A Method for Teaching
Call Response Meeting IEP Goals in Music Education
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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 Volume 74 • Number 2
September 2020
F E AT U R E S
Editor-in-Chief
In Memoriam of Bobbie Smith.. . . . . . . . . 4
D. Gregory Springer, PhD Florida State University College of Music 122 N. Copeland Street Tallahassee, FL 32306 (850) 644-2925 (office) (dgspringer@fsu.edu)
A Method for Teaching Call and Response. . . . . 10
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
Meeting IEP Goals in Music Education . . . . . . 14 D E PA R T M E N T S
Corporate & Academic Partners. . . . . 2 President’s Message. . . . . . . . . . . . . 5 Advocacy Report. . . . . . . . . . . . . . 6-7 2020-21 FMEA Donors. . . . . . . . .
8-9
Component News.. . . . . . . . . . . . . 19 Research Puzzles. . . . . . . . . . . . . . 26 Committee Reports. . . . . . . . . . . . 28
Valeria Anderson (val@fmea.org)
Executive Director’s Notes. . . . . . . . 34
Director of Finance and Client Relations
Officers and Directors.. . . . . . . . . . 35
Richard Brown , MBA, CAE, CMP (richard@fmea.org) 402 Office Plaza, Tallahassee, FL 32301 (850) 878-6844
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Florida Music Director reserves the right to refuse any ad not prepared to the correct specifications OR to rework the ad as needed with fees applied. 2020-21 FMEA Membership: You are eligible for membership in the Florida Music Education Association if you are an individual engaged in the teaching, supervision, or administration of music in elementary and secondary schools, colleges, or universities within the state. Visit FMEA.org/membership to learn more about the benefits of active membership.
SUBSCRIPTIONS: Direct correspondence regarding subscriptions to: Hinckley Center for Fine Arts Education, 402 Office Plaza, Tallahassee, FL, 32301-2757. Subscription cost included in FMEA membership dues ($9); libraries, educational institutions, and all others within the United States: $27 plus 7.5% sales tax. CIRCULATION: 4,500 educators. Published eight times annually by The Florida Music Education Association, Hinckley Center for Fine Arts Education: 402 Office Plaza, Tallahassee, FL 32301-2757. FMEA reserves the right to approve any application for appearance and to edit all materials proposed for distribution. Permission is granted to all FMEA members to reprint articles from the Florida Music Director for non-commercial, educational purposes. Non-members may request permission from the FMEA office. SUBMISSIONS: Article and art submissions are always considered and should be submitted on or before the 1st of the month, one month prior to the publication issue to: D. Gregory Springer, PhD, dgspringer@fsu.edu.
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September 2020
3
In Memoriam of
Bobbie Smith
A Life Well Lived November 30, 1944–August 7, 2020
Barbara J. Smith (Bobbie) was a well-loved member of the
Florida Music Education Association family. She and her husband, Byron, served for many years as exhibit managers of the annual exhibition of music education products and services held in conjunction with the
FMEA Professional Development Conference held in Tampa each January. A musician herself, Bobbie was a pianist and sang in her church choir.
Music was Bobbie’s life, and she enjoyed seeing others, including her
grandchildren, involved in music. She provided guidance to countless
young musicians and music educators for more than 25 years, offering inspiration and providing direction for the future of music education. We will miss her smile and her work with our exhibitors to
ensure they are equipped for the FMEA conference. Bobbie’s earthly journey is complete, and she has earned her wings. Her daughter-in-law recently paid tribute to her, quoting from the Gospel of Matthew.
“Well done, thy good and faithful servant” (Matthew 25:23).
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President’sMessage
SHOW YOUR VALUE:
Celebrating Success and Advocating for Our Future
H
ello, FMEA members. As I write this article
Florida Seal of Fine Arts Program bill in the next leg-
Steven N. Kelly, PhD
many uncertainties, so much anxiety. Yet, I have
ment data that you can use to support your students’
President Florida Music Education Association
at the beginning of August, there are still so
been so impressed with the commitment, dedi-
cation, creativity, and resourcefulness of Florida
islative session, and the next round of cohort enrollmusic participation will be coming out soon.
As you can see, through all of our challenges,
music teachers in confronting the return to school.
music has succeeded. But there is work to be done.
constantly moving target of ever-changing policies,
fession has being an advocate for your program
Still, like so many of you, I am frustrated by the public debate, and mandates. 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.
Among all of our challenges, however, we still
have reasons to celebrate. For example, at the sum-
mer NAfME National Assembly meeting, FMEA was awarded the Membership Award for large
associations. This award indicates that FMEA is currently the largest state MEA in the country.
While we are certainly in no competition with our fellow states, this award does signify the importance
Perhaps at no other time in the history of our probeen more important. You MUST speak up about
the value and worth of music in our schools and
your specific program. You MUST be involved and informed. Visit the FMEA and NAfME websites to
learn about the latest resources and techniques for
successfully teaching music in a virtual setting. Be directly involved in decisions being made for your
school, including decisions that may not initially affect your music classes. Talk to your principals,
guidance counselors, and other colleagues. Contact
your superintendents and school board members. Get your students’ parents involved. Tell every-
that our state music teachers place on being FMEA
one that music is important, and may be the most
row that FMEA has received a major award from
school.
members. This award marks the second year in a NAfME. (We received the Advocacy Award in 2019.)
important class of the day as students return to We MUST keep music in music education.
The announcement of this award could also be con-
Students join music classes to sing and to play their
membership if you have yet to do so!
being sent home or other nonperforming filler activ-
strued to be a passive reminder to renew your FMEA More good news. Forty-seven Florida students
either made an ensemble or were selected as alter-
nates in the NAfME All-National Honors Ensembles. This is further evidence of the successful music teaching in our state.
Still more good news. In June, Dr. Mary Palmer
hosted an incredible Emerging Leaders workshop
instruments. Reducing music to worksheet packets ities eliminates the very essence of a music class.
Programs that will survive best after COVID-19 will
be those that are visible NOW. Be your best advo-
cate! Show the value of active music making and the many different ways that music education contributes to every student’s complete education.
I hope you will enjoy reading this issue of Florida
that attracted more than 50 participants from around
Music Director. I also hope you will be able to take
tremendous way to begin developing the future of
know that if I can ever be of assistance, I hope you
the state. The energy was amazing! This event is a FMEA leadership.
And yet more good news. I am pleased to report
care of yourself. Thank you for all you do. Please will contact me.
that the Early Childhood Bill, which FMEA supported, survived the governor’s veto and will be imple-
mented. This will be a great boost for our K-3 music teachers. Furthermore, FMEA will re-introduce the
Steven N. Kelly, PhD, President
Florida Music Education Association
September 2020
5
AdvocacyReport Jeanne W. Reynolds Chairwoman Government Relations Committee
Democracy Is Not a Spectator Sport I have written many articles with this same title. The pandemic has
reminded me it’s time for a review.
Do you know that one of the primary responsibilities of state govern-
ment is to educate Florida’s students? The constitutional language follows here:
The education of children is a fundamental value of the people of the State of Florida. It is, therefore, a paramount duty of the
state to make adequate provision for the education of all chil-
dren residing within its borders. Adequate provision shall be made by law for a uniform, efficient, safe, secure, and high-qual-
ity system of free public schools that allows students to obtain a
high-quality education and for the establishment, maintenance, and operation of institutions of higher learning and other public
education programs that the needs of the people may require (Florida Constitution, Article IX, Section 1, emphasis added).
If you are satisfied that your state leaders are fulfilling this constitu-
tional duty successfully, please make sure to thank them and support them in upcoming elections. If you have concerns, please engage vigorously in the democratic process. Express your concerns and make suggestions for improvement and/or support different candidates. Decision
makers cannot be held accountable if you don’t make your concerns
known. Decision makers cannot be held accountable if you are not a knowledgeable voter or, worse yet, if you do not vote.
As I watch friends and colleagues post passionate comments on social
media, I wonder how many of these friends have contacted the governor or their legislators who can actually do something. Your time is better
spent crafting a well-written, respectful tweet or post to a decision maker than hoping public sentiment will magically make it to your decision maker’s desk.
See the sidebar for a list of the people responsible for carrying out the
requirements of the state constitution. Let them know your thoughts. You are not powerless.
Click here to find 6 F l o r i d a
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YOUR legislators
FLORIDA LIEUTENANT GOVERNOR:
FLORIDA GOVERNOR: Ron DeSantis
Jeanette Nuñez
FLORIDA REPRESENTATIVES
FLORIDA SENATORS Ben Albritton
Ramon Alexander
Jason Fischer
Daniel Perez
Dennis Baxley
Vance Arthur Aloupis, Jr.
Heather Fitzenhagen
Cary Pigman
Lizbeth Benacquisto Lori Berman
Robert Alexander “Alex” Andrade
Joy Goff-Marcil
Rene “Coach P” Plasencia
Randolph Bracy
Loranne Ausley
Michael “Mike” Gottlieb
Tina Scott Polsky
Jeff Brandes
Melony M. Bell
James “J.W.” Grant
Sharon Pritchett
Doug Broxson
Robert Charles “Chuck” Brannan III
Aaron Bean
Lauren Book Rob Bradley
Oscar Braynon II Janet Cruz
Manny Diaz, Jr.
Gary M. Farmer, Jr. Anitere Flores
George B. Gainer Bill Galvano
Audrey Gibson Joe Gruters
Gayle Harrell Ed Hooper
Travis Hutson Tom Lee
Debbie Mayfield Bill Montford
Kathleen Passidomo Keith Perry
Jason W.B. Pizzo Bobby Powell
Kevin J. Rader
Jose Javier Rodriguez Darryl Ervin Rouson David Simmons Wilton Simpson Kelli Stargel
Linda Stewart
Annette Taddeo
Perry E. Thurston, Jr. Victor M. Torres, Jr. Tom A. Wright
Thad Altman
Bruce Antone Bryan Avila
Mike Beltran
Kamia L. Brown
James Buchanan Colleen Burton
Dr. James Bush III Cord Byrd
Michael A. “Mike” Caruso Joseph A. “Joe” Casello
Joseph Geller
Margaret Good Erin Grall
Michael Grant
Tommy Gregory
Michael “Mike” Grieco Brett Thomas Hage
Dianne “Ms Dee” Hart
Scott Plakon Cindy Polo
Mel Ponder
Holly Raschein Paul Renner
Spencer Roach
William Cloud “Will” Robinson, Jr.
Adam Roger Hattersley
Ray Wesley Rodrigues
Delores D. “D” Hogan Johnson
Anthony Rodriguez
Mike Hill
Ana Maria Rodriguez
Blaise Ingoglia
Bob Rommel
Evan Jenne
Anthony Sabatini
Dotie Joseph
Jason Shoaf
Al Jacquet
Rick Roth
Charles Wesley “Chuck” Clemons, Sr.
