ThroughCommunityBuildingMusic Leveraging Librarianship A Guide for Music Educators PLUS:Register now for the FOA & FLASTA Fall ConferenceCONFERENCE
2 Florida Music Director Undergraduate Degrees (B.M.) Instrumental Performance | Jazz Performance Music Business | Music Composition | Music Education Music Technology | Musical Theatre | Organ Performance Piano Performance | Vocal Performance Graduate Degrees (M.S.) Music Education - Traditional & Certification Tracks 4 + 1 Track (B.M + M.M.) Vocal Performance | Composition | Musical Theatre Graduate Degrees (M.M.) Conducting | Instrumental Performance Jazz Performance | Music Composition Music Management & Production Music Technology | Musical Theatre Organ Performance | Piano Performance Vocal Performance Wertheim School of Music & Performing Arts at Florida International University 10910 SW 17th St., Miami, FL 33199 | (305) 348-2896 | music@fiu.edu | music.fiu.edu Undergraduate Degrees (B.M.) Instrumental Performance | Jazz Performance Music Business | Music Composition | Music Education Music Technology | Musical Theatre | Organ Performance Piano Performance | Vocal Performance Graduate Degrees (M.S.) Music Education - Traditional & Certification Tracks 4 + 1 Track (B.M + M.M.) Vocal Performance | Composition | Musical Theatre Graduate Degrees (M.M.) Conducting | Instrumental Performance Jazz Performance | Music Composition Music Management & Production Music Technology | Musical Theatre Organ Performance | Piano Performance Vocal Performance Wertheim School of Music & Performing Arts at Florida International University 10910 SW 17th St., Miami, FL 33199 | (305) 348-2896 | music@fiu.edu | music.fiu.edu AUDITION DATES 2022-2023 November 19 | February 4 | March 18 Additional dates are available by appointment. Graduate assistantships are available. UndergraduateDegrees(B.M.) Instrumental Performance | Jazz Performance Music Business | Music Composition | Music Education Music Technology | Musical Theatre | Organ Performance Piano Performance | Vocal Performance Graduate Degrees (M.S.) Music Education - Traditional & Certification Tracks 4 + 1 Track (B.M + M.M.) Vocal Performance | Composition | Musical Theatre LIVE LIFE ON STAGE CONSERVATORY WITHIN A RESEARCH UNIVERSITY Graduate Degrees (M.M.) Conducting | Instrumental Performance Jazz Performance | Music Composition Music Management & Production Music Technology | Musical Theatre Organ Performance | Piano Performance Vocal Performance Wertheim School of Music & Performing Arts at Florida International University 10910 SW 17th St., Miami, FL 33199 | (305) 348-2896 | music@fiu.edu | music.fiu.edu
Executive Director Florida Music AssociationEducation Kathleen D. Sanz, PhD Hinckley Center for Fine Arts Education 402 Office Plaza Tallahassee, FL 32301 (850)878-6844 or (800) 301-3632 (kdsanz@fmea.org) Editor-in-Chief D.Gregory Springer, PhD Florida State University College of Music 122 N. Copeland Street Tallahassee, FL 32306 (850)644-2925 (office) (dgspringer@fsu.edu) Editorial Committee Terice Allen (850)245-8700, Tallahassee (tallen1962@hotmail.com) Judy Arthur, PhD Florida State University, KMU 222 (850)644-3005 (jrarthur@fsu.edu) William Bauer, PhD University of Florida, Gainesville (352)273-3182; (wbauer@ufl.edu) Alice-Ann Darrow, PhD College of Music, FSU, Tallahassee (850)645-1438; (aadarrow@fsu.edu) Jeanne Reynolds (jeannewrey@gmail.com) John K. Southall, PhD Indian River State College, Fort Pierce (772)462-7810; (johnsouthall@fmea.org) Advertising Sales Valeria Anderson (val@fmea.org) 402 Office Plaza Tallahassee, FL (850)878-684432301 Official FMEA and PhotographersFMD Bob O’Lary Debby Stubing Art Director & Production Manager Lori Danello Roberts LDR Design Inc. (lori@flmusiced.org) Circulation & Copy Manager Valeria Anderson, (800) 301-3632 Copy Editor Susan Trainor FEATURES Contents September 2022 Volume 76 • Number 2 DEPARTMENTS President’s Message ......... 4 Advertiser Index 5 2022-2023 FMEA Donors .. 18-19 Component News 30 Committee Reports ........ 35 Corporate & Academic Partners . 39 Research Puzzles 44 Executive Director’s Notes .... 46 Officers and Directors 47 September 2022 3 PRELUDE TO THE CONFERENCE Welcome ......................... 6 Important Dates ..................... 7 Registration ...................... 8 -9 Contracted Hotels .................. 10-11 Personal Health and Safety ............... 12 Concert Tickets ..................... 13 All-State Rehearsal Locations .............. 14 Student Experiences ................... 15 Pilot Program ...................... 16 3K Run & Walk ..................... 17 Building Community Through Music ...... 21 Leveraging Librarianship: A Guide for Music Educators ............. 24 FOA & FLASTA Fall Conference Registration Form ................... 34
4 Florida Music Director President’sMessage BE the RESOURCE in
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Resourceful music teachers are: Musically diverse to educate all students Willing to go the extra mile, never settling for anything less than excellence Consistent in planning for their students Critically confident Constantly providing positive feedback In tune to the pulse of their community Driven by the opportunity to learn technology as an influential tool for instruction Resilient and resourceful (NO MATTER WHAT) Always amenable to communicating effectively with all stakeholders Passionate and exceptionally persistent
Greetings, colleagues!
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Music Education Communities
The 21st century presents new chal lenges for music educators, especially in understanding students’ preferences and tolerance for music of other cultures and communities. Closing the gap in educa tors’ awareness of their students’ likes and dislikes is always of great concern. As music teachers begin this school year, I’d like to remind each of you to set achiev able goals, to develop attainable stan dards, to be committed, and to use non traditional class instruction to connect with your students. In addition, start with what they know; teach the basics of count ing rhythms/fundamentals; stay current with trends, theories, and community values; interact with other teachers; and be Oneenthusiastic.ofthemost fundamental approach es to starting the school year in our music classes is to ensure we have a structured curriculum. Planning continues to be an essential element for achieving desired outcomes. This requires applying knowl edge rather than information gather ing, presenting tasks that offer multiple modes of response, working in groups and not in isolation, and going beyond grades or contest awards as motivation for good work. Many students look to teach ers and parents for approval, but students need learning tasks that are intrinsically motivating.InFlorida, we have always had a strong tradition of developing outstanding com ponent organizations in band, elementary music, orchestra, and vocal programs. It is a clear mission for music teachers to have resources and strategies that are inviting and rewarding for students who have an interest in the music-making process. As a product of the inner city, I benefit ed from music teachers on all levels of my K-12 education who were amazingly dedicated to meeting the challenges of ensuring their students received balanced instruction. Resiliency was a way of life, even during the most difficult times of turbulence.Noonestarts school expecting to fail. Ensure that some aspects of your grad ing rubric depend more upon effort than ability. Each day, challenge your stu dents to become better in your subject matter than they were the day before. Be encouraging and accept that some times we might need to reflect upon our approach to teaching as the issue rather than what our students are or are not learning. Believe in yourself and in the fact we are making a difference in the lives of our students, their schools, and their communities. Collaborate with other colleagues in your district who might have insight and experiences that can assist your program. Some of the best learning moments I’ve encountered have
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As leaders, when we stand in front of students, we exert our influence in multiple ways. The depth of the musicians’ understanding and the quality of their experience reflect the way we lead. The value they place on music and music-making is closely tied to how much they value us as conductors and leaders.
