Florida Music Director September 2019

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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DEADLINE: Friday, November 1, 2019 admissions.ufl.edu

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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.

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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

Thank you to all of the donors who have shown their dedication to the improvement of music education in Florida by supporting our Mission through financial contributions.

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

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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 ).

REGISTRATION FEES Description

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26 F l o r i d a

Music Director

NEW SECURITY PROCEDURES FOR ENTERING THE TAMPA CONVENTION CENTER WILL BE FORTHCOMING LATER IN THE MONTH.

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conference, but there are no free tickets.

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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

46 F l o r i d a

Music Director