Shevrin D. “Shev” Jones
David Santiago
W. Travis Cummings
Sam H. Killebrew
David Silvers
Kimberly Daniels
Chip LaMarca
Ben Diamond
Thomas J. “Tom” Leek
John Cortes Dan Daley
Tracie Davis
Nick DiCeglie
Byron Donalds Brad Drake
Fentrice Driskell
Bobby B. DuBose Wyman Duggan
Nicholas X. Duran Dane Eagle
Anna V. Eskamani
Javier E. Fernandez Juan Alfonso Fernandez-Barquin
Elizabeth Anne Fetterhoff Randy Fine
Mike La Rosa
Tyler I. Sirois
Emily Slosberg
Chris Latvala
Carlos Guillermo Smith
MaryLynn “ML” Magar
Jennifer Mae Sullivan
David Smith
Randall Scott “Randy” Maggard
Geraldine F. “Geri” Thompson
Ralph E. Massullo, M.D.
Jay Trumbull
Amber Mariano Stan McClain
Lawrence McClure Kionne L. McGhee
Jackie Toledo
Josie Tomkow Susan L. Valdes
Barbara Watson
Clovis Watson, Jr.
Amy Mercado
Jennifer Necole Webb
Jose R. Oliva
Patricia H. Williams
Tobin Rogers “Toby” Overdorf
Clay Yarborough
Wengay “Newt” Newton Anika Tene Omphroy Bobby Payne
Matt Willhite
Jayer Williamson Ardian Zika
September 2020
7
FLORIDA MUSIC EDUCATION ASSOCIATION 2020-2021 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
June M. Hinckley Scholarship Professional Development for Members Mel & Sally Schiff Music Education Relief Fund
The following have graciously donated to FMEA from April 1, 2020, through August 11, 2020.
MAESTRO’S CIRCLE $10,000 and up
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PATRONS $25 – $99 Karen Bradley In Memory of Harold Bradley Katarzyna (Kasia) Bugaj Audrey Carballo In Memory of Irwin Bernard Greg Carswell Renee Cartee Dale Choate Don Coffman Marc Decker Virginia Densmore In Memory of Jeff Bradford Virginia Dickert
In Memory of Lindsay Keller & Deborah Liles
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Debbie Fahmie Melanie Faulkner Bradley Franks In Memory of Gary W. Rivenbark Michael Johnson Lu Anne Leone Joseph Luechauer Robert McCormick Jeneve Medford Jarvis Katie Grace Miller In Honor of My Aunt Artie Amy Nickerson In Memory of Carola F. Nickerson Mary Palmer
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DONATE TODAY FOR A STRONGER TOMORROW. With your support, FMEA will continue to grow its programs for teachers and students, strengthen united advocacy efforts, and improve your professional development opportunities. Visit FMEA.org to learn more information about each fund and to make a donation.
September 2020
9
A Method for Teaching
Call by Jeff Benatar, DMA
As more Florida music educators seek to include
Black American musical content into their programming, rehearsal techniques like call and response
from the jazz canon can help. Call and response is a
fun and effective pedagogical tool to engage your music
students, and it will also improve the authenticity of your
performances. The following step-by-step process was designed for
high school and collegiate small jazz ensembles, but can be simplified for all ages and musical groups.
Call and response is when a soloist states a musical phrase, and the rhythm
section (or the rest of the ensemble) reacts with a connected rhythm, harmo-
ny, or motive. Encourage your students to think about call and response as a
conversation. A speaker will periodically leave space for a listener to respond; Continued on page 12
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R
Response
September 2020
11
Call & Response Continued from page 10
this response might be “I hear ya” or “gotcha,” and the person speaking is being reassured that he or she is
being heard. Musically, the soloist knows his or her idea is being acknowledged by hearing a related response.
Remind your students that response is not imitation. (See Step 12 below.) In music, as in conversation, imitation is sometimes viewed as a teasing or sarcastic response. The blues is an ideal vehicle for teaching call and
response. I recommend using a blues piece in your repertoire so your students are improving on music they
will be performing. For the purposes of this article, I am
first example is the drums (Philly Joe Jones) from 0:38 to 0:43. Listen to the high hat on beat 4.
9. Show the transcription. (See Example 1.) Have each
student pick one of the parts and sing along with that
part as you replay the recorded excerpt. If your group is not great at sight singing, have the whole class sing one line at a time. The most important ones to sing are the trumpet call and the drum response.
10. Play or sing along. Now have students play their instruments or sing along. Note that the transcription is in concert pitch, concert B-flat.
using trumpeter Blue Mitchell’s solo from Blue Soul as an
11. Repeat Steps 8-10. Example 2 takes place at 1:45-1:53.
on Blue Mitchell’s recording on the Riverside label. Here
four measures of the AAB blues form (beginning
example. It is accessible on YouTube or as the title track are the steps to teaching call and response:
1. Play the recording until the first solo begins. For Blue Soul, make sure you listen to both iterations of the head (or melody).
2. Play the recording of the solo. Step 1 and Step 2 are here to establish context.
3. Guess the form. Blue Soul is in a 12 bar blues form. If
It is during the last chorus (fourth) during the second
with the IV chord). Remind students that this type of interaction happens organically throughout the course
of a solo. I recommend that the students play or sing (Step 10) the pitches in the trumpet (call) and the top
note of the piano voicing (response) as it demonstrates how the caller and the responder are listening to one another.
you have not yet discussed the blues form, an import-
12. Clarify non-imitation. Pianist Wynton Kelly is play-
time before continuing. Remind your students that
out that the rhythm is the same but the note choices
ant tradition of Black American music, spend some
the 12 bar blues form is AAB and often contains call and response in each four-measure section. (Listen to singers like Bessie Smith or Robert Johnson for good examples.)
4. Count to see when the melody repeats. Establish if there are two-, four-, six-, or eight-measure phrases.
5. Listen actively and mark the form with tactile cues. Blue Mitchell’s solo is the first one and is four choruses
long. I recommend that students raise their hands at the top of the form. If they are more advanced, have
students hold up one finger for the Roman numeral I chords and four fingers for the IV chord and bring
their hands down on the downbeat of each chorus. This engages both the tactile and aural senses. If students are watching their peers or you, they are potentially learning visually as well.
6. Introduce the concept of call and response. Use any definition. Just make sure you juxtapose it against the “call and imitation” methodology. (See Step 12.)
7. Re-listen to the solo. The solo starts at 0:36. Have students raise their hands each time they hear a paired call and response.
8. Identify the caller and the responder. The caller is often the trumpet (Blue Mitchell). The responder in the
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ing back the same rhythm. Isn’t that imitation? Point and direction of the two pitches are different. This shows the depth of call and response compared to
Example 1
Example 2
imitation. First, the call note choice is two D-flats. The
14. Interact. Perform this or your selected blues piece and
Blue Mitchell hears the ascension response and goes
their abilities to utilize space. Ask them to appreciate
response starts on D-flat but then goes up. Trumpeter up in his second iteration of the call. Second, the
response reiterates that D-flat to keep the theme, but
the pianist chooses to descend. Third, the call repeats
let as many students solo as time allows. Applaud
how space lets the music breathe and creates meaningful dialogue between each soloist and the ensemble responses.
ascending, so the response descends again—they’ve
15. Repeat. Repeat this lesson three to five times for best
note is now a D natural to ensure that the chord
Then you can begin to introduce other types of inter-
definitely heard each other. Note how the top piano
returns to the I chord rather than the IV where this
interaction began. Fourth, the final call ends on B-flat (tonic) and, as a result, so does the response. Then new ideas for both the caller and responder continue.
results. Use examples from your repertoire, if possible.
action such as phrase punctuation, texture change, instigation, and anticipation.
Enjoy the process. This methodology will be fun for
13. Practice solos on 12 bar blues. Have each member of
you, too. Call and response is so much more dynamic
rhythm section or ensemble to interact. Remember to
wonderful by-product of this methodology is that your
the ensemble take a solo—trying to leave space for the
emphasize that responses should not be imitations. If you are doing this activity with an individual student,
I recommend accompanying the student on piano. In a group setting, you may also prescribe a specific
response for your ensemble members. (Suggest a particular rhythm, measure number, and/or set of pitch options so that ensemble responses are not total
cacophony.) Make sure to clarify who is the soloist
than a “repeat after me” or a “Simon says” rehearsal. A
students will be more willing to take solos, and their
improvisations will be more interesting and successful. Teaching the call and response interaction technique
reinforces the influence of Black American music, a tra-
dition that has impacted almost every genre of music we perform.
(caller) and who is the responder (individuals or the
Jeff Benatar, DMA, is a jazz pianist with a
space as the caller. It forces clarity of ideas and rhythm
of music, director of jazz studies, and coordina-
ensemble). In short, encourage your students to leave and makes interaction easier. Although this feels contrived at first, it helps students (both as soloists and
ensemble musicians) to really listen to each other. This is the beginning of good interaction.
passion for teaching. He is assistant professor
tor of music management at Florida Southern College. Dr. Benatar directs FSC’s big band
and combos, leads the Jazz Piano Studio, and teaches jazz and music management courses.
September 2020
13
MEETING IEP GOALS in Music Education
A
by Amalia Allan
An individualized education plan (IEP)
according to IDEA, 2004, and the infor-
can take this concern to a member of
educator can use to help students with
rights and responsibilities. Teachers’
(VanWeelden, 2015). Schools must provide
is one of the most helpful tools a music
disabilities in music classes. IEPs are legal
documents outlined in the Individuals with Disabilities Education Act (IDEA,
2004), and they apply to students who fit within one (or more) of 13 disability categories (e.g., visual impairment/blindness,
mation below is an overview of these rights include:
1. receiving a written copy of all
students’ IEPs (Wrightslaw, 2020b);
2. requesting additional music-specific
supports, materials, and/or training; and
deafness, autism, speech or language
3. determining student placements
lists of individualized goals and strat-
without disabilities (IDEA, 2004;
impairment). Within IEPs, you will find
on the same basis as students
egies to help students with disabilities succeed in school (IDEA, 2004). Though
VanWeelden, 2015).
All teachers have a right to see their
IEPs rarely contain music goals and music
students’ IEPs (IDEA, 2004; Wrightslaw,
are ways that music educators can be
ers are responsible for:
teachers are not often on IEP teams, there more involved in IEP processes (Adamek & Darrow, 2018; VanWeelden, 2015). IEPs
2020b). According to IDEA, 2004, all teach-
1. familiarizing themselves with students’ IEPs;
can sometimes be challenging to inter-
2. implementing IEP goals as
music class may seem like a daunting
3. consulting with IEP team members
pret, and applying non-music goals in
task. Fortunately, documents and training opportunities exist to help music teachers
with IEP goals (Adamek & Darrow, 2018; FDOE, 2015; VanWeelden, 2015), and this
applicable;
regarding questions and student feedback; and
4. providing equal opportunities to all students despite their
article suggests ways to incorporate IEP
abilities (Adamek & Darrow, 2018;
information in music instruction.