President Florida
CIRCULATION: The circulation of the Florida Music Director is 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.
ADVERTISER
As a proud member and president of FMEA, I’m counting on each of you to renew your membership and to participate in the myriad of activities provided throughout the school year. Your finances help sup port the wonderful services we all enjoy, even beyond our Professional Development Conference in January each year.
September 2022 5
Shelby R. Chipman, PhD Music Education Association
The Florida Music Director is made possible by the participation of the fol lowing businesses whose advertisements appear in this issue. They make it possible to provide you with a high-quality publication, and we gratefully acknowledge their support of our mission. We hope you will take special notice of these advertisements and consider the products and services offered. It is another important way you can support your professional association and the enhancement of Florida music education.
The publisher does not endorse any particular company, product, or ser vice. The Florida Music Education Association (FMEA) is not responsible for the content of any advertisement and reserves the right to accept or refuse any advertisement submitted for publication. Information for advertisers (rate card, insertion orders, graphics requirements, etc.) can be found at FMEAMediaKit.org 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.
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.
Subscription cost included in FMEA membership dues ($9); libraries, educational institutions, and all others within the United States: $27 plus 7.5% sales tax.
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. All articles must be provided in digital format (e.g., Microsoft Word). All applicable fonts and images must be provided. Images must be at least 300 dpi resolution at 100% of the size. All submissions must be accompanied by a proof (color, if applicable). Ads may be submitted via email to val@fmea.org
This advertiser provides additional support to FMEA members through membership in the Florida Corporate and Academic Partners (FCAP) program. FCAP partners deserve your special recognition and attention. been in those settings where one-on-one meetings take place, e.g., professional development clinics, shared meals at restaurants, labs, rehearsing your ensembles, and shared learning via video.
Registration begins September 17. Shelby R. Chipman, PhD, President Florida Music Education Association
SUBMISSIONS:
Florida International University IFC
I’ve learned that people will forget what you said, people will forget what you did, but people will never forget how you made them —feel.Maya Angelou Have a wonderful begin ning of the school year as you inspire your students and communities. I look forward to seeing you during the fall semester in-person and on webinars. Remember, our 2023 FMEA Professional Development Conference promises to be amazing.
SUBSCRIPTIONS:
Advertiser Index
2022-23 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.
Direct correspondence regarding subscriptions to: Hinckley Center for Fine Arts Education 402 Office Plaza, Tallahassee, FL, 32301-2757
An exhibit hall with world-class exhibitors providing products and services for music educators and students
We can’t wait to see you in Tampa this January! January 11-14, 2023 Tampa Convention Center, Tampa, FL UNITY IN MUSIC EDUCATION Building Communities One Note at a Time 2023 FMEA Professional Development Conference
More than 2,800 music teachers and 200 Moreadministratorsthan120 sessions, covering a variety of topics for all music educators, with on-demand access to recordings after the Performancesconference and mini-concerts from some of Florida’s top music programs
Networking opportunities, college fair, awards ceremony, and other special events
The FMEA Professional Development Conference is one of the largest music education professional development events in the United States. In addition to approximately 250 clinic sessions and concerts, it is host to 23 all-state ensembles featuring Florida’s top band, orchestra, chorus, guitar, Orff, and popular music students conducted by world-class conductors and teachers. It is attended by more than 10,000 people, including secondary music directors, elementary music teachers, music supervisors, college students, college music teachers, school administrators, K-12 students performing in the all-state ensembles, students and professional musicians performing with invited performing ensembles, exhibitors, and parents and family members of performing students.
So many reasons to participate:
6 Florida Music Director
September 17, 2022 Preregistration Opens September 17, 2022 Nominations open for Student Conference Experience and Tri-M Experience September 24, 2022 Hotels begin taking reservations at 9 am EDT November 12, 2022 Hotel room cancellation deadline at 5 pm EST November 14, 2022 Hotels will charge your credit card a nonrefundable deposit for the first night of each room reserved. December 11, 2022 Preregistration closes at 12 midnight EST. Payment must be postmarked on or before December 4 if you are paying by check. Preregistration is by credit card only after December 5. December 12, 2022 You can begin the on-site registration process online to generate an invoice with the on-site prices, but you must bring your payment to the conference. December 16, 2022 All school lodging checks are due, payable to the hotel where reservations were made for yourself and/or your students. December 16, 2022 The final deadline for discounted hotel blocks. Unsold rooms in the FMEA blocks are released back to hotels. Important Dates
8 Florida Music Director Registration Fees Description Sept.PreregistrationRates:17-Dec.11 On-SiteRates: Director/Member $155 $200 Collegiate Member $70 $100 Retired Member $25 $25 Non-Teaching Spouse $100 $150 Non-Teaching Spouse of Retired Member $0 $0 Paid Chaperone $75 $125 Free Chaperone $0 $0 All-State Student $75 $125 Tri-M Student $50 $75 Preconference Workshop $75 $125 Preconference Workshop (First-Year Teacher) $75 $125 Student Experience – Student $50 $75 Student Experience – Chaperone $50 $75 To take advantage of early discounted rates, you must register and pay before the deadlines. Note: If you are mailing a check to the FMEA office to pay for your registration, it must be postmarked early enough so that it will ARRIVE in the FMEA office before the preregistration deadline. Membership in FMEA and NAfME is a prerequisite for registration. See the Registration Policies for details. All registration information must be entered online, beginning September 17 (click HERE ). At the end of the online form, you will have the opportunity to print an invoice to send in with a check until one week before the preregistration deadline or to pay online instantly with a credit card until the preregistration deadline. Please Note: To assist our members, their students, and chaperones as they visit exhibit booths, all badges will have a barcode encoded with contact infor mation. Attendees will be able to allow exhibitors to scan their badges rather than manually writing information on contact cards or mailing lists at their booths. In order to maintain a positive relation ship with our exhibitors who can benefit your students through scholarships, new equipment, sheet music, software, and more, we ask that you please provide the ACTUAL, CORRECT MAILING ADDRESS and EMAIL for each of your students and chaperones and do NOT simply enter your school address or other incorrect information. Registration
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Registration Policies
• If you have students in more than one performing ensemble, you may pay for a chaperone for each performing ensemble in which you have registered students.
3. All participating students must be chaperoned. As required by FMEA and FSMA, at least one chaperone other than a director is required for every ten (10) students or fraction thereof; however, FMEA policy allows for one free chaperone for every six (6) students or fraction thereof.
Refund Policies
7. All school music teachers must register for the conference as FMEA directors and must be current members of the FMEA. This includes directors of invited performing groups or mini-concerts, and session presenters. All-state conductors from Florida schools, colleges, or universities must also be FMEA members. No current music teacher may register as a chaperone.
