specific learning differences.
Types of learning differences can be
identified by the particular processing
Music Director
Students with learning differences may
that may limit their academic and social
success in the music classroom. These
«« inability to perform well at school «« restlessness, constant activity «« sluggishness, often viewed as “lazy behavior” «« inflexibility, inability to change from one activity to another «« short attention span «« poor printing, writing, and spelling «« physical awkwardness «« difficulty executing executive functions «« extreme slowness in learning to talk, characteristics include:
confused speech
Types of Learning Differences TYPE
DIFFICULTY
SYMPTOMS
SAMPLE
Dyslexia
Processing language
Reading, writing, spelling
Letters/numbers written or pronounced backward
Dyscalculia
Math skills
Computation, remembering math facts, concepts of time and money
Difficulty counting by 2s, telling time, counting money
Dysgraphia
Written expression
Handwriting, copying
Illegible handwriting
Dyspraxia
Fine motor skills
Coordination, manual dexterity
Trouble with scissors, buttons
Dysnomia
Finding words
Trouble with speech, stutters
Difficulty saying what they want to say
Dissemia
Interpreting nonverbal forms of communication
Poor interpersonal relationships
Standing too close to others, doesn’t comprehend facial expressions
Auditory Processing Disorder
Interpreting auditory information
Language development
Difficulty learning speech, anticipating how a sentence will end
Visual Processing Disorder
Interpreting visual information
Reading, writing, math
Difficulty distinguishing letters such as q, p, d, b
«« difficulty sleeping «« expression of worry, anger, or frustration at inability to deal with school
problems and to get along with other
«« poor organization and time-management skills «« slow to start and complete tasks «« difficulty controlling behavior «« difficulty following oral or written instructions «« inability to remember what has been children; poor social skills
taught on a day-to-day basis
Students with learning differences may
demonstrate only one of these characteristics or a number of characteristics
(Hardman et al., 2017; Lerner & Johns, 2015; Turnbull, Turnbull, Wehmeyer,
& Shogren, 2016). When a student does demonstrate one or more of these char-
needs. Students’ difficulties or success in (e.g., reading, math, etc.) and how much activity in that area is required within
the music classroom. Many students may
even excel in music since the information typically is presented through auditory, visual, and kinesthetic means. They may
deficit if the teacher uses a multimodal
– often attributed to Albert Einstein
emotional problems, such as low frustra-
Design for Learning (UDL) principles is
peers, and lack of attention or hyperactiv-
classroom involves the provision of (a)
be able to compensate for their area of approach to instruction. Some social and
students who are struggling to learn in an environment that does not include
instructional or assessment accommodations for their differences.
Each student with a learning differ-
ence varies in his or her abilities and
mation), (b) multiple means of action
collaboration with the classroom teacher
and expression (options for learners to
and development of appropriate instruc-
navigate a learning environment and to
tional or assessment accommodations.
Differences
attributions are often assigned to bright
for perceiving and comprehending infor-
and will need to be addressed through
should assume the student has a learning
ested, lazy, or just not trying. These mis-
multiple means of representation (options
ity, may cause problems for the student
Intervention Approaches
difference, and is not necessarily uninter-
helpful. Application of UDL to the music
tion tolerance, difficulty interacting with
acteristics, such as forgetfulness, disorga-
nization, or inattention, music educators
Everybody is a genius. But if you judge a fish by its ability to climb a ladder, it will live its whole life believing that it is stupid.
music will depend on their deficit area
express what they know), and (c) multiple
means of engagement (options to capture learners’ interest, and to motivate).
for Students With Learning
Students with learning differences, in
If provided the appropriate support and
particular, benefit from having options
ferences can succeed in music as well as
knowledge, and engaging in the learning
for accessing information, demonstrating
interventions, students with learning dif-
process. Students with learning differ-
in school and life. Because nearly all stu-
ences learn differently, and they need a
dents with learning differences have dif-
music educator who is open to presenting
fering deficits and to varying degrees, no
material in as many different ways as pos-
one approach or intervention will be suc-
sible (visually, orally, auditorily, tactually,
cessful with all students. As with many
disabilities, employing the Universal
Continued on page 43
September 2019
41
CommitteeReports
AWARDS COMMITTEE
Debbie Fahmie, Chairwoman
A
hhh … the fall season! My favorite! It’s a time for new
beginnings with the 2019-20 year upon us. I hope you have
had a wonderful summer with time to refresh and rejuvenate as well as to supply your creative souls with memorable experiences.