It is important for educators to under-
stand their rights and responsibilities
14 F l o r i d a
VanWeelden, 2015).
Also, if you think a certain student
requires a specific music support, you
Music Director
the child’s IEP team to submit a request and pay for accommodating materials,
such as assistive technology (AT), for students who need it. AT can include low-tech
items, too, such as pencil grips (FDOE,
2015; Wrightslaw, 2020a). Therefore, a reasonable music support should be supplied.
In a book chapter titled “Understanding
the Individualized Education Program
Model within the United States,” Dr.
Kimberly VanWeelden (2015) presented four IEP segments that music educators can look for in IEPs to facilitate accommodation planning. These included: 1. Present Levels of Academic
Achievement and Functional Performance;
2. Measurable Annual Goals;
3. Supplementary Aids and Services; and
4. Program Modifications/Supports for School Personnel.
In the following sections, I discuss each
of these IEP segments and give examples
of how the information provided in the respective segments can be used in music Continued on page 16
“
… there are ways that music educators can be more involved in IEP processes.
”
September 2020
15
IEP Goals
Table 1
Examples of Present Levels and Student’s Strengths and Challenges
Continued from page 14 lesson planning for students with disabilities. All examples relate to two hypothet-
ical students with IEPs, Jeremiah and Lila.
As you read through the examples, please consider how these IEP-inspired ideas
might also help other students, including
Student’s Strengths and Challenges
Jeremiah is a fourth grader who shows strength in reading and weakness in math. He has difficulty paying attention in class and struggles with following directions.
+ reading
– math, focus
Lila is a seventh grader who is gifted in math. In sixth grade, she completed a senior-level math class at the high school and received an A in the class. She needs accommodations for activities like writing, which make use of fine motor skills, and she has great difficulty with transitions between activities.
those who do not have IEPs.
1. Present Levels of Academic Achievement and Functional Performance
In this segment of the IEP, there are
descriptions of the student’s present levels
Examples of Present Level of Academic Achievement and Functional Performance
+ math – fine motor skills, transitions
of academic and functional accomplish-
(see Table 1). It is best to begin by empha-
Department of Education describes these
child’s performance in academic areas”
deficits. Then, start to brainstorm accom-
student, asking the question, “Where’s
ment. Academic achievement refers to “a
(e.g., math, science, language arts), and functional performance pertains to “skills of
daily living” (e.g., dressing, social skills, behavior skills, mobility skills) (CPIR,
2017a, paras. 3 and 6). Though everything in this segment may not always apply to
what a child does in music, it might still
sizing a student’s strengths rather than modations based on the student’s strengths that are applicable to music. The second IEP segment, Annual Goals, is directly related to the current segment, Student
Levels. Music accommodations are presented in the next table (see Table 2).
be useful for planning accommodations.
2. Measurable Annual Goals
strengths and challenges, which I like to
demic and functional goals, which stem
Begin by taking note of the student’s mark on a separate document with a “+”
for strengths and a “-” for challenges, even if they are not directly related to music
This segment addresses important acafrom the student’s present levels of aca-
demic achievement and functional perfor-
mance listed above (CPIR, 2017b). The U.S.
goals as being a type of road map for the the child heading this year [academically
and functionally]?” (CPIR, 2017b, para. 1). Though IEPs do not usually include music
goals, federal law requires that all teachers, including music teachers, help stu-
dents meet their annual IEP goals where applicable (IDEA, 2004; VanWeelden,
2015). Many of these annual goals can
be connected to music, either directly or through thoughtful transfers (see Table 2). 3. Supplementary Aids and Services
In this segment, there is a list of necessary aids and services for helping a student meet his or her annual goals. The
U.S. Department of Education defines supplementary aids and services as “aids, services, and other supports that are
provided in regular education classes, other education-related settings, and in extracurricular and nonacademic settings, to enable children with disabilities
to be educated with nondisabled children
to the maximum extent appropriate” (CPIR, 2017c, para. 6). This definition
clearly encompasses music activities, and this section of the IEP is one of the most
useful
to
music
educators
(VanWeelden, 2015). Supplementary aids and services include environmental needs
16 F l o r i d a
(e.g., preferential seating), staff support Music Director
Table 2
Examples of Annual Goals and Ideas for a Music Education Setting Examples of Annual Goals
Activity Ideas for a Music Education Setting
Jeremiah will complete math word
problems that involve multiplication
+ Compliment Jeremiah on any good work and take note of specific musical strengths.
classroom worksheets.
– Incorporate meter activities to improve math skills and use strategic “buddy breakouts” while monitoring student progress.
and division with 85% accuracy on 8/10 Jeremiah will complete actions in response to 3-step verbal requests with 90% accuracy.
Lila will pick up small objects using an inferior pincer grasp with thumb and fingers with her right hand with 80% accuracy in 4/5 trials.
Lila will increase ability to transition from one activity to another to 90% of the time.
– Help Jeremiah with following directions. Start with 2-step instructions, and then increase to 3-step instructions. + Compliment Lila on any good work and take note of specific musical strengths. – Incorporate activities and exercises to encourage rehearsing of motor skills, particularly through instrument playing. Create instrument modifications as needed (Adamek & Darrow, 2018). – Help with transitions through an established music routine and music activity schedule.
(e.g., one-on-one assistance), equipment
the aid or service be added to the docu-
include attending a conference or training
needs (e.g., frequent breaks, more time on
must provide and pay for any assistive
from another staff member or admin-
needs (e.g., assistive technology), pacing
tests), alternative presentation of material (e.g., video lectures, sign language), mate-
rial needs (e.g., large print or Braille), and testing adaptations (e.g., modified formats, extended time). With this information, music teachers can provide accommodations and modifications while also
ment and provided to the child. Schools
related to the child’s needs, getting help
technology (AT) that a student needs to
istrative person, having an aide in the
make progress, and this includes music
classroom, or getting special equipment
class (IDEA, 2014; Wrightslaw, 2020a). A
or teaching materials (CPIR, 2017d). Music
device as simple as a pencil grip is con-
educators can use this section of the IEP to
sidered a low-tech type of AT (FDOE,
make special requests regarding training
2015; Wrightslaw, 2020a).
(VanWeelden, 2015) (see Table 4).
finding ways to present and evaluate
4. Program Modifications/Supports
Organizing and Using IEP
VanWeelden, 2015) (see Table 3). Also, it
This segment includes specific supports
After finding the information you need
lesson material (Adamek & Darrow, 2018;
is important to remember that if there is a specific music aid or service that you think might be beneficial to a child
with an IEP, you can speak with one of the IEP team members to request that
for School Personnel
Information
that are provided to any school faculty
in the above IEP segments, you can
or staff member who works with the stu-
begin to plan and create accommoda-
dent. Again, this is all intended to help the
tions and modifications for individual
individual student meet his or her annu-
students. Though IDEA does not define
al goals. Supports for personnel might
Continued on page 18
Table 3
Examples of Supplementary Aids and Services as Applied to a Music Education Setting Examples of Supplementary Aids and Services Jeremiah needs preferential seating near the front of the
classroom. Also, provide visual cues and prompts, extended time on tests, and use of a calculator on math tests.
Lila needs preferential seating, adapted writing utensils,
assistive technology, a visual daily schedule, and visual and verbal cues regarding transitions.
Applications to a Music Education Setting Provide preferential seating, visual cues and prompts, and allow extended time on tests.
Provide preferential seating, adapt musical instruments
and manipulatives (Adamek & Darrow, 2018), incorporate a
visual music schedule, and implement visual and verbal cues between activities.
September 2020
17
IEP Goals
Continued from page 17 Table 4
Examples of Supports for School Personnel as Applied to a Music Education Setting Examples of Supports for School Personnel Any school personnel who work with Jeremiah can
receive curriculum modification assistance and behavioral consultation with the school psychologist.
Any school personnel who work with Lila can attend the
(name of conference) to learn more about Lila’s disability and implement accommodation strategies.
Applications to a Music Education Setting Take your school up on this offer and get assistance when and if needed.
Take your school up on this offer and attend the conference if you can.
accommodations and modifications, there
music, supplementary aids and services,
children with special needs and at an autism
distinct meanings. With an accommoda-
ideas and students’ progress. This sug-
Methodist University and the BME from
is general agreement in education on their
tion, the particular student is still expected to know the same material and answer
questions fully like other students; however, the student is offered flexibility with things such as formatting, setting, or the
amount of time needed for a response
(Adamek & Darrow, 2018). A modification,
on the other hand, allows a change in what the student is expected to learn as compared to other students, and modifi-
and any additional notes to track your
gestion is just an example of something that has worked for me. Feel free to try it
or use another system that works better
for you. Keeping record of your inclusion
strategies is helpful not only for the sake of recording your ideas (that you might
reuse in the future), but also for tracking students’ progress and helping to meet their IEP goals.
the students’ IEP teams.
It can be extremely helpful for teachers
to organize students’ IEP notes while
keeping a record of accommodations, modifications, and students’ progress.
This can be done in a variety of ways, from an index card filing system to digital
documents. I have always used an Excel spreadsheet for my students with disabilities where I create a single document for
IEPs who may experience more obsta-
cles to learning than other students. One
of the wonderful things about music is its multisensory nature and how it can
encompass aspects of the core subjects.
Therefore, it is important to consider how
a music accommodation designed for a particular student might also be helpful
to other students, including those without
IEPs. Everyone learns differently, and we
are all deserving of success, so let’s help every child find their joy in music.
all my music classes. With my general
Amalia Allan is a PhD
listed on a separate tab (at the bottom),
ing assistant at Florida State
music classes, each classroom teacher is but tabs might also be organized by grade
level. Within each spreadsheet, columns can include students’ names, current
strengths, current goals as applicable to
18 F l o r i d a
IDEA, Individuals with Disabilities Education Improvement Act of 2004, Pub. L. No. 108446, 118 Stat. 2647. https://www.parentcenterhub.org/wp-content/uploads/repo_items/ PL108-446.pdf
Center for Parent Information & Resources (CPIR) (2017b). Annual goals. https://www. parentcenterhub.org/iepgoals/
ing experiences, especially those with
their details are defined and reviewed by
Adamek, M. S., & Darrow, A.-A. (2018). Music in special education (3rd ed.). American Music Therapy Association.
bility to provide all students with reward-
partially in a music activity (Adamek &
modifications are included in IEPs, and
References
Center for Parent Information & Resources (CPIR) (2017a). Present levels. https://www. parentcenterhub.org/present-levels/
education possible, and it is our responsi-
Darrow, 2018). Both accommodations and
SUNY Fredonia.