6. There are no refunds for concert tickets.
Elementary Students
RegistrationChaperone Chaperone registration is based on the following rules:
Middle School and High School Students
Exceptions
• If you have students from different schools, you may pay for a chaperone for each school for which you have registered students.
Chaperones are not allowed to bring other children who are not participating in an all-state ensemble Only registered students, teachers, and chaperones wearing a conference badge are allowed in and around the rehearsal areas. Directors are asked to make sure their chaperones are aware of this policy before agreeing to serve as a chaperone.
4. All requests for refunds must be received no later than January 31, 2023. Requests received after that date will not be processed.
2. No registration refunds will be made for cancellations made after December 15, 2022, except for emergency situations. These will be reviewed on a case-by-case basis.
« Any additional attendees must purchase a guest pass at on-site registration for entry into the convention center.
1. Full registration refunds are available for cancellation requests made through December 15, 2022.
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3. Refunds must be requested in writing (email is acceptable).
5. All refunds will be issued after the conference is completed.
4. An additional paid chaperone may be registered for (a) each six (6) students registered or (b) for each all-state rehearsal site where registered students are performing.
2. Only directors may register their groups or pick up registration materials if preregistered.
« For each elementary student registered, one free chaperone and one paid chaperone may be registered.
1. All participants—directors, students, chaperones, and guests—must be registered for the conference.
« Any additional attendees (chaperones or guests) must purchase a guest pass at on-site registration for entry into the convention center.
5. If a participating student is not accompanied by the director from that student’s school, then the principal from that school must furnish a letter designating the person from the school or school district who is to be in charge of that student. The letter should be addressed to the FMEA executive director, must explain the extenuating circumstances preventing the director from attending, and must be submitted with registration materials. The school will be notified of approval.
« For every six (6) students registered, one free chaperone and one paid chaperone may be registered. No other chaperones may be registered until the seventh student is registered.
6. Student observers are not allowed to attend the conference. If any student observers are brought to the conference, the offending school’s participation in the conference may be eliminated the following year. (Tri-M students registered and participating in sessions or working for the all-state concerts are exempt from this rule.)
A maximum of five (5) guest rooms may be reserved per teacher or parent. Each and all rooms reserved on Nov. 14, 2022, will be charged a non refundable, one-night fee to the respon sible credit cardholder. (Invalid credit cards risk reservation cancellation.)Weurgeany guest holding surplus reservations/rooms to cancel excess reservation(s) as soon as possible and no later than 5 pm EST on Nov. 12, 2022, and you must secure a cancellation confirmation number. (This courtesy will make surplus rooms available to other guests.) In order to receive compli mentary rehearsal and meeting space, you should book guest rooms in the hotel you are using for your group functions.
NOTE: FMEA IS NOT offering a housing bureau service. All participants MUST call the hotels directly beginning Sept. 24, 2022, at 9 am EDT to request the “Florida Music Education Association” room block rate and confirm the guest room rate listed on the next page. We look forward to seeing you in Tampa!
Greetings!
Hotels
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It’s that wonderful time of year when we start planning our very special conference event. The Florida Music Education Association has contracted the following Tampa hotels for the January 11-14, 2023, Professional Development Conference. Please telephone your hotel of choice directly from the list below beginning Sept. 24, 2022, at 9 am EDT. Guest rooms at the contracted rates are available until the room block is full or until the cancellation deadline of Nov. 12, 2022, at 5 pm EST. If your hotel of choice is sold out, please continue to try to make a reservation until Nov. 12, 2022, as FMEA attendees will periodically release surplus guest rooms.
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September 2022 11 HOTEL RESERVATIONS – Cutoff date: 11/12/22 ROOM RATES Single Double Triple Quad Barrymore Hotel Tampa Riverwalk 111 West Fortune Street, Tampa, FL 33602 Comp. internet & self parking (813) 223-1351 #1 for GroupreservationsCode:FMEA $156 $156 $156 $156 Courtyard by Marriott Downtown Tampa 102 East Cass Street, Tampa, FL 33602 Comp. internet; $30 valet only (813) 229-1100, ext. 1 Group Code: FMEA $169 $169 $169 $169 Embassy Suites Downtown 513 South Florida Avenue, Tampa, FL 33602 Comp. internet & breakfast; $24 valet only (813) 769-8300 #1 Group Code: FM3 $264 $264 $274 $284 Embassy Suites Tampa Airport Westshore 555 North Westshore Blvd., Tampa, FL 33609 Comp. internet, self-parking, & breakfast (813) 875-1555 #2 Group Code: FME or FMEA 2023 $203 $203 (up$213to5 in room) (up$223to6 in room) Four Points by Sheraton Suites Tampa Airport Westshore 4400 West Cypress Street, Tampa, FL 33607 Comp. internet & shuttle to Tampa airport; $10 self parking (800) 368-7764 Say “Associate” No cell text reservation link Group Code: FMEA $148 $148 $148 $148
internet & breakfast; $22 self parking (813) 525-9900, ext. 2 Group Code: FME $224 $224 $224 $224 Sheraton Tampa Riverwalk Hotel 200 North Ashley Drive, Tampa, FL 33602 Comp. internet; $36 overnight valet; $20 daytime valet (888) 627-8105 #1 Say “Associate” No cell text reservation link Group Code: FL3 $229 $229 $249 $249 Tampa Marriott Water Street Hotel (formerly Marriott Waterside) 505 Water Street, Tampa, FL 33602 Comp. internet for Bonvoy members; $33 overnight valet; $23 daytime valet (888) 789-3090 #1 Group Code: FMEA $211 $211 $211 $211 Westin Tampa Waterside 725 South Harbour Island Blvd., Tampa, FL 33602 Comp. internet; $30 valet only (888) Group717-8853Code:FMEA $217 $217 $217 $217 Contracted Hotels 2023 FMEA Professional Development Conference January 11-14, 2023 Tampa Convention Center, Tampa, FL
parking
Home 2 Suites Tampa Downtown Channel District 1155 East Kennedy Blvd., Tampa, FL 33602 Comp.
Hampton Inn Tampa Downtown Channel District 1155 East Kennedy Blvd., Tampa, FL 33602 Comp. internet & breakfast; $22 self (813) 525-9900, Group Code: FME $199 $199 $199 $199 Hilton Downtown 211 North Tampa Street, Tampa, FL 33602 $9.99 internet (Comp. for HH); $35 valet only (800) 445-8667, Code: FMEA $227 $227
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$227 $227
By registering for this event, I hereby grant permission to use any and all photo graphic imagery and video footage taken of me at this event and activities pertain ing to this event, without payment or any other consideration. I understand that such materials may be published electron ically or in print, or used in presentations or exhibitions.
12 Florida Music Director
HealthReleasesRiskAcknowledgement
In order to help keep attendees safe, there will be a heightened security presence throughout the TCC and at various hotels. All entrances to the TCC will be patrolled by uniformed officers of the Tampa Police Department and uniformed Allied Security person nel. They will be patrolling the TCC as well. The Tampa Police Department will be at the crosswalks between Marriott Tampa Water Street and the TCC, at concerts, and patrolling some of the downtown hotels during rehearsals.