The FMEA Awards Committee looks forward to receiving
applications for the major award categories by September 7. It is plary things going on throughout our state that support quality
music education for all. Each year, I am reminded about just how lucky I am to have served my entire career in music education in
this great state. I recently had an opportunity to spend a week in New York City, where a former elementary music student of
mine was having a musical he wrote performed Off-Broadway as part of the New York Musical Festival. While I was there, I recon-
nected with other former elementary music students who are happily living and working in the creative industry in NYC—
from starring on Broadway, to working at nonprofits making
the world a better place, to writing, composing, and directing. It really hit me hard just how much we, as music educators, touch the hearts and souls of our students, even at a very young age.
We set them on creative pathways, armed with determination,
discipline, and confidence, as well as the skill sets to help them
find success. As you begin your new school year, please keep
in mind just how incredibly important you are to the students entrusted to you in your classrooms.
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 edu-
cators, administrators, school board members, and the business community to celebrate individuals who have made outstanding
contributions to music education. The awards ceremony also plays a pivotal role for music advocacy for all who attend. It’s a
FEMEA Past President Rosemary Pilonero and Marie Radloff, the 2019 FMEA Elementary Music Educator of the Year
Photo by Bob O’Lary
always so motivating and inspiring to read about all of the exem-
«« Leadership Award for Music Education «« College Music Educator of the Year «« Exemplary Model Program/Project The deadline for the above is September 7, 2019 «« Middle School/High School Enrollment Award
(Please remember that the criteria for the high school award was adjusted last year to 30%.)
«« Music Education Service Award (includes 25+ years of The deadline for the above is November 1, 2019 service and 50+ years of service)
The deadline for the above is November 3, 2019
The school enrollment and music education service awards
have very simple application processes. It takes approximately 15 minutes to self-nominate for either award.
In the past several issue of Florida Music Director, I’ve shared
great way to get district leadership to the conference and give
the thoughts of some of our 2019 FMEA award winners. I have
partners we have throughout the state.
Radloff, the 2019 FMEA Elementary Music Educator of the Year:
them an opportunity to hear about all the great programs and
I am excited to lead our Awards Committee in selecting recip-
«« 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 ients in the following categories:
42 F l o r i d a
Music Director
one more reflection to share with you. This comes from Marie As music educators, we strive to provide meaningful, artistic
experiences for our students in the hope that, after they leave us,
they will continue to seek such experiences throughout their lives. Being selected as an FMEA Music Educator of the Year has been
one of the greatest honors of my life, and I view it as my lifetime achievement award.
I hope you all have a wonderful start of the new school year.
Advertiser Index
DIVERSE LEARNERS COMMITTEE
Continued from page 41
kinesthetically, etc.). Students with learning differences will respond well to having choices or options in how they will respond in class
and demonstrate what they know. Because these students often
find academic work difficult, confusing, or frustrating, they may
be unmotivated to learn. Using multiple means of engagement— options to capture learners’ interest (computer games, movement
activities, musical interventions, etc.)—increases the likelihood that students with learning differences will find learning more appeal-
ing. If the principles of UDL are applied appropriately, options for
learning are available to all students, not just to those with learning differences, eliminating the stigmatization of students who are subject to instructional interventions.
Differentiated instruction (DI) is a logical companion to the UDL
«« providing graphic organizers to accompany oral presentations «« incorporating models, demonstrations, or role playing «« using teaching presentation cues (gestures, visuals, role playing, manipulatives) «« scaffolding (providing supports) to learn key concepts «« making students active in the learning process rather than pasapproach. Examples of provision for DI include:
sive observers (Turnbull et al., 2016, p. 116)
Accommodations may require more time and commitment from
the music educator; however, it is discriminatory not to provide
accommodations when a student needs them. Accommodations do not give a student unfair advantages, but rather
make the classroom envi-
ronment an even playing field for learning. Many
students need accommodations, whether it is to sit
closer to hear, large print music to see, longer time
Fair is not that every student gets the same. Fair is that every student gets what he or she needs. – Richard Lavoie
to learn a piece of music,
fewer distractions to concentrate, prompts or cues to remember important information, or assistance with organization. Other stu-
dents will surely benefit from the accommodations provided to students with learning differences. A simple question and state-
ment to the student can be: “What do you need to make learning easier? I am happy to help.” References Hardman, M. L., Egan, M. W., & Drew, C. J. (2017). Human exceptionality: School, community, and family. Boston, MA: Cengage Learning. Lerner, J. W., & Johns, B. H. (2015). Learning disabilities and related disabilities (13th ed.). Stamford, CT: Cengage Learning. Turnbull, A., Turnbull, R., Wehmeyer, M., & Shogren, K. (2016). Exceptional lives: Special education in today’s schools (8th ed.). Boston, MA: Pearson.