All of our students deserve the best
cations might include completing only a portion of an assignment or participating
center. Amalia holds the MM from Southern
student and graduate teachUniversity. She taught elementary music and directed choirs in Texas for seven years,
and later taught music at a private school for
Music Director
Center for Parent Information & Resources (CPIR) (2017c). Supplementary aids and services. https://www.parentcenterhub.org/iep-supplementary/ Center for Parent Information & Resources (CPIR) (2017d). Program modifications for school personnel. https://www.parentcenterhub.org/ modifications-personnel/ Florida Department of Education (FDOE) (2015). Developing quality Individual Education Plans: A guide for instructional personnel and families. http://www.f ldoe.org/core/fileparse.php/7690/ urlt/0070122-qualityieps.pdf VanWeelden, K. (2015). Understanding the Individualized Education Program model within the United States. In Blair, D. V., & McCord, K. A. (Eds.), Exceptional music pedagogy for children with exceptionalities: International perspectives (pp. 278-295). Oxford University Press. Wrightslaw (2020a). The Wrightslaw Way to Special Education Law and Advocacy: Assistive technology. https://www.wrightslaw.com/info/atech. index.htm Wrightslaw (2020b). The Wrightslaw Way to Special Education Law and Advocacy: Confidentiality and IEPs. https://www.wrightslaw.com/blog/confidentiality-and-ieps/
ComponentNews
FLORIDA NAfME COLLEGIATE
Julian Grubb, President
Welcome our guest author, Florida NAfME Collegiate member Alexis Hobbs.
Tips for Success by Alexis Hobbs
T
he Florida NAfME Collegiate Executive Board is beyond excited for this school year. During these unprecedented
1
times, we would like to provide three major tips for setting you and your NAfME Collegiate chapters up for success!
« By increasing communication within your chapter, you are 1. Increase communication
taking your first step on the road to success. A good way
to increase communication is through a virtual approach.
There are a lot of great apps that can help this process, such
« Be consistent! While adapting new forms of communication as Zoom, GroupMe, Skype, etc.
is great, being consistent is the key to keeping members
« Communicate with other chapters around the state. When involved and up-to-date.
network and to share ideas that could positively impact your chapter, as well as a chance to get to know future colleagues
« Contact your Florida NAfME Collegiate Executive Board.
We are here to serve your chapter and to help with your chapter’s needs.
« Coming up with ideas for chapter meetings can be difficult
2. Ideas for chapter meetings
and sometimes intimidating. Depending on your institu-
tion’s guidelines for the year, we would like to list a few ideas for both virtual and face-to-face chapter meetings and
« For virtual meetings: social events.
•
Provide recorded or virtual live sessions from guest
•
Platforms such as Houseparty or Jackbox allow members
• •
speakers.
to interact virtually outside of business meetings.
Host a karaoke or performance party over a virtual platform.
Host a social media spirit week (e.g., Motivation Mondays
« For face-to-face meetings: or Fine Arts Fridays).
•
Hold small group gatherings (socially distanced, of
•
Host a chapter spirit week (e.g., “Throwback Thursday”
course).
playing a piece from the 1800s).
Pre-sell fund-raisers.
Hold a practice competition (e.g., chapter members logging their practice times as a friendly competition while
3 2
you reach out to other chapters, you have the opportunity to
in your field.
• •
improving their musicianship).
« Focus on your why. Keeping your mind focused on why 3. Stay motivated
you are studying to be a music educator is a great motivator!
While everything might seem to be chaotic, taking a moment
to look back on the moments you have had in music is a won-
« It is easy to let the work fall to a few members, so remember derful inspiration.
to stay active and participate! Although this may not be an ideal situation, focusing on making the most of your chapter’s circumstances will help you and others around you stay
« Keep making music. As future music educators, we all have motivated and driven.
one thing in common: we love music! Inspire the musician in
you with a new piece of music you have been dying to play or a new attainable practice schedule.
While we may not know what the future holds, we can begin
to take the first steps into this new season of music education by starting with our NAfME Collegiate chapters.
Alexis Hobbs is a junior music education major at
Southeastern University in Lakeland, Florida. She is actively involved in Southeastern’s NAfME Collegiate
chapter, where she serves as president-elect. She is a multi-instrumentalist and plays in the Southeastern
String Orchestra, Symphony Orchestra, Jazz Ensemble, and Athletic Pep Band.
September 2020
19
ComponentNews Resources You Can Use for Online Teaching by Victor Fernandez FLORIDA ORCHESTRA ASSOCIATION
Matthew Davis, President The 2020-21 school year has finally arrived! I would like to welcome our new district chairpersons: Raine Allen District 8 Samantha Felber District 10 Shelby Montgomery District 12 Joshua Lennox District 14 Besnik Hashani District 16
W
hen the Coronavirus epidemic
shut our school district on Friday,
Lauren Pardee District 18
March 13, 2020, our entire world pivoted
Thank you to our district chair-
as an orchestra director who has led
a successful year for your district!
15 years across all grades, this transition
person is there to support you with
the daily human connection we shared
you may have throughout the year.
the collective striving to create beauty
year, I thank you for your flexibil-
list could go on!
FOA website for the most up-to-date
the actions taken and resources created or
this year.
receive a high-quality musical education.
time, I have asked FOA member
tary school programs can all benefit from
provide some online teaching ideas
I created apply to your teaching area, I
questions for Mr. Fernandez, please
interested in learning how I created, pro-
dez@palmbeachschools.org.
will be delighted to connect with you and
to online instruction overnight. Speaking
persons for setting the stage for
orchestras of 50 to 60 students for over
Remember that your district chair-
was difficult on many levels. I missed
any FOA questions or suggestions
during our rehearsals, the music making,
As we navigate this most unusual
through music, the performances, etc. The
YouTube
From March 13 to the end of the school
year, I recorded, edited, and published more than 100 teaching videos focused
on string playing and piano accompaniments.
CLICK HERE
They consist of scales
and arpeggios (1 and 2 octave flavors) up
to four flats and four sharps with harmonic accompaniment. Additionally, I started
the project of recording the Suzuki books
on violin and viola, which was helpful to have on the channel.
With this resource at my fingertips, I
What I hope to share in this writing are
assigned scales and ensured that students
information and changes for events
used to ensure my students continued to
context while developing their ear and
To assist you during this difficult
High school, middle school, and elemen-
and director Victor Fernandez to
the ideas shared. Should the resources
colleagues to create materials that stu-
he has found helpful. If you have
share them freely for you to use. If you are
the instrument played. In the example
reach out to him at victor.fernan-
duced, and published any of the content, I
ity and patience. Please check the
20
teach you how.
Florida Music Director
were practicing their scales in harmonic playing in tune. I intend to continue adding content this year.
I also collaborated with professional
dents could practice with, regardless of
below, you will see us playing an orchestra arrangement of a technical exercise
from Schradieck’s “The School of Violin Technique.”
CLICK HERE
The point here is you can still assess
your students’ performance while adapting to the limitations of the current technology. Lastly, consider upgrading your
microphone, as your students will hear
you better and more clearly. Also consider upgrading your speakers so you can hear your students more clearly. Closing Thoughts FlipGrid
This site provides students
the ability to record themselves and then
upload and share their videos for feed-
back and evaluation. Because it is not streamed content, the audio and video quality is considerably higher.
Every week, students recorded several
1-2 minute clips for which I could provide
detailed and specific feedback on intona-
tion, tone quality, posture, and position, etc.
Google Classroom
In the School District of Palm Beach County, Google Classroom was adopted
1. Ask your students to mute themselves
while you play or “lead” your ensem-
ble through scales or warm-ups.
a. Alternatively: ask a proficient student to lead while other students mute themselves.
b. What happens here is that to the stu-
dents, perceptually they are playing in-sync with you since they hear you and follow you.
2. Ask individuals to unmute and play
the passage, allowing you to assess and provide feedback.
3. When coaching students one on one:
a. Set the incoming student audio to headphones (wear them!).
for online instruction. With my orches-
b. As you lead the student through
ing, playing, and writing assignments;
you can hear him or her roughly a
tra class connected, I could post listenrespond to comments; and track complet-
ed work. Because the class itself can host content, I was able to upload PDF materials covering orchestra music, scales, tech-
passage work, scales, or warm-ups,
half-second delayed on your head-
phones, although to the student you are in-sync.
Even if your classroom starts in person
this coming year, I believe elements from the tips listed here can still enhance and
enrich your instruction. In our case, we are starting virtually, but I can tell you
right now that when we go back to in-person instruction, many of these pieces will remain in my tool box.
I wish all of you a successful year
ahead. As a global society, we are in uncharted waters, and our students need
us and music more than ever. Let’s collaborate, evolve, adapt, and share to meet the challenges of this time. Our advocacy
and actions today will have far-reaching
repercussions as we carry the torch for the music profession. Stay in touch, stay connected, and continue to give students the very best of yourself! For inspiration,
CLICK HERE
to see my
virtual performance from last spring.
Have a safe and successful school year!
nical development, solo repertoire, etc.
If your district does not use Google
Classroom, speak with your administrator to explore the possibility of using it as a hub for your ensemble or classroom. Tips for Using Google Meet or Zoom for Ensemble Practice
Because of internet lag, playing at the same time is not a possibility; however, it
is possible to lead some modified ensemble activities. These practices evolved while trying to keep engagement levels high and adapt to online learning.
September 2020
21
ComponentNews Cultural Responsiveness in the Elementary Music Classroom I see you.
Why now?
Learning Communities in our classrooms;
focus of media, conversations, and the
We are charged to create Inclusive we want our students to feel “seen” in
our classroom lessons and experiences.
These lessons should include compelling inclusions that support affirming and celebrating our students as unique individuals to help nourish empathy and to
help create enduring relationships, which is an incredible part of social emotional learning.
Issues of social injustice have been the lives of our students more than ever before. Many of our students have been
exposed to challenging situations and
unfortunate events in the past several
months that children should not have to deal with. Many of the students we
serve will have experienced some level of emotional trauma before they take a seat
in our classrooms this fall. Trauma comes
emotional development of our students’
issue is poverty, racial injustice, food inse-
fortunate enough to have the privilege
in various forms and faces, whether the
What is cultural responsiveness?
Cultural responsiveness as coined by the National Center for Culturally
curity, or lack of stability.
Inequitable representations of the
Responsive Educational Systems is “the
students in our classrooms must be
fully with people of your own culture
music educators, the ability to “see your
ability to learn from and relate respectas well as those from other cultures.”