By registering for this event, I hereby acknowledge that I fully understand the nature and extent of the risk related to the COVID-19 virus and other contagious diseases and agree that by attending this conference and any related events, I do so at my own risk. Additionally, I expressly acknowledge the following: infection by COVID-19 can result in COVID-19death; is highly contagious; the risk of infection and transmission are higher in indoor facilities; there are no safety precautions that totally eliminate the risk of contract ing COVID-19; and individuals with various underlying medical conditions may experience worse Informationoutcomes.about the precautions we are taking is posted on our Health Information Page. Photography/Videography
The Florida Music Education Association is working with the Tampa Police Department and Allied Security at the Tampa Convention Center (TCC) to enhance the confer ence experience for the students and attendees. Great News!
All attendees (this includes members, exhibitors, chaperones, and student participants) must wear their conference badge during the conference once the authorized registrant obtains the conference packet. Please be prepared for random bag and/or purse searches. It is encouraged, if at all possible, to use a clear bag, similar to those used at sporting events, for entrance. Enjoy the Conference Experience.
Personal Health and Safety
Security Procedures
2. All nonregistered (NONBADGED) attendees (parents, family members, guests, etc.) are required to purchase tickets for any all-state concert they wish to attend at $20 per ticket.
No. You can pre-order and pay for their tickets when you preregister for the concert, but there are no free tickets. Can I get free tickets to any concerts? No. Registered attendees (directors, chaperones, students) are allowed admission to concerts with their name badge, so no ticket is necessary.
Attendees that are not registered for the conference (parents, family, etc.) must purchase tickets. Can I buy extra tickets anytime? If you are an FMEA member registered for the conference, you may purchase tickets at the computers in the on-site registration area anytime during the regular registration hours. Everyone else may purchase tickets beginning at 11 am on Thursday. There are more family members and guests coming to watch my all-state student than I have tickets. How and when do they get tickets? Extra tickets may be purchased when general ticket sales open. Tickets will be sold at the main registration area and cost $20 each. Does my young child need to buy a ticket?
Everyone who will be taking up a seat will need a ticket. Babies that are being held by a parent or sitting on a parent’s lap for the duration of the concert are welcome without a ticket, but children who are old enough to sit in their own seat will need a ticket.
All Concert Ticket Sales Are Final. No Refunds or Exchanges.
1. Registered (BADGED) attendees do not require tickets to attend any all-state concert. This includes directors/members, directors’ non-teaching spouses, performing all-state students, registered chaperones, collegiate student members, retired members, and VIP guests that you entered as part of your conference registration.
5. Directors who register on site may purchase all-state concert tickets for nonregistered attendees for concerts in which they have registered all-state students during the on-site registration process.
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Please make sure you know the exact name of the all-state ensemble for which you need tickets before approaching the ticket sales window.
attendstudents’DoAskedFrequentlyQuestionsIgetfreeticketsformyfamilymemberstotheconcert?
7. General ticket sales for all-state concerts will begin at 11 am on Thursday at the FMEA registration desk. There is no requirement that the director or any other registered attendee be the person purchasing these tickets after this time.
Concert Tickets
3. There are no “free” or “allotted” tickets. All concert attendees must either wear their conference badge or purchase a ticket.
8. All ticket sales are final. Concert tickets are nonrefundable.
4. Directors who preregister online may reserve and prepay for all-state concert tickets for nonregistered attendees for concerts in which they have registered all-state students. If paid for online, these tickets will be preloaded into the director’s registration package.
NOTE: No concerts will be held at the Straz Performing Arts Center.
9. For entrance, ticket, and concert purposes, a concert is defined as the group of ensembles that are performing in the same venue in a common, defined block of time. An example of a “concert” for purposes of entrance, ticketing, etc., is the 6 pm concert on Saturday for the All-State Middle School Band, the All-State Concert Band, and the All-State Symphonic Band.
6. Directors with all-state students may purchase additional concert tickets for nonregistered attendees for concerts in which they have performing students at the on-site registration desk or at a designated ticket sales location at anytime.
Middle
All-State
Concert Band Sheraton Riverwalk All-State Concert Chorus Tampa
Tampa
Downtown
Orff
Sheraton
All-State SSAA Chorus Westin Tampa Waterside Symphonic Band Tampa Convention Center Symphonic Orchestra Convention Center
Hilton
Honors
Sheraton Riverwalk School Honors Orchestra Suites School Band Downtown School Orchestra Riverwalk
All-State
All-State Reading
All-State Middle School Chorus Tampa Downtown Popular Music Collective Convention Center Chorus Suites
All-State Chorus Suites
Embassy
Honors
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All-State Concert Orchestra Tampa
Hilton
All-State High School Jazz Band Tampa Convention Center
All-State
High School Band
All-State Convention Center
Embassy
Tampa
All-State
Barrymore
Tampa
Mixed
Honors
All-State Elementary Ensemble Tampa Convention Center Ensemble Marriott Water Street
All-State Middle
Tampa
All-State
TTBB
Downtown
Elementary Chorus Tampa
All-State Marriott Water Street Marriott Water Street
All-State Guitar
All-State Intercollegiate Band Hotel Tampa Riverwalk School Band Tampa Downtown Middle School Jazz Band Westin Tampa Waterside Middle School Chorus Hilton Tampa Downtown Middle School Orchestra Marriott Water Street
All-State
Treble
High
Embassy
Hilton Tampa
Downtown Middle
All-State Rehearsal Locations
In It to Win It, for Everyone!
Wednesday, January 11, 2023, 1-4:30 pm
ExperienceConference
Tri-MExperienceConference
StudentSessionLeadership
The purpose of the Florida Music Education Association Tri-M Conference Experience is to provide students with experiences that will build their leadership and advocacy skills, as well as expose them to the experiences available at the annual conference.
September 2022 15 STUDENT E X PERIENCES
This workshop is designed for all high school student leaders who want to learn, thrive, and become the best leader for their schools, peers, and themselves.
Anne M. Fennell, MEd, is the president of the California Music Educators Association and the K-12 music program manager for San Diego Unified School District in San Diego, California. She holds the BME, the MEd in educational leadership studies, and Orff-Schulwerk certification Levels I-II-III, and has more than 90 graduate hours in music and additional education course work. Her experiences include 32 years of teaching music composition and steel drum ensembles in grades 9-12, teaching K-8 integrated arts and music through Orff-Schulwerk, and leading both vocal and instrumental ensembles in civic and profession al performances, including national music conferences and the annual NAMM Board of Directors’ meetings in 2013 and 2016. She is a published author through Pearson Education, the GRAMMY Foundation, the Percussion Marketing Council, and Disney’s Little/Baby Einsteins. She presents sessions and gives keynotes both nationally and internationally, including state MEAs, the American Orff-Schulwerk Association, the National Association for Music Education, the Organization of Economic Cooperation and Development, China music education confer ences (through the support of the International Music Products Industry (NAMM)), and the International Society for Music Education. She has received numerous state and national awards: the 2020 Technology in Music Education National Teacher of the Year, 2017 Magnet Schools of America National Teacher of the Year, top 10 GRAMMY Music Educator Finalist for 2016, and top 3 Music Educator Award from Music and Arts in 2015.
Attendees will participate in active conversations and team and relationship building activities while also discovering their personal strengths and needs to continue to grow on their leadership journeys. Everyone will be engaged in a culture of inclusivity to see and hear all students whle revealing the unique strengths and knowledge of our combined voices and experiences.