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September 2019
43
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F LO R I DA M U S I C E D U C AT I O N A SSO C I AT I O N
Officers and Directors EX-OFFICIO MEMBERS
EXECUTIVE BOARD President
Steven N. Kelly, PhD
Florida State University; College of Music, KMU 330 Tallahassee, FL 32306 (850) 644-4069; skelly@admin.fsu.edu Past President
Kenneth Williams, PhD
3610 Beauclerc Road; Jacksonville, Florida 32257 (904) 521-7890; kenwms@flmusiced.org
Historian/Parliamentarian & 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 Editor-in-Chief.....................................................D. Gregory Springer, PhD FSU College of Music; 122 N. Copeland St.; Tallahassee, FL 32306 (850) 644-2925; dgspringer@fsu.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
President-Elect
Shelby Chipman, PhD
Florida A&M University, Department of Music Foster-Tanner Music Bldg., Room 318 Tallahassee, FL 32307; (850) 599-8165 shelby.chipman@famu.edu FBA President
Cathi Leibinger
Ransom Everglades School 2045 Bayshore Dr.; Miami, FL 33133 (305) 250-6868; president@fba.flmusiced.org FCMEA President
John D. Ash
College of Central Florida 3001 SW College Rd.; Ocala, FL 34474 (352) 854-2322; ashj@cf.edu FEMEA President
Ernesta Chicklowski
Roosevelt Elementary School 3205 S. Ferdinand Ave.; Tampa, FL 33629 (813) 272-3090 ernesta.chicklowski@sdhc.k12.fl.us Florida Collegiate NAfME President
Awards.................................................................................... Debbie Fahmie fahmied@yahoo.com Budget/Finance, Development.................................. Steven N. Kelly, PhD Florida State University, College of Music, KMU 330 Tallahassee, FL 32306; (850) 644-4069; skelly@admin.fsu.edu Committee Council...................................................................................TBA Conference Chairman................................................John K. Southall, PhD Indian River State College; 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810; johnsouthall@me.com 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 St.; 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
Katherine Attong-Mendes
Multicultural Network...................................................Bernard Hendricks Ocoee High School, 1925 Ocoee Crown Point Pkwy.; Orlando, FL 34761 (407) 905-3009; bernard.hendricks@ocps.net
Florida Collegiate NAfME Advisor
Professional Development........................................................Scott Evans Orange County Public Schools; 445 S. Amelia St.; Orlando, FL 32801 (407) 317-3200; scott.evans@ocps.net
University of Miami; kxa395@miami.edu
Mark A. Belfast, Jr., PhD
Southeastern University 1000 Longfellow Blvd.; Lakeland, FL 33801 (863) 667-5104; mabelfast@seu.edu FMSA President
Harry “Skip” Pardee
Collier County Public Schools 5775 Osceola Trail; Naples, FL 34109 (239) 377-0087; pardeh@collierschools.com FOA President
Matthew Davis
Harrison School for the Arts 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 499-2855; matthew.lawson.davis@gmail.com FVA President
Jason Locker
Bloomingdale High School 1700 Bloomingdale Ave.; Valrico, FL 33596 (813) 744-8018; jason@fva.net Member-at-Large
Edgar Rubio
Silver Trail Middle School 18300 Sheridan St.; Pembroke Pines, FL 33331 (754) 323-4321; merenguesax@aol.com
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Research...................................................................... Don D. Coffman, PhD University of Miami; d.coffman1@miami.edu Secondary General Music.............................................................Ed Prasse Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net Student Development.............................................. Michael Antmann, EdD Freedom High School; 2500 W. Taft-Vineland Rd.; Orlando, FL 32837 (407) 816-5600; michael.antmann@ocps.net
PROFESSIONAL DEVELOPMENT CONFERENCE Exhibits Managers................................................ Byron and Bobbie Smith 4110 Tralee Rd.; Tallahassee, FL 32309 (850) 893-3606; fmeaexhibits@fmea.org Local Co-Chairpersons Ted Hope—(813) 272-4861; ted.hope@sdhc.k12.fl.us Melanie Faulkner—(813) 272-4461; melanie.faulkner@sdhc.k12.fl.us Hillsborough County Public Schools, School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602
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
Music Director
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Business Manager..................................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; jo@barefootaccounting.com
FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION President......................................................................................John D. Ash College of Central Florida; 3001 SW College Rd.; Ocala, FL 34474 (352) 854-2322; ashj@cf.edu Past President............................................................. Stacie Rossow, DMA srossow@fau.edu
FLORIDA COLLEGIATE NAFME President............................................................ Katherine Attong-Mendes University of Miami; kxa395@miami.edu Florida Collegiate NAfME Past President...................Jennifer Luechauer jennifer.luechauer@browardschools.com
FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION President..................................................................... Ernesta Chicklowski Roosevelt Elementary School; 3205 S. Ferdinand Ave.; Tampa, FL 33629 (813) 272-3090; ernesta.chicklowski@sdhc.k12.fl.us Past President...............................................................Rosemary Pilonero rosemary@femea.flmusiced.org Executive Director............................................................. Jennifer Sullivan 1750 Common Way Rd., Orlando, FL 32814 (321) 624-5433; slljenn@aol.com
FLORIDA MUSIC SUPERVISION ASSOCIATION President.....................................................................Harry “Skip” Pardee Collier County Public Schools; 5775 Osceola Trail; Naples, FL 34109 (239) 377-0087; pardeh@collierschools.com Past President............................................................................Scott Evans scott.evans@ocps.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................................................................................Matthew Davis Harrison School for the Arts; 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 499-2855; matthew.lawson.davis@gmail.com Past President...........................................................................Jason Jerald jason.jerald@sdhc.k12.fl.us 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.................................................................................. Jason Locker Bloomingdale High School; 1700 Bloomingdale Ave.; Valrico, FL 33596 (813) 744-8018; jason@fva.net Past President.....................................................................Tommy Jomisko tommy@fva.net Executive Director....................................................................J. Mark Scott 7122 Tarpon Ct.; Fleming Island, FL 32003 (904) 284-1551; fva.scott@gmail.com Business Manager..................................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; business@fva.net
CENTER FOR FINE ARTS EDUCATION
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) Director of Finance & Client Relations...............................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)
ExecutiveDirector’sNotes
Florida Leads the Way
FMEA Executive Director
S
chool has been in session for a few weeks for most of the students in our state. We hope you are opening
Kathleen D. Sanz, PhD
your classrooms and being inclusive in your programs for ALL students. We also hope you are incorpo-
rating new techniques, technologies, and expanded genres in your classrooms to help reach the 80%-plus
students who are not involved in music in most of our secondary schools. In addition, please encourage your young music students to enter into the teaching profession by modeling behaviors that you acquired when you
The mission
of The Florida Music
were in school music programs. The teaching profession is hard, yet can be very rewarding.
Education
Association is to
FMEA Member Celebrations
Florida continues to lead the way with strong leadership and music educators who have been awarded great
promote quality,
GRAMMY Music Educator Award, and Dr. Dakeyan Chá Dré Graham of C. Leon King High School in Tampa,
music education
uals, and we are so proud to have them as members of our association promoting strong programs for their
students as a
accolades including Dr. Jeffery Redding of West Orange High School in Winter Park, recipient of the 2019
the 2020 Florida Department of Education Teacher of the Year. What a great honor for each of these individ-
comprehensive for all Florida
students.
part of their complete
education.
FMEA Professional Development Conference and All-State Concerts
Registration for the 2020 FMEA Professional Development Conference Celebrating Musical Excellence: Past, Present, & Future begins on September 21, 2019. Be sure to watch the FMEA website to take advantage of this excellent conference in Tampa, January 8-11, 2020. NAfME Conference
The 2019 NAfME Conference Amplify 2019: Opening Doors for All Students will be held in Kissimmee, Florida, at
the Gaylord Palms, November 6-10. Registration is open, and the deadline for early registration is September 6—don’t miss it.
NAfME All-National Honor Ensembles
FMEA is pleased to announce we have 41 All-National Honor Ensemble students. Come to the Gaylord Palms in Kissimmee, November 9-10, and listen to the Florida students and students from around the nation. Government Relations and Advocacy
FMEA is working diligently on government relations and advocacy with the hard work of the Government
Relations Committee and its chairwoman, Jeanne Reynolds. In recognition of the advocacy efforts of this committee, the Florida collegiate chapters, and staff, NAfME has presented several advocacy awards to Florida
«« FMEA was awarded the 2019 Excellence in Advocacy Award for promoting music education. «« Florida State University was given the Chapter of Excellence Award for its advocacy efforts. «« North Broward Preparatory School was named Tri-M Chapter of the Year.
organizations:
Mark your calendars as the 2020 Florida Legislative Session begins on January 14 and ends on March 13.
Please be prepared to take action and to advocate for your music students.
Let’s continue to work toward the FMEA mission of promoting quality, comprehensive music education in
all Florida schools.
Kathleen D. Sanz, PhD
September 2019
45
2020 FMEA Professional Development Conference
January 8-11, 2020 TAMPA CONVENTION CENTER 333 South Franklin, Street, Tampa, Florida
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Music Director