It is a pedagogy that recognizes the importance of including students’ cultural references in all aspects of learning.
addressed by us as the educators. As
achievements in every aspect. We are of influence to share openly with our
students, to show emotion, to encourage creativity and expression, and to motivate musicianship.
Let’s use this incredible time of change
students” through a more authentic lens
and flexibility to invest in making inten-
responsiveness practices in the music
relevant impact in our students’ lives. I
is more important than ever. Cultural room can play a pivotal role in the social
tional decisions to make responsive and
hope we are all doing this daily; however,
CLASSROOM LESSON CONNECTIONS RELEVANT RESOURCES Edward’s Rhythm Sticks
Franklin Willis
Rhythm and Found Sound Lessons
Three Little Birds
Cedella and Bob Marley
Genre, Meter, Tempo, SEL
Say a Little Prayer
Burt Bacharach and Hal David
Family Connections, SEL, Timbre
I’ve Got Rhythm
Frank Morrison
Rhythm Lessons
The Day You Begin
Jacqueline Woodson
SEL, Orff, Form
Say Something
Peter H. Reynold
SEL, Movement, Orff
Because
Mo Willems and Amber Ren
SEL, Composers, Conductors
Whole World
Christopher Corr
Folk Songs, Global Connections, SEL
What If?
Samantha Berger
Creative Arts, Orff, Composition, SEL
The Proudest Blue: A Story of Hijab and Family
Ibtihaj Muhammad
Movement, Form, SEL
Maybe Something Different
F. Isabel Ch
Rhythmic Chant, Orff, SEL
Favorite Folk Songs
Peter Yarrow
Songs, Music, Historical Context
22 F l o r i d a
Music Director
FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION
Ernesta Chicklowski, President
this is a great opportunity to reflect on
the academic and emotional decisions in our music classrooms and program. Classroom Lesson Connections (Relevant Resources)
Providing positive opportunities for crit-
ical self-reflection is key to our students’ social emotional development and creating culturally responsive learning environments for them. See the previous page for a list of relevant resources.
« Exercise thoughtful choice and careConsider the following:
ful selection of musical and visual materials in your classroom teaching
space and lessons so that all students are represented. Unconscious bias of selections shared in your music room
makes an impact on students’ atti-
« Ensure
tudes and music experiences.
authentic representation of
cultural references, relevant messages,
and innovative practices that embrace the “past” while ensuring the “pres-
ent” is represented and evolving with the current climate of our schools and
« Take a risk to develop yourself and society.
learn more about cultures other than
your own. Research shows that “teach-
ers’ histories count” in the classroom. We bring in our own personal sto-
ries, experiences, and interactions that
« Reshape your way of doing things in shape the way we teach our students.
your classroom for the betterment of all of your students.
« Allow
students opportunities to
share, connect, and reflect when shar-
ing lessons that may challenge their
« Revisit and select folk songs that you thinking.
share with care and concern for your
« Take thoughtful care in verbal groupstudent audience.
ing of race, cultural identity, gender, and sexual identity.
“Pause, Pivot, Plan, and Proceed with Passion”
« Consider curriculum, historical context of selections, and sequencing. « Recognize that your “choice” may be
Opportunities for Growth
Thoughtful Considerations
Move beyond the month (i.e., Black History
« Be intentional about your selections of classroom. « Add more diversity in your music material. « Diversity should be woven into your listening and text library. entire curriculum. Consider moving « Reach out and connect with others
Month, Hispanic Heritage Month, etc.)
interpreted as your “voice” in your
away from months of celebration,
who may offer other perspectives and
« Every story, every song, every music embracing all at all times.
experiences.
experience shows what YOU value
Resources About Culturally Responsive Practices
Choose wisely!
Culturally Responsive Teaching in Music Education: From Understanding to Application—Constance McKoy
and what YOU think is important.
« Know your resources and their con-
Dig in deeper
text before you share them with your
Responsive Classroom for Music, Art, PE, and Other Special Areas— The Responsive Classroom Publications
students.
September 2020
23
ComponentNews
FLORIDA NAfME COLLEGIATE
Mark A. Belfast, Jr., PhD, Advisor
Off we go into the wild …
W
elcome back! Since the last publication of Florida Music Director, many K-12 school
Education, the FMEA homepage is a
of instructional delivery. In Florida, the methods of providing that instruction are as
most current issues affecting music
systems, colleges, and universities across the country have resumed some form
diverse as the institutions and the people who attend them. Some will be returning to the physical classroom with hopes that mitigation strategies (i.e., social distancing, mask wearing, upgraded HVAC systems, etc.) will be enough to slow or prevent con-
tagion. Out of an abundance of caution, others will resume virtual education with promises of better infrastructure, more adequately prepared instructional staff, and
flexible schedules. The decisions being made by educational and political leaders, at all
gateway to resources related to the education today. Additionally, from the “Programs” tab, you can visit
the FMEA component organizations’ websites to view resources specific to your specialty area of interest.
levels, have a direct impact on you as you continue your professional development and prepare to teach in the post-pandemic era.
Of greatest concern this academic year is your ability (or inability) to get practical
experience in K-12 classrooms. Many of you may find your typical field study and
internship experiences will involve fewer hands on activities with students. Although when it comes to teacher preparation, there is no substitute for being in a classroom with children, there are resources available to help you bridge the gap:
across the country pose questions and
receive guidance from their colleagues
within the profession. It has been fas-
cinating (and at times frightening!) to watch the hive mind at work during
this pandemic season. Even if you’re
« NAfME
not a fully paid collegiate member of NAfME, the “For Teachers” tab on the
– If you have paid your
NAfME homepage includes a great
NAfME Collegiate dues (not just your
deal of useful (and free) resources.
local chapter dues), you should have access to a number of publications just like this one. Visit NAfME.org
•
Update: Applications of Research in
Journal of Research in Music Education
conference
fessional
development
material.
Simply search for your organization of interest (e.g., Florida Music
Education Association, International Society for Music Education, College
ics related to teaching and education in general. Some of my favorite
videos related to classroom management have been uploaded by Agape
« FMEA – Similar to NAfME, FMEA’s « Free
Music Education
NAfME’s Amplify platform also
serves as a professional networking community where educators from
24
webinars,
recordings, tutorials, and other pro-
COUNTLESS videos of special top-
research journals:
Journal of Music Teacher Education
uploading
of Singing, etc.). There are also
you can access five practitioner and
General Music Today
YouTube channels where they are
National Association of Teachers
right section of the page. From there
Music Educators Journal
nizations (including FMEA) have
Band Directors National Association,
and click the “Research” tab in the top
• • • •
« YouTube – Many professional orga-
Florida Music Director
Management. Check them out!
Professional Development
website (FMEA.org ) provides access
Conferences/Webinars – Ask your
you might find helpful during this
and other college music professors
to a significant number of resources
time. In addition to gaining access to
back issues of Florida Music Director and Research Perspectives in Music
NAfME Collegiate chapter advisor to let you know when professional organizations announce free virtual conferences or webinars. Attending
FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION
Marc Decker, DMA, President
those during this time could provide invaluable experiences that might oth-
erwise be inaccessible on your usual budget. This summer, I enrolled in
Jazz at Lincoln Center’s Summer Jazz Academy for the first time … and it was free. WOW!
I recognize it might be difficult to find
hurricane season just in time to enter flu
T
amidst the worst of the worst storms, the
Etude Magazine in November 1942. This article was composed less than a year after
focus during these unusual circumstances, and we’re still trying to finish up a
season. I was recently reminded that even sun is shining brightly just on the other
side of the clouds. If you’ve ever taken off in a plane during a storm, you remember
that feeling of trepidation as you watched the rain falling from darkened skies and pounding the tarmac while lightning
his morning, seeking insight into the challenges we are facing in the upcoming
semester, I recalled a tremendously powerful journal article. After 30 minutes
of searching through my poorly labeled binders, I finally unearthed the treasure I
was seeking. “How Music Can Help Win the War” by William Revelli, published in our country declared war on the Axis powers. It is hard to imagine the complicated
feelings of our nation back then. Surely many experienced uncertainty about the future and a fear of war while witnessing major societal challenges. Revelli’s message during this terrible time was that music holds tremendous power. It is strong enough to sway hearts and minds to help win a war. Music is mighty indeed!
Our challenges today are different than those of the Greatest Generation. We are
filled the sky. You’ve heard a calm (too
struggling against a pandemic that has changed our professional and social lives. Of
buckled because it was going to be a bit
the same ones faced nearly 80 years ago, but music’s innate ability to help remains
calm?) pilot remind you to stay seated and of a rough ride at the start. You recall the feeling of your stomach jumping into your
throat as the plane dipped, hopped, and
equal concern are issues of social injustice and inequality. These challenges are not constant. Reading through Revelli’s article, there is much we can borrow to enlighten us about the challenges of today.
Competitions, music festivals, traditional concerts, and football games seem less
(are we falling out of the sky?!) plopped
important now. Instead, what I contemplate daily are methods of student engage-
navigated their way through the storm.
different ways of teaching and performing music. Like so many of you, I have been
through the turbulent air as the pilots It was FRIGHTENING … and then it
wasn’t. I’m sure you also remember the sigh of relief as the plane breached the top layer of clouds only to find a breathtakingly blue sky and blinding sun. The ride
became smooth as silk, and you could feel
ment, maintaining student wellness, adapting to new technology, and exploring
challenged with teaching music ensembles online. Although the teaching platform is new, educational goals remain the same. Those goals are simply the individual
and collective growth of students. We can still accomplish this as we have always
done. This is a semester to champion collaboration and service learning activities, while teaching our students that we can still accomplish greatness.
In light of the many social challenges our country faces today, the need to consider
the release of tension in the air (give that
programming trends is greater than ever. American culture is wonderfully diverse,
and beverage carts began to roll. 2020 has
social injustice can help students understand how they fit in to the modern world.
pilot a raise!) as seatbelts were unfastened been quite a ride, but it too will pass. Have
faith and trust your pilots. Don’t freak out! That doesn’t help anyone. Remember, that tiny cup of ginger ale awaits you just above the clouds. Be well.
and the music we select should be equally so. Music about national identity and For concert programming there are numerous online databases that can assist with finding diverse repertoire, and the payoff for doing so is tremendous.
Revelli called on music educators during World War II to approach challenges to
the profession with enhanced creativity, ingenuity, and foresight. The world today faces very different challenges, but the power of music can still serve to provide both comfort and understanding. I wish you all a great semester and hope you are encouraged, because you wield the power of music. Teach well and stay safe!