Presenter: Anne M. Fennell, MEd
Participating students will interact with amazing clinicians and educators, college representatives, and incredible performing groups. These students will have memorable experiences they can take back and share with their high school music programs.
The purpose of the Florida Music Education Association Student Conference Experience is to expand access to the annual conference to students from throughout the state. Participating students will interact with amazing clinicians and educators, college representatives, and incredible performing groups. These students will have memorable experiences that they can take back and share with their high school music programs. The program will take place on Thursday and Friday of the 2023 FMEA Professional Development Conference Students will participate in workshops, observe rehearsals, attend College Night, and engage in networking and social activities with their peers.
Student
FMEA now offers two experiences for high school students who are not participating in an all-state ensemble, the Student Conference Experience and the Tri-M Conference Experience Read the comparison here
Thursday, January 12-13, 2023 Presenter: Anne M. Fennell, MEd
Fred Schiff, Chairperson
As I have stated before, the quality of the music business community is dependent on quality class room teaching, and it is our intention to make sure all of our communities grow and flourish.
Conference 16 Florida Music Director Renew your partner membership TODAY! CLICK For more information,
This is an ideal partnership, whereby each presenter will be offering music teachers additional tools to face the issues they encounter in and out of the classroom, allowing all of us to improve.
FLORIDA CORPORATE & ACADEMICCOMMITTEEPARTNERS
email info@flmusiced.org visit FloridaMusicEducation.org/partners
A fter meaningful discussions with our part ners at Hal Leonard, the Florida Corporate and Academic Partners Committee (FCAP) is thrilled to announce that three incredible sessions featuring three of the best educators in world will present on Friday at the 2023 FMEA Professional Development Conference. In a nutshell, FVA, FOA, and FBA were asked for a short list of names they wanted their members to see, and Hal Leonard made it happen. It is my pleasure to announce that Dr. Matthew Arau (FBA), Dr. Rollo Dilworth (FVA), and Dr. Robert Gillespie (FOA) will be in Tampa in January to address our members. These Pilot Program sessions, though funded by Hal Leonard, are not about the products they sell.
PILOT PRO G RAM
If you are a Corporate or Academic Partner that has an idea on how you can help any of our FMEA compo nents and would like to be seen on another level for the 2024 conference, then please contact me. I look forward to our conversations.
Dr. Matthew Arau Dr. Rollo Dilworth Dr. Robert Gillespie
A Pilot Program First for the 2023 FMEA call 850-878-6844
September 2022 17
Alexis & Jonathan Pletincks
Mary of Gary Rivenbark
David of
& Wes Rainer
June
Richard
18 Florida Music Director FLORIDAASSOCIATIONEDUCATIONMUSIC 2022-2023 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, 2022, through July 28, 2022. MAESTRO’S CIRCLE $10,000 and up No current donors at this time. No current donors at this time. Carlos Abril In Honor of Dr. Nicholas DeCarbo Lucinda Balistreri In Honor of music educators in Sarasota Christopher Banks Kasia Bugaj Dale VirginiaChoateDensmore In Honor of Vicki Rhodes Dennis Holt Frank Howes In Memory of Richard Bowles & Harry Grant Steve & Beth Kelly Sheila King In Memory of John W. King Carolyn Minear Mary Palmer In Memory of Amy Catherine Palmer
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September 2022 19 Crystal Berner Laurie MichaelDebbieDeniseJodieGwendolynAntonioBittersBorgesCarrollDonahooDumalaFahmieGabriel Tina Gill In Memory of Gary Rivenbark James DeborahAngelaHammondHartvigsenMar In Dedication to Mrs. Barbara Kingman Katie McGuire Menges Diana Rollo Ian AnonymousJenniferLindseyBradleyAndreaJoaniSchwindtSlawsonSzarowiczWhartonWilliamsZahn(5) PATRONS $25 –JudyMichael$99AntmannArthur In Honor of Raymond Kickliter & Nancy Marsters Blair Clawson In Honor of Ginny Densmore, Alice-Ann Darrow, & Vicki Rhodes Dayna Cole In Memory of Linda Mann Marc ScottDeweyDeckerDoddsEvans Bradley Franks In Memory of Gary W. Rivenbark Julie Hebert Julia House In Memory of Dr. Kimberle Moon McKee Joseph Luechauer Kevin Lusk Lloyd McIntyre In Memory of Bob Hager Katie Grace Miller In Honor of Artie Almeida Edward Prasse Mark SondraJohnDavidValerieStevensTerryVerdoniWatkinsWenninger Collins Graeme Winder On Behalf of all our hardworking music educators Anonymous (1) FRIENDS up to $24 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.
Pictured here is an example of “involving our greater school community in active music-making.”
Each Friday, Leon High School’s Capital Singers in Tallahassee gather around the lobby mascot (the lion) to sing for about 10 minutes before the school lets out for lunch. Students from all across the school gather to enjoy the tradition. of “Singing Around the Lion”
CLICK HERE for a video
As we strive to return a sense of normalcy to our students, it is important to keep in mind that everything does not need to be high stakes. Lehman (2021, p. 65) noted that “... music remains one of humanity’s greatest joys.” It can be simple, focusing on the joy of music-making within our classrooms and connecting with the greater community. We have a variety of ideas and strategies we have used over the years to make quality music within our class rooms, schools, and communities. Involving our greater school community in active music-making shows our students there are opportunities for making music in the future and as adults. These do not have to be complex events to engage and inspire students. In fact, they can be very simplistic in nature while still allowing for the same impact to be made. Hosting ensem bles and performers or attending community performanc es can be exciting experiences to plan. However, they do not have to be the only avenues for exposing students to musical experiences. Organizing the faculty and staff of
Making music in a community setting is one of the most significant experiences we participate in as musicians, forming an essential part of our work as music educators.
CommunityBuildingThroughMusic
M
Continued on page 22
It takes the music beyond the confines of the classroom and puts it in real life. This allows the students to see how what they may be learning in the classroom has real-life, tangible applications. The past two years have seen a seri ous disruption in the community brought by COVID-19.
September 2022 21
by Jacob Reedy and Sherry St.Petery
For example, I (Jacob Reedy) organized a teachers’ recorder ensemble to play a short piece at the beginning of a school fall festival. Was this a polished, professional performance filled with lots of technically brilliant music? No. Was it an opportunity for colleagues to come togeth er and explore a medium that most were not experts in, to have fun, and to experience many of the tasks we expect our students to undertake in our music programs? Absolutely! This aligns with the benchmark “Describe how people participate in music” from the Florida Next Generation Sunshine State Standards (Florida Department of Education, MU.2.F.2.1), showing that not only do people make music as a career, but as a part of their life for enjoy ment with friends and family.
Creating traditions that bring students and fami lies together builds community within your school and creates opportunities for lasting relationships. Having schoolwide sing-alongs of your school song is a great place to start. If you do not have a school song, creating one together as a school community can be a starting place. Students, families, and staff can all contribute ideas and help select the phrases and themes that are important to your school community. Adding to that can be a collec tion of songs that all students learn throughout their time at your school and then come together as the whole school to sing each year. Simple songs that can be sung in unison or short canons work well to create a sense of together ness. Echo songs are super fun and will get everyone focused and singing together as well. Teach the kids they
22 Florida Music Director your school to sing or play a song at an assembly or a pep rally can be just as—if not more—influential.
Another event that can successfully engage our com munity is a family folk dance night where students and their families join in music and movement togeth er. I (Jacob Reedy) did this with fourth graders at my school, using many different types of dances that we had explored in music class. The students had the opportuni ty to be the experts, helping their family members and special guests learn the dances. Engaging students in sharing what they have learned by teaching it to someone else gives them authentic responsibility within the music classroom as well as the community at-large. Limited instructional time can be a barrier to holding performanc es. By planning ahead and evaluating your curricula choices, you can prepare for events like this folk dance night by teaching a variety of dances at each grade level and then revisiting and refining them in shorter lessons before presenting them to the community.
Building Community Through Music Continued from page 21
Get to know the middle and high school music teachers in your area. Isolation is a well-discussed theme, espe cially among elementary music teachers who are often the only teachers teaching their content in the building (Bautista et al., 2021). Attend concerts and get coffee or lunch together in the summer or during other times of the year. We have so much to learn about and see what everyone is doing with music in our local communities. By connecting with colleagues personally, we can build community as teachers, like we do within our classrooms, and then opportunities for collaboration can naturally develop.
September 2022 23
Jacob Reedy is a music specialist at Seaside Charter San Jose and holds the BME from the University of North Florida. Passionate about active music-making, Mr. Reedy serves on the board of the North Florida Orff Chapter and serves the Florida Elementary Music Educators Association as chair of District 5.
Vertical alignment may be an organized part of your district’s practices, or you might have to search for those opportunities, but by reaching out and connecting with the colleagues your students will work with (or come from if you are a secondary teacher), the path can be primed for students to continue participating in school music pro grams. We have seen great energy and excitement when students get to see other programs and the students share their music. Joint concerts where each school presents its own program and then the schools combine for a collab orative piece can be an excellent opportunity for students to see peers and older students performing.
These are just a few examples that show ways to incor porate the school and local community into the class room. By engaging with our students and their families, we can build resilient relationships that support our stu dents’ musical and personal growth. What ways can you connect yourself to the music-making community within and around your school? What ways can you connect your students to the community around them through music?
Sherry St.Petery grew up in Miami, Florida. She teaches K-5 music at Liberty Magnet School, School District of Indian River County, Vero Beach. Mrs. St.Petery holds the BME and the MME in music education from Florida State University. She taught middle school band for 12 years and is in her 10th year of teaching elementary music. References Bautista, A., Stanley, A. M., & Candusso, F. (2021). Policy strategies to remedy isolation of specialist arts and music teachers. Arts Education Policy Review, 122(1), 42-53. https://doi.org/10.1080/10 Florida632913.2020.1746713Departmentof Education. (2010). Next Generation Sunshine State Standards. Retrieved December 20, 2021, from Lehman,https://www.cpalms.org/public/search/StandardP.R.(2021).Anotherperspective:Whydowe like music? And what does this mean for music education? Music Educators Journal, 108(1), 60-65. https://doi.org/10.1177/00274321211024194
can sing with everyone else; you will see so many smiles. You can teach a finger-play rhyme with a steady beat or an echo song to all students, schoolwide, when they are in music class. Then you can get the entire school to participate together in an activity with minimal direc tions because they have already prepared. The finger play can be done with all audiation, using only hand motions. Before the COVID-19 pandemic, there was a morning when I (Sherry St.Petery) was asked with the other special area teachers to keep the student body in the cafeteria so their teachers could finish an important professional development. We had 15 minutes with hundreds of stu dents. I started our speech piece and the entire cafeteria was engaged, moving their hands and speaking together. Then we tried it with “magic lips” (i.e., audiating—using only hand motions and speech in our heads.) We prac ticed a few times to line up our claps, and everyone was participating and getting focused for their day. The school community is supported and grown when students par ticipate together in activities like these that unite them.
During the first several years I (Sherry St.Petery) taught at my school, we did a schoolwide showcase. The amount of work to get this together was enormous. I have a great team of special area teachers who embraced this perfor mance, and we worked together to organize and prepare with the students. The community-building showcase of all students making music together was fabulous. Former students came back to help during transitions backstage. This was a community working together—what better way to encourage our students to continue in music beyond elementary school? Parents’ appreciation for the music program grew and grew, and the highlight was always the beginning and the finale where all of the stu dents (kindergarten through fifth grade) performed a few songs together, surrounding the audience.
Proficiency in pedagogy, library maintenance, budgeting, and community engagement are all responsibilities of music educators. However, catering to the education of children need not be a solitary function. There exist strate gic partners, both within the schools and the community, who are eager to collaborate. This article aims to add to the body of literature promoting partnerships between libraries and music programs. Here, several issues that impact music educators are considered from the perspec tive of a librarian, suggesting how libraries and best prac tices in librarianship can support school music programs.
Useful Collection Development Strategies
24 Florida Music Director M
Lucy Santos Green (2014), information science professor at the University of South Carolina, identifies overlapping pro fessional standards between the American Association of School Libraries and the National Association of LibrarianshipLeveragingSchoolsAGUIDEFORMUSICEDUCATORS by Adam E. Berkowitz of Music. She notes similarities regarding advocacy, pro gram planning, cross-curricular collaboration, and cre ativity (Green, 2014). In another publication, she mentions the emphasis that NAfME places on integrating tech nology into music education and concludes that this is “an opportunity identified” for partnerships with school librarians as multimedia specialists (Green & Green, 2014, p. 107).
Another article, published in Tampa Bay Parenting Magazine, demonstrates how public libraries, through resources and services, can support school music and theatre programs (Berkowitz, 2022). There would seem to be an obvious path to ongoing collaboration.
Music educators are responsible for a great many things in order to deliver the best possible level of education.
Collection development is the process by which a librari an assesses the information needs of the community and endeavors to meet those needs through acquiring resourc es, preserving the body of the collection, conserving specific items within the collection, and deselecting (i.e., weeding) unnecessary materials. There are additional aspects to collection development, and this is by no means an exhaustive list of collection development responsibili ties; however, these are the core components that are most relevant. To clarify, anything can be included in a music collection, such as sheet music, instruments, CDs, DVDs, etc. From here on, though, this article will discuss music collections as scores and sheet music, but the methods to follow can be applied to any kind of music collection. To start the acquisitions process, the music educator must consider what constitutes a viable addition to the collection. This is determined by a combination of the needs of the teacher and students as well as credible sources providing information on desirable music. Two
Continued on page 26
Supporting Literature Libraries exist for the purpose of meeting a community’s information needs and to serve as a venue of free thought and collaboration. The mission of the Tampa-Hillsborough County Public Library, for example, includes statements about lifelong learning, intellectual freedom, and enhanc ing quality of life (HCPLC, 2022). When compared to the NAfME’s values statement, which mentions collaboration, empowerment, diversity, and uplifting the human spirit, the common interests are clear (National Association for Music Education, 2015).
According to music teacher Steve Damon, “[Children] come to the realization that every subject area is con nected .... Although teaching styles may differ, librarians and music educators have a common goal: to open young minds to every area of learning” (Damon, 2003, p. 33).