September 2020
25
RESEARCH COMMITTEE CHAIRMAN
Don D. Coffman, PhD University of Miami
ResearchPuzzles FOR MUSIC TEACHERS This on-going column seeks to stimulate awareness of research issues for FMEA teachers and researchers. Preliminary Results
We have news as of August 1 (my submission deadline for the
September issue) from studies being done at the University of Colorado, Colorado State University, and the University of
Maryland. In these studies, wind players enter an aerosol testing
How are researchers exploring the risks of spreading COVID-19 while making music?
chamber and play notes at loud and soft volumes. The flow of air (and particles) emerging from the instruments is being mea-
sured to get an overall understanding of relative airflows from
the instrument bell, fingerholes, fipples, and the musician’s nose and mouth. They also measure the effect of various mitigations (plastic shields or music stands placed at the end of the instruments, wearing surgical/ homemade masks, wearing N95-certified respirators, wearing face shields, and utilizing low-resistance filtering mouthpieces). There are plans to assess the potential impact of aerosol generation in a rehearsal room with multiple players, if that can be done safely, to gauge the effectiveness of passive control techniques (e.g., social distancing and isolation, room ventilation and filtration, and personal protective equipment).
On July 13, the National
Email your questions and feedback to d.coffman1@miami.edu Research Puzzles.
26
Florida Music Director
Federation of State High
School Associations released
this summary of prelimi-
nary results during week 3 of this six-month study:
« Wind instruments produce aerosol, which vary by instrument as well as
intensity. Trends that the team has measured include:
•
Woodwinds have aerosol coming
•
Brass instruments have aerosol
from keyholes and bell.
« At this time, it appears that if players coming from bell.
wear surgical-style masks with a slit
for mouthpiece and bell covers, aero-
sol emission is reduced. Flute players can put the headjoint between their mouth and mask
CLICK HERE
and
use a “flute sock” attached to the foot
« Bell covers tested so far were made CLICK HERE
.
from pantyhose made of 80 denier in
« Singers produce aerosol, which vary two layers.
with consonants, vowels, and inten-
« At this time, it appears that if singsity.
ers wear surgical-style masks (others
will be tested soon), aerosol emission
« Face shields are only effective at close range to stop large is reduced.
droplets; they do not prevent aerosol from being inhaled or
« Plexiglass partitions or barriers between musicians are not released, so a mask must also be worn.
recommended because the room’s HVAC system cannot
properly change the air as designed. “Dead zones” or areas
« Rehearsal space recommendations in order of preference: where aerosol can build up are a concern.
•
Outdoor rehearsals, using individual mitigation tech-
•
Outdoor gazebo style tents with open sides and a high-
• • •
niques described above
pitched ceiling with mitigations
Indoors with elevated outdoor air exchange rate from
purifiers when airflow is reduced under certain outdoor
« Please refer to the Association for Heating, Ventilating and wind conditions
Air-Conditioning Engineers’ (ASHRAE) guidance on venti-
« General procedures
lation during COVID-19
CLICK HERE
.
• •
Masks must be worn at all times.
•
Indoor rehearsals should last for 30 minutes followed by
Follow CDC guidelines for social distancing of 6x6 feet, with 9x6 for trombone players.
clearing the room for 20 minutes to allow the HVAC system to change the air indoors with outside air.
This webpage
CLICK HERE
has links to the press release and
HVAC
the full preliminary report, which is a pdf of a PowerPoint pre-
HVAC plus recirculation of air through MERV 13 filters or
links to some fascinating measures of airflow from a singer, a
Indoors with typical outdoor air exchange rate from addition of appropriately sized HEPA air purifiers
Indoors with outdoor air exchange rate from open win-
dows supplemented with appropriately sized HEPA air
sentation, so it is mostly pictures and graphs with some YouTube clarinetist, and a trombonist.
Stay safe! I will continue to update you with more information
as soon as I can.
September 2020
27
CommitteeReports
DIVERSE LEARNERS COMMITTEE Alice-Ann Darrow, PhD, Chairwoman
Celebrating the 30-Year Anniversary of ADA and Its Impact on the Arts
J
uly 26 marked the 30th anniversary of
Americans with disabilities the opportu-
The Americans with
into law the American with Disabilities
arts are no exception to the importance of
During my years of teaching, I was disap-
thinking through accommodations for
heard of the Americans with Disabilities
President George H. W. Bush signing
Act
(ADA).
This
antidiscrimination
law transformed American society and
ensured Americans with disabilities full access to and equal opportunities within
their communities. Nevertheless, barriers
to access and opportunities still remain for many persons with disabilities. There
are numerous organizations and indi-
viduals, however, working to make the
promise of ADA a reality, to enable all
nity to achieve their full potential. The
Disabilities Act (ADA)
the Americans with Disabilities Act, from
pointed to find many students had never
performance venues or parking spaces, to interpreting performances in sign lan-
guage for those with hearing loss or narrating performances for those with vision
loss, to making printed programs or ticket
sale websites visually accessible. The ADA affects the ways many Americans participate in, experience, and enjoy the arts.
Act or its predecessor, Section 504 of the Rehabilitation Act, or learned in their
civics or American history classes about the disability rights movement that led
to these two federal statutes. Many music
educators today were not yet born or were very young in 1990 when Congress
passed the most sweeping antidiscrim-
ination disability legislation to date, the Americans with Disabilities Act (ADA).
For those who may not be familiar with this civil rights law, the ADA prohib-
its discrimination against individuals with disabilities in all areas of public life,
including jobs, schools, transportation, and all public and private places that
are open to the general public. The law
guarantees equal opportunity for individuals with disabilities in public accommodations, employment, transportation, state and local government services, and
telecommunications. The ADA is divided
into five titles (or sections) that relate to
these areas of public life (ADA National Network, 2020):
1. Employment (Title I): Title I requires A protest prior to the Americans with Disabilities Act (ADA) passing in 1990
28 F l o r i d a
Music Director
covered employers to provide reason-
able accommodations for applicants
President H. W. Bush signs the Americans with Disabilities Act (ADA) into law on July 26, 1990.
and employees with disabilities and
prohibits discrimination on the basis of disability in all aspects of employment.
Reasonable accommodations include, for example, restructuring jobs, making work sites and workstations acces-
sible, modifying schedules, providing services such as interpreters, and modifying equipment and policies.
2. Public Services (Title II): Under Title
II, public services (which include
(Title
IV):
are available to people without disabil-
ities. In addition, public transportation
restaurants, hotels, grocery stores, retail stores, etc., as well as privately
owned transportation systems. Title III requires that all new construction and modifications must be accessible
to individuals with disabilities. For
Congress passed the ADA Amendments Act of 2008 (ADAAA), which made five
ing has made such services dated and
changes to the ADA that are significant”
rarely used.
(Cope, 2020, p. 1).
1. It provides that the definition of the
includes a provision prohibiting either
ADA “disability” must both be more “flexible” and “broadly construed.”
iating against individuals with disabilities or those attempting to aid
2. It expands the list of “major life activ-
their rights under the ADA.
3. It provides that courts can no longer
ities.”
people with disabilities in asserting
consider whether “mitigating mea-
In 2008, the ADA Amendments Act
made a number of significant changes to
ities such as theaters, concert halls,
for the law’s protections. Consequently,
or similar devices. Mobile phone text-
disabilities.
Public accommodations include facil-
individuals with disabilities to qualify
munication devices for the deaf (TTYs)
(ADAAA) was signed into law and became
3. Public Accommodations (Title III):
rulings made it increasingly difficult for
vice to individuals who use telecom-
systems, such as public transit buses,
must be accessible to individuals with
crimination were dismissed. Such court
public must have telephone relay ser-
(a) coercing or threatening or (b) retal-
ipation in programs or activities that
‘disability.’ As a result, many cases of dis-
ing telephone service to the general
Corporation, and other commuter
people with disabilities or deny partic-
ing who met the ADA’s definition of a
Telecommunications companies offer-
5. Miscellaneous (Title V): This title
authorities) cannot deny services to
“Federal courts were strict in determin-
must be removed if readily achievable.
4. Telecommunications
state and local government agencies, the National Railroad Passenger
disability (ADA National Network, 2020).
existing facilities, barriers to services
sures,” such as medication or assis-
tive technology, reduce the impact of
effective on January 1, 2009. The ADAAA
impairment on an individual.
4. It states that diseases that are “epi-
the definition of “disability.” When the
sodic” or in remission may still be
ADA was first passed into law in 1990,
“disabilities.”
an individual was considered to have a disability if that individual either (1) had a
5. It provides that employees who claim
tially limits one or more of that person’s
now make an ADA claim, even if the
they are “regarded as” disabled can
physical or mental disability that substan-
“perceived” disability does not impact
major life activities; (2) had a record of
a major life activity.
such a disability; or (3) was regarded by the ADA-covered entity as having such a
Continued on page 30
September 2020
29
CommitteeReports Diverse Learners continued from page 29 What ADA Has Meant for
Musicians With Disabilities
To celebrate the 30th anniversary of ADA,
The New York Times recently published a
series of articles (NYT, 2020), and National Public Radio asked listeners what ADA
knew what she wanted for her life and her
career. Our job as music educators is to
help our students with disabilities fulfill
their dreams and ambitions as we would any other student.
There are numerous other musicians
has meant to them (NPR, 2020). Though
with disabilities we all know such as
know that because of the Americans with
Quasthoff, Itzhak Perlman, and now Ali
challenges remain, it was heartening to
Disabilities Act, many obstacles have been
removed for persons with disabilities, and consequently, their lives are better and more productive. Because of laws
like ADA, IDEA, and Section 504 of the Rehabilitation Act, people with disabili-
ties have been empowered, can exercise their rights, and have legal protections.
Unfortunately, many persons with disabilities are underemployed or unem-
ployed (U.S. Bureau of Labor Statistics, 2020), though for musicians with disabilities, many doors in the arts have opened
to them. Ali Stoker, who uses a wheel-
chair, won a Tony Award for her role as Ado Annie in Oklahoma. “I didn’t want to get hired because I was disabled and writ-
ers needed someone with a disability in their story. I wanted to get work based on
my ability as an actor, singer and dancer. I wanted to work with creative, intelligent
and innovative people” (Stoker, 2020). Ali
Gaelynn Lea, American folk singer, violinist, public speaker, and disability advocate
Stevie Wonder, Ray Charles, Thomas
PHOTO BY MONIKA LAWRENCE CLASSICALMPR.ORG
Stoker, but there are others who are mak-
The Americans with Disabilities
crediting the ADA for making venues,
As recently as 2014, nearly 25 years after
ing their mark in the musical world and communication systems, and public services more accessible and consequently,
the public’s perceptions more accepting. There is a host of rappers with disabilities who are part of Krip-Hop Nation, and
there is Gaelynn Lea, a violinist, who
“… is transforming our cultural understanding of who can be a musician. She
is known for her haunting original songs,
Act and the Arts
ADA, world-renowned violinist Itzhak Perlman and other classical musicians
recounted their experiences navigating
the world’s concert stages and the hos-
tilities they often faced when asking for
basic necessities (Ramey, 2014). Many of
these musicians’ difficulties were to be remedied when in March 2010, the U.S.