Continued from page 24 of the best kinds of resources to consider are bibliographies of musical works and professional reviews of literature. A music bibliography is a curated list of compositions indicating the title, com poser/arranger, publisher, and date of publication. There exist many music bib liographies for large ensembles, chamber ensembles, and individual instruments or voice. Examples of bibliographies include music performance assessment lists for solo and ensemble and all-state auditions, or the Midwest Clinic’s “Recommended March Composers List” (Midwest Clinic, 2022).
Orchestra directors would find value in consulting Daniels’ Orchestral Music by David Daniels (Daniels et al., 2022), and band directors would ben efit from referring to “Using Citation Metrics to Improve Selection Criteria in Developing Symphonic Band and Wind Ensemble Libraries,” which contains a significant evaluation of relevant bibliog raphies (Berkowitz, 2021). Literature reviews are published assessments by field experts and listed in professional periodicals. Reviews fea tured in the Music Library Association’s Notes list compositions in bibliograph ic format, ISBN numbers, and cost of purchase. Furthermore, they include a lengthy synopsis discussing the history of the work, biographical information about the composer/arranger, and descriptions of the music itself.
The Music Teachers National Association’s The American Music Teacher prints reviews of compositions comprising the title, composer/arranger, publisher, and cost of purchase as well as information about the music and compos er/arranger. The Percussive Arts Society publishes its reviews of new percussion literature and recordings in Percussive Notes and Rhythm! Scene, offering a short synopsis of the music and biography of the composer/arranger as well as an excerpt of the sheet music.
Preservation and conservation, because they are so closely related and often used interchangeably by librarians, are dis cussed together. The primary difference between the two is that preservation refers to protecting the entire collection while conservation deals with protecting a single item. Below are some examples of each.Asa measure of preservation, music programs should have an emergency con tingency plan when preparing for natural disasters. This plan likely includes special instructions for where and how to store the music library, or perhaps includes provisions for how the library can be replaced if needed. Another preservation tactic utilized in archives is storing sheet music in acid-free boxes. Doing so ensures that the contents are protected from natu ral degradation. A preservation strategy familiar to all music educators requires students to refrain from marking their music with a pen. While erasing pencil marks inevitably damages the music’s integrity, ink is permanent, preventing continuedConservationuse. often overlaps with preservation. The methods that protect the collection also protect the individual materials. That said, some tactics to con sider include assessing individual parts as music is being distributed. It is highly rec ommended that parts in poor condition be replaced with newly purchased copies; however, allowances can be made for photocopies. Temporary photocopies can be used in lieu of purchased sheet music so long as the copy is shredded after use and then replaced with the legitimate purchased part. Photocopies of parts can also be used in perpetuity provided that written consent from the copyright owner has been obtained prior to making the copy (Gilligan, 2022). Music educators who find worn-out scores, assuming they are still legible, are advised to send them to a professional binder for repair or to rebind the pages themselves at a print shop. In revisiting the use of acid-free boxes, another option is to use them only for out-of-print music. This will extend the life of the music and can be done on a case-by-case basis. Weeding, the act of removing materials from the library, is the final step in the collection development cycle. It should be made clear that deselection does not necessarily mean disposal. The weeding process exists because space in a library
26 Florida Music Director LibrarianshipLeveraging
Many libraries have webforms that can be accessed and submitted through their websites, and others will provide instruc tions on how to request items through WorldCat.Libraries can also be relied upon to procure sheet music as well as audio and video recordings of musical performanc es. Typically, only scores can be found in libraries or requested through ILL; however, some libraries carry scores and parts for small chamber ensemble works. Many libraries also have access to exten sive e-book collections through vendors such as Hoopla and Overdrive, which may include digital copies of sheet music available online both within and outside the library. The advantage of borrowing scores and parts is that it gives music edu cators the ability to review the music prior to purchasing or renting to determine if the piece is suitable for the music program.
Library Collections and Interlibrary Loan In addition to best practices in librarian ship, libraries themselves can be invalu able in supporting school music pro grams. Often overlooked is how library collections and services can be utilized to augment a music program’s library. Music reviews and bibliographies were previ ously identified as necessary resources for collection development; however, the publications where reviews and bibliog raphies can be found often require a paid subscription. As such, it would be prudent to inquire if the local library has access through its digital databases.
Music Educators Journal, Journal of General Music Education, Journal of Music Teacher Education, Journal of Research in Music Education, and The American Music Teacher are all available through at least one of these databases.
Library vendors such as EBSCO, Gale, ProQuest, JSTOR, and SAGE often have access to these professional periodicals.
September 2022 27 Continued on page 28 is limited. Some libraries have storage facilities where materials from the col lection can be moved to make room for new additions. Other possibilities include donating the excess sheet music to other school music programs or community ensembles. If none of this is possible, then disposal may be necessary.
All libraries have some kind of col lection of recorded music, which can take many forms, but the most common are CDs, DVDs, and streaming media. Libraries contract with several companies in order to make streaming music, in both audio and video formats, available wher ever there is an internet connection via websites and mobile apps. Some examples of these vendors include Hoopla, Naxos
Cases where only physical copies are available will necessitate travelling to the library, and if the library does not pos sess the desired materials, obtaining them through interlibrary loan (ILL) should be explored. ILL is a service offered by libraries for the purpose of obtaining items they do not own by borrowing them from other libraries. The patron must first gather information about the needed resources and report them to the library. Required details can be found using WorldCat (www.worldcat.org ), an online international database of mate rials held in public and academic libraries.
The next issue is to determine what should be removed. Librarians consid er circulation statistics, the reputations of titles and authors, the cohesiveness of individual materials, and the overall condition of the items. When applied to a music program’s library, certain questions need to be asked: How frequently is this work programmed for performance? Can the composition be found in the latest bibliographies? Is the music a good fit for the ensembles and the students? Is the sheet music in good enough condition for distribution and use? Answering these questions will lead to better-informed decisions.There is one more tool that would prove useful to music educators during the acquisitions and weeding process es. Citation metrics, also known as cita tion impact, is the number of times a published work is referenced in other published works (Garfield, 1988). This topic is extensively discussed in the aforementioned article, “Using Citation Metrics to Improve Selection Criteria …” (Berkowitz, 2021). In practice, a music educator interested in purchasing music seen in a review or a bibliography would benefit from consulting additional sourc es to determine if the title is mentioned elsewhere. The more frequently a work is included in different bibliographies, the more likely it is to be of high quality, fur ther justifying the purchase and inclusion in the library. Conversely, if there are piec es of music in the library that do not retain a high citation metric, the more likely it is that they should be weeded.
In fact,
Libraries, as hubs for education and culture, often partner with local music organizations. Two organizations that the Tampa-Hillsborough County Public Library cooperates with include the Tampa Bay Ukulele Society and The Florida Orchestra. In May 2015, the Ukulele Society donated a large set of ukulele kits to the library consisting of a ukulele, a method book, a tuner, an instructional DVD, and a carrying case. Patrons can check out these kits and, with the accompanying materials, learn how to play the ukulele. In addition, the Ukulele Society schedules private lessons and jam sessions at several library branches where patrons can bring borrowed ukule les and have fun practicing musicianship (see Figure 2). The Tampa-Hillsborough County Public Library is also a venue for “instrument petting zoos” facilitat ed by The Florida Orchestra. At these events, children are exposed to instru ments from the different sections of the orchestra, and after learning about them, the children are invited up to play (see Figure 3). The Florida Orchestra is also a “Discovery Pass” partner, which allows patrons to attend select concerts at no cost (Berkowitz, 2019).