Department of Justice revised the compli-
innovative interpretations of traditional
ance regulations for Titles II and III of the
cate for disability rights” (Brown, 2019,
Compliance was required for new con-
folk music and growing role as an advo-
p. 1). There are Justin Hines, a Canadian singer-songwriter, and violinist Adrian Anantawan. Many of these musicians
credit the ADA for making their lives eas-
ier and their careers possible, yet others have lamented unfulfilled promises of ADA.
Americans with Disabilities Act of 1990. struction, program accessibility, and bar-
rier removal. These requirements were implemented to give people with disabilities the same experiences and opportu-
nities as those without disabilities. In the arts, requirements include specifications for accessible seating, options to purchase tickets, and training staff to work with patrons who have disabilities.
Because of these revised regulations,
many arts organizations or performance
halls now hire ADA compliance coordinators. ADA compliance coordina-
tors must complete 40 credits approved
for a certification program. Once the required credits are completed, there is
an exam that must be passed for one to
earn certification. An ADA coordinator
ensures his or her arts association or
venue is ADA compliant and monitors Ali Stoker won a Tony Award for her role as Ado Annie in Oklahoma.
30 F l o r i d a
Music Director
the implementation and use of accessiPHOTO: NYTIMES.COM
bility accommodations. The Hollywood
of a crowded venue with no incline—
guarantee them access to schools, school
formers. As music educators, we may not
lic places to the same extent as anyone
resulting in no view of the stage or per-
programs, transportation, jobs, and pub-
be able to monitor the accessibility of our
else. As music educators, we can do our
community venues, but we can monitor Stevie Wonder performs onstage during the 2015 Life Is Beautiful Festival in Las Vegas, Nevada.
many of its accessibility accommodations
A Survey of Public Participation in the
CLICK HERE
. The website
includes information on ticketing, accessible parking, accessible seating, open
captioning and interpreting services, assistive listening devices, accessible rest
rooms, escorts for wheelchair users, elec-
tric cart services, service animals, dining accessibility, and access to security. Such public venues are required to publish
accessibility information or to make it available to its patrons. Few school con-
cert venues will have these numerous accessibility features, but they provide
a good “wish list” for music educators who aspire to have their performances accessible to all.
Accessibility remains a barrier for
many Americans with disabilities. An NEA study revealed there are an estimated 11 million people who do not participate in local arts due to lack of accessibil-
ity (U.S. Census Bureau for the National
National Endowment for the Arts, 2015) measured the participation of adults with
disabilities in the arts. Over 23% of adults event, such as a classical concert, play, or live dance performance at least once
to physically and emotionally prepare
myself for a night out to see the musicians I love” (Ratcliff, 2018, p. 1). Ratcliff reported that her love for live music is thwarted
by lack of parking options, broken elevators, no elevators, and sitting in the back
National Public Radio (NPR). (2020, July). In their own words: How the American with Disabilities Act changed people’s lives. Retrieved from https://www. npr.org/2020/07/27/895651325/americans-with-disabilities-act-examining-its-impact-3-decades-later
a year. This finding is 14% lower than
the national average for adults without
disabilities. There are numerous possi-
ble reasons for lack of participation in
the arts by persons with disabilities. As
New York Times (NYT). (2020, July). ADA at 30: Beyond the law’s promise. Retrieved from https://www.nytimes.com/interactive/2020/ us/disability-ADA-30-anniversary.html
stated earlier, accessibility may be a barrier to participation. The survey data also
revealed that people who have more edu-
Ramey, C. (2014, December). Navigating the stage with a disability. Wall Street Journal online. Retrieved from https://www.wsj. com/articles/itzhak-perlman-and-other-classical-musicians-on-navigating-the-stage-with-a-disability-1417458169
cation and higher socioeconomic status (SES) are more likely to attend concerts
than people with less education or lower SES. Because people with disabilities are
Ratcliff, A. (2018, April). Disabled people don’t belong in music venues, apparently. Huffington Post. Retrieved from https:// www.huffingtonpost.com/entry/opinion-ratcliff-disability-music_us_5acfc626e4b077c89ce6bfc2
often underemployed or unemployed, their SES is also affected.
Nonparticipation in community arts is
is one factor that music educators can
wrote “ADA noncompliance means I have
Cope, T. K. (2020). The ABCs of ADAAA. Retrieved from https://www.mcrazlaw.com/ the-abcs-of-the-adaaa-what-employers-needto-know-about-recent-changes-to-the-americans-with-disabilities-act/
with disabilities report attending an arts
being unable to enter a venue and being Ace Ratcliff (2018), a music-loving blogger,
Brown, J. (2019). How violinist Gaelynn Lea is redefining who can be a musician. Retrieved from https://www.pbs.org/newshour/show/ how-violinist-gaelynn-lea-is-redefining-whocan-be-a-musician
Arts (SPPA) (U.S. Census Bureau for the
often the result of an individual’s lack of
unable to navigate the venue when there.
References ADA National Network (2020). What is ADA? Retrieved from https://adata.org/learnabout-ada
Disabilities in the Arts
Endowment for the Arts, 2015). For people with disabilities, frequent barriers are
dents’ lives and future.
disabilities feel welcomed.
Participation of Persons With
on its website
thus making the arts a part of our stu-
grandparents, siblings, and others with
Bowl, one of the venues used by the Los Angeles Philharmonic, has delineated
part by knowing and abiding by the law,
our school auditoriums so that parents,
Stoker, A. (2020, July). After #OscarsSoWhite, Disability waits for its moment. Retrieved from https://www.nytimes.com/2020/07/19/ arts/after-oscarssowhite-disability-waits-for-its-moment.html
previous experiences with the arts. This
address by including students with disabilities in their music classes and ensem-
U.S. Bureau of Labor Statistics (2020). Retrieved from https://www.bls.gov/news.release/ pdf/disabl.pdf
bles and nurturing their musical development so they become lifelong musicians
U.S. Census Bureau for the National Endowment for the Arts. (2015). A matter of choice? Arts participation patterns of Americans with disabilities. Survey of public participation in the arts. Retrieved from https://www.arts.gov/news/2015/ new-nea-research-arts-participation-among-people-disabilities
or supporters of the arts. Our students
with disabilities are considered the ADA generation. They have grown up know-
ing the transformative civil rights law as a birthright. They expect the ADA to
September 2020
31
CommitteeReports S
AWARDS COMMITTEE
Debbie Fahmie, Chairwoman
ometimes, great innovation is driv-
levels. Although distance learning can
I dare say that is an understatement in
making in an ensemble, there are cer-
en by challenges to the status quo.
today’s climate of music education and the reopening of schools. I am continually awestruck and inspired by what I see
coming from the field of music education
never substitute for face-to-face music tainly aspects of musicianship that came to the forefront during the last several months.
As the Awards Committee embarks
on the task of selecting the
when all we have known has
2021 FMEA award winners,
been turned upside down.
I am sure that inno-
I’ve attended webinars,
vation,
Zoom meetings, vir-
and resiliency will
tual performances, Go to Meetings, and
have
more,
witnessed
to. It will be such
collaborations with
an honor to recognize
music teachers think-
music educators, adminis-
ing way beyond their own This time of year, most music teachers
are in the thick of scheduling, programming, auditioning, fund-raising, arrang-
trators, leaders, and business-
es that have led the way for our state through this historic time.
Whether you are new to FMEA or a
ing MPAs, etc. Instead, I see lots of energy
longtime member, I would like to remind
keep students engaged in quality music
dynamic part of our annual conference as
and ingenuity going toward new ways to
education. If there is a silver lining to the
seemingly unending pandemic, it is the
growth and mindset that I see toward this end. With distance learning, something
that all teachers were thrust into last March, the idea of individual musician-
ship was given more attention. I’ve seen where this emphasis allowed students to do more creating, composing, arranging, and developing their own individual skill
32
Hall of Fame Distinguished Service District School Board/School Board Member of the Year Superintendent of the Year Administrator of the Year Leadership Award for Music Education
education are up
I’ve seen amazing
following categories:
and I’m so excitheroes of music
music educators.
I am excited to lead the Awards
Committee in selecting recipients in the
Music Educator of the Year
ed to see what our
the resiliency of
we have throughout the state.
shine through on
the applications,
and
school settings.
creativity,
about all the great programs and partners
you that the FMEA Awards Program is a
College Music Educator of the Year Exemplary Model Program/Project The deadline for the above is September 11, 2020
Music Education Service Award (includes 25+ years of service and 50+ years of service) The deadline for the above is November 3, 2020 Middle/High School Enrollment Award The deadline for the above is TBD. The latter two awards have very simple
it connects all components of the FMEA
application processes. It takes approxi-
educators, administrators, school board
either award.
membership and brings together music
members, and the business community
mately 15 minutes to self-nominate for My thoughts are with all educators as
to celebrate individuals who have made
you begin this remarkable 2020-21 school
cation. The awards ceremony also plays
you are to the students whose lives you
outstanding contributions to music edua pivotal role for music advocacy for all
those who attend. It’s a great way to showcase models and to advocate to others
Florida Music Director
year. Don’t ever forget just how important
touch. Here’s hoping we can all be togeth-
er again this January to celebrate music education!
MULTICULTURAL NETWORK Bruce J. Green, Chairman
H
ello, Multicultural Network members. I hope this article finds you
healthy and strong. During this unprecedented time, we all have faced a fork in
the road. One direction is Do What I Have
Been Doing and the other is Do What Has Never Been Done. Educators have always
taken the road least traveled and have confidently sped toward What Has Never
Been Done. Before this pandemic, the minority students we teach were already facing many challenges that some of us
have known or will never know. Those
whether you like it or not, so you must
for minorities amid this global pandemic
about change is that it prevents you
challenges have now been exacerbated and should embolden us, even more, to do What Has Never Been Done to meet the needs of all students.
I have made up my mind that I will
embrace change and use change as the fuel to get me from what I have done
before to what has never been done. That may be easier said than done, but those
students who have had their situation compounded need us to forge ahead.
Here are suggestions to help us embrace
« Acknowledge change:
that
things
have
changed. Sometimes we get so caught up in fighting change that we put off
dealing with it. The time we spend fighting change can be better spent
learning a new skill, creating or pre-
« Maintain
paring for the task at hand.
a positive attitude. You
always have to be optimistic and
maintain a good attitude, regardless
of where you find yourself. Come to terms that your new situation might
not be perfect. Think about how you can best use your skills, experiences,
and networks to maximize your new
« Recognize that change is constant. situation.
You will have change happen to you
you need to meet, and evaluate your
« Learn new skills. You are now forced entire situation.
accept that reality. The good thing from getting bored in your current
to learn new skills based on the type
role and challenges you to work on
of work you have to do as a teacher.
« Stay connected to co-workers. Never projects that you haven’t before.
Make a list of the skills required for
your new role and invest time each
« Ask as many questions as possible. week in developing those skills.
forget about the people you’ve already
had the chance to work with because they could become extremely benefi-
There are no bad questions unless you
cial to you down the road. They can
ask something that has already been
also be a great resource for technol-
asked or explained. Asking questions
ogy and/or creativity, or simply be a
will help you further develop yourself
« Communicate with others to learn bounce board for thought.
in a new role.
As we continue to navigate uncharted
your new role. Become good at asking
waters, let us strive every day to embrace
the better equipped you will be in
in our classrooms and on our campus-
the new norms that present themselves
questions because the more you know,
es. Know that the FMEA Multicultural
this role and the easier your life will
Network is available as a resource on
be. If you wait too long to reach out
how to support minority students in arts
to others, your performance will start
« Be optimistic even though you might
education. Every student, especially the
lacking and people will notice.
minority students, need you to Do What
not be currently happy. Whether or
Has Never Been Done.
not you like your new role, you need
to make the best of it. Who knows
References
what a year or more in this role can
Sarkis Ph.D., S. A. (2017). 10 Ways to Cope With Big Changes. Retrieved from https://www. psychologytoday.com/us/blog/here-thereand-everywhere/201701/10-ways-cope-bigchanges
« Self-reflect. Take some time to relax do for you?
and think about what you’ve already
accomplished and what your goals
Schawbel, D. (2014). 10 Tips For Handling Change in the Workplace. Retrieved from https://www.quickbase.com/blog/10-tipsfor-handling-change-in-the-workplace
are for your new role. Think about the skills you need to acquire and who
September 2020
33
ExecutiveDirector’sNotes
Who knew? FMEA Executive Director Kathleen D. Sanz, PhD
W
ho knew we would still be struggling with COVID-19 and the question of how we will continue music
education in our schools? We have learned to be flexible in how we deliver content, whether we are
teaching face to face, blended, or virtual. The pressure has come from having to plan for all these scenarios,
while the increasing stress has come from the indecision created by the pandemic. Throughout July and August, school boards and school leaders have been making decisions and then changing those decisions
The mission
of the Florida
Music Education Association is to promote quality, comprehensive
music education in all Florida schools.
soon after they are made. It has been stressful for everyone. We already had an issue with teacher shortage, and now many teachers have decided to retire, increasing the deficit of certified music educators.
Colleagues across the United States are working diligently to craft guidelines and processes to help music
educators achieve a safe and healthy return to music making. Our key purpose is to be sure our students and teachers are safe. Research
If you have not had time to read Dr. Coffman’s Research Puzzles article from August, please do so and CLICK HERE
for current studies on music making in classrooms during the COVID-19 pandemic.
The second release of preliminary results from a study on COVID-19 organized by the National Federation
of State High School Associations and the College Band Directors National Association was released on August 6. Dr. Shelly Miller, along with a research team from the University of Colorado, Boulder and the
University of Maryland, is continuing to conduct research on mitigating factors for music education. The
final report will be disseminated in December 2020. While we know the published results are preliminary in nature and continue to be studied, the researchers are trying to ascertain potential risks and mitigations of these risks for our teachers and students. Additional information on the study and other recommendations can be found at NFHS.org. posted at FMEA.org.
Links to the preliminary results and webinar recordings about the study are
Arts education is essential, and our legislators, governor, and education commissioner need to be made
aware of just how essential it is for our students. Reach out to them and let them hear the stories of the impact and importance of the arts in students’ education, no matter the delivery system.
As schools continue to make plans for teaching, we want to continue to let principals and decision makers
know that the arts are essential.
I want to reiterate key points from the August edition of Florida Music Director:
« Arts education supports the social and emotional well-being of students, whether through distance learning or in person. « Arts education nurtures the creation of a welcoming school environment where students can express themselves in a safe and positive way. « Arts education is part of a well-rounded education for all students as understood and supported by federal
Arts Education Is Essential
and state policymakers.
Stay in touch with FMEA. Check the website often, as we continue to provide updates, and follow us on
Facebook, Instagram, and Twitter.
Stay safe, stay well, and keep in touch. Musically,
Kathleen D. Sanz, PhD
34 F l o r i d a
Music Director
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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
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
Douglas Anderson School of the Arts 2445 San Diego Road; Jacksonville, FL 32207 (904) 346-5620; kenwms@flmusiced.org 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
Ian Schwindt
Titusville High School 150 Terrier Trail S.; Titusville, FL 32780-4735 (321) 264-3108; schwindt.ian@brevardschools.org FCMEA President
Marc Decker, DMA
Florida Atlantic University 777 Glades Rd.; Boca Raton, FL 33431 deckerm@fau.edu FEMEA President
Ernesta Chicklowski
Roosevelt Elementary School 3205 S. Ferdinand Ave.; Tampa, FL 33629 (813) 272-3090 ernesta.chicklowski@sdhc.k12.fl.us
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
Past President................................................... Katherine Attong-Mendes University of Miami; kxa395@miami.edu
FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION
Committee Council............................................................... Debbie Fahmie fahmied@yahoo.com
President..................................................................... Ernesta Chicklowski Roosevelt Elementary School; 3205 S. Ferdinand Ave.; Tampa, FL 33629 (813) 272-3090; ernesta.chicklowski@sdhc.k12.fl.us
Conference Planning Committee.............................John K. Southall, PhD Indian River State College; 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810; johnsouthall@me.com
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
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
FLORIDA MUSIC SUPERVISION ASSOCIATION
Emerging Leaders............................................................ Mary Palmer, EdD 11410 Swift Water Cir.; Orlando, FL 32817 (407) 382-1661; mpalmerassoc@aol.com
Past President............................................................................Scott Evans scott.evans@ocps.net
President.....................................................................Harry “Skip” Pardee Collier County Public Schools; 5775 Osceola Trail; Naples, FL 34109 (239) 377-0087; pardeh@collierschools.com
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
FMEA Corporate & Academic Partners....................................Fred Schiff All County Music; 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fredallcounty@aol.com
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
Multicultural Network...........................................................Bruce J. Green (407) 927-3141; bruce.green@ocps.net
Southeastern University 1000 Longfellow Blvd.; Lakeland, FL 33801 (863) 667-5104; mabelfast@seu.edu
Secondary General Music.............................................................Ed Prasse Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net
Matthew Davis
President....................................................................................Julian Grubb Florida Gulf Coast University, 1519 Neptune Dr.; Lakeland, FL 33801 (863) 430-9466; grubb.julians@outlook.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
Research...................................................................... Don D. Coffman, PhD University of Miami; d.coffman1@miami.edu
FOA President
FLORIDA NAfME COLLEGIATE
Awards.................................................................................... Debbie Fahmie fahmied@yahoo.com
Florida NAfME Collegiate Advisor
Collier County Public Schools 5775 Osceola Trail; Naples, FL 34109 (239) 377-0087; pardeh@collierschools.com
President......................................................................... Marc Decker, DMA Florida Atlantic University; 777 Glades Rd.; Boca Raton, FL 33431 deckerm@fau.edu
FMEA COMMITTEE CHAIRPERSONS
Professional Development........................................................Scott Evans Orange County Public Schools; 445 S. Amelia St.; Orlando, FL 32801 (407) 317-3200; scott.evans@ocps.net
Harry “Skip” Pardee
FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION
FSMA President ........................................................................Valerie Terry Carlos E. Haile Middle School 9501 SR 64 E.; Bradenton, FL 34212 vterrymusic@gmail.com
Florida Gulf Coast University 1519 Neptune Dr.; Lakeland, FL 33801 (863) 430-9466; grubb.julians@outlook.com
FMSA President
Business Manager..................................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; jo@barefootaccounting.com
Editor-in-Chief.....................................................D. Gregory Springer, PhD FSU College of Music; 122 N. Copeland St.; Tallahassee, FL 32306 (850) 644-2925; dgspringer@fsu.edu
Florida NAfME Collegiate President
Mark A. Belfast, Jr., PhD
Florida Bandmasters Association P.O. Box 840135; Pembroke Pines, FL 33084 (954) 432-4111; Fax: (954) 432-4909; exec@fba.flmusiced.org
EX-OFFICIO MEMBERS
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
Julian Grubb
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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 Orange County Public Schools; 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jason@fva.net
Student Development.............................................. Michael Antmann, EdD Freedom High School; 2500 W. Taft-Vineland Rd.; Orlando, FL 32837 (407) 816-5600; michael.antmann@ocps.net
Past President.....................................................................Tommy Jomisko tommy@fva.net Executive Director....................................................................J. Mark Scott 7122 Tarpon Ct.; Fleming Island, FL 32003 (904) 284-1551; exec@fva.net
PROFESSIONAL DEVELOPMENT CONFERENCE Exhibits Managers................................................ Byron and Bobbie Smith 4110 Tralee Rd.; Tallahassee, FL 32309 (850) 893-3606; fmeaexhibits@fmea.org
Business Manager..................................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; business@fva.net
Harrison School for the Arts 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 499-2855; matthew.lawson.davis@gmail.com
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
FVA President
FLORIDA BANDMASTERS ASSOCIATION
Executive Director....................... Kathleen D. Sanz, PhD (kdsanz@fmea.org)
President...................................................................................Ian Schwindt Titusville High School; 150 Terrier Trail S.; Titusville, FL 32780-4735 (321) 264-3108; schwindt.ian@brevardschools.org
Director of Finance & Client Relations...............................Richard Brown, CAE (richard@fmea.org)
Jason Locker
Orange County Public Schools 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; 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
CENTER FOR FINE ARTS EDUCATION
402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 Director of Operations........................Valeria Anderson, IOM (val@fmea.org)
Past President..................................................................... Cathi Leibinger Ransom Everglades School; 2045 Bayshore Dr.; Miami, FL 33133 (305) 250-6868; pastpresident@fba.flmusiced.org
Technology Director......................................Josh Bula, PhD (josh@fmea.org)
Executive Director......................................................................Neil Jenkins
Marketing & Membership Coordinator................................. Jasmine Van Weelden (jasmine@fmea.org)
Public Affairs & Communications Coordinator..............................................Jenny Abdelnour (jenny@fmea.org)
September 2020
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