Figure 2. Tampa Bay Ukulele Society Jam Session at THPL
A currently trending practice in libraries is retaining and facilitating recording stu dios. Florida public libraries with record ing studios include but are not limited to the Tampa-Hillsborough County Public Library (THPL, see Figure 1), the Delray Beach Public Library, the Pasco County Library Cooperative, the Orange County Library System, and the Jacksonville Public Library. The Tampa-Hillsborough County Public Library’s recording studios “are equipped with green screens, record ing equipment, and computers with edit ing programs … the library’s studios make for excellent practice rooms. As a sizeable, open space equipped with sound dampening technology, the studios are suitable for singing, playing instruments, running lines, and dancing” (Berkowitz, 2022, para. Libraries3). without recording stu dios also tend to include private meet ing rooms, enclosed study spaces, and large conference rooms. Some of these rooms may not be suitable for practice, but for students who need a practice space and are unable to practice at home or at school, this is a viable option to explore. Furthermore, libraries are often located within walking distance of schools and are convenient for both students and par ents. Music educators are advised to con tact their local libraries to learn more about the amenities and to reserve space for students.
28 Florida Music Director LibrarianshipLeveraging Continued from page 27 Music Library, Alexander Street, and DRAM. In cases when the required music is not available in physical or digital for mats, it is possible to request recordings through ILL; however, online commer cial streaming services such as YouTube, Spotify, Pandora, and Deezer should not be discounted.
Figure 1. THPL Recording Studio
Practice Rooms and Music Programming
Florida State University’s Warren D. Allen Music Library and the University of Miami’s Austin and Marta Weeks Music Library. These libraries and many others in Florida are staffed by indi viduals holding degrees in both music and library/information science who research the intersection of the two fields and are supported by the Music Library Association. Recognition should also be given to school libraries and media centers. These facilities are managed by highly trained professionals specializing in librarianship, multimedia technology, and cross-disciplinary collaboration.
Daniels’ orchestral music (6th ed.). Rowman & Littlefield Publishers. Garfield, E. (1988). Can researchers bank on citation analysis? Essays of an information scientist: Science literacy, policy, evaluation, and other essays, 11(44), 354-363. Gilligan, T. S. (2022). MTNA copyright guidelines for music teachers. Music Teachers National Association. Retrieved April 24, 2022, Green,Copyright_FAQs.aspxhttps://www.mtna.org/MTNA/Learn/fromL.S.(2014).Schoollibrariansandmusiceducators:Aconcertforstudentsuccess. Library Media Connection, 33, 20-23. Green, L. S., & Green, B. (2014). School librarians and music educators: Unique interdisciplinary partnerships. In K. Kennedy, & L. Green, Collaborative models for librarian and teacher partnerships (pp. 99-109). IGI Global. HCPLC.4666-4361-1.ch009https://doi.org/10.4018/978-1-(2022).
All figure photos provided by Tampa-Hillsborough County Public Library. and information science from the University of South Florida. He is a member of the Music Library Association’s Public Libraries Committee and reviews proposals concerning topics in music for Rowman & Littlefield as a library advisory board member.
The library’s ukuleles offer children an opportunity to play an instrument when the school music program is unable to supply instruments or when the pur chase of an instrument is cost prohibitive. Instrument petting zoos allow children to explore orchestral instruments early in their music education, possibly cementing an enthusiasm for joining an ensemble in the future. Attending orchestra concerts enables students to observe professional musicians in the midst of a high-quality performance, and as a member of the audience, they learn concert etiquette. The music does not have to stop once the students leave the classroom.
About the Tampa-Hillsborough County Public Library. Hillsborough County Public Library Cooperative. Retrieved March 3, 2022, from https://hcplc.org/thpl/about Midwest Clinic. (2022, January 24). Recommended march composers list. Woodridge, IL: Midwest Clinic. National Association for Music Education. (2015, October 23). Strategic Plan. National Association for Music Education.
Figure 3. The Florida Orchestra Petting Zoo at THPL
Music educators should feel encouraged by the information presented in this arti cle. Opportunities for collaboration exist both within the schools and surround ing communities. Leveraging libraries as strategic partners will lead to significant enhancements to school music programs. Utilizing strategies in collection develop ment will lead to improved organization and better-informed decisions regard ing balancing and protecting the music library. Making use of library collections and services will help augment the school music library without having to make purchases and allot space. Encouraging the use of library facilities gives students a place to listen to music and practice outside of school. Emphasizing musicfocused library programs allows students to continue their music education beyond the classroom. Through library partner ships, students can receive a fulfilling music education. Adam Berkowitz is the grants coordinator with the Tampa-Hillsborough County Public Library. He earned the MA in music history and literature from Florida Atlantic University and the MA in library
References Berkowitz, A. E. (2019) Music collections and programming at the Tampa Hillsborough County Public Library. MLA Newsletter, 205, Berkowitz,6-8. A. E. (2021) Using citation metrics to improve selection criteria in developing symphonic band and wind ensemble libraries. Florida Music Director, 74(8), 8-15. Berkowitz, A. E. (2022, February). Beyond the books: Music reaches where words can’t. Tampa Bay Parenting Magazine Retrieved March 3, 2022, from Damon,web?fr=sODEyZDI0MzkzNzgdocs/february_2022_issuu.com/tampabayparentingmagazine/https://S.(2003).Fromthebookshelf:Alibrarianwithamusiceducatoranunstoppableteachingduo. General Music Today, 16(2), 33-7. Daniels,3713030160020801https://doi.org/10.1177/1048D.,Rahbee,D.A.,&Oertel,D.W.(2022).
September 2022 29 Music educators are encouraged to take advantage of these kinds of resources in order to augment their music programs.
Conclusion Libraries throughout the state of Florida house music collections, with universi ty libraries tending to be the most sig nificant in size and stature. The two most prominent music libraries in the state include
My wife and I have two boys who have both had multiple experiences of prepar ing for FSA testing. They both felt pres sure and stress, and I’m seeing similar perceptions in music teachers as it relates to our various assessment experiences (e.g., MPA). The feeling from my kids and from my colleagues is that these assess ments can function both in a summative fashion and, to some, as the sole data point that determines success or failure. I would argue that these feelings of stress and anxiety certainly do not align with quality performance on an instrument, a voice, or a standardized test. I would also argue that no single assessment can truly show the value or growth of an individual or ensemble, let alone an entire program. In a music education setting, I know that these performance experiences can pro vide a valuable data point for how our students are achieving and some insight into the appropriateness of the literature choices made by the director. Other data points to show program growth and/or stability could be such things as enroll ment data, retention/attrition rates, num ber of students in solo and ensemble, com munity involvement, other adjudicated events, or independent student projects, to name a few. But let’s make sure that an adjudicated data point isn’t the only mea sure we are using to show individual and ensemble growth.
Our county provided a weeklong professional development event for all of our teachers, and I was able to facilitate for our performing arts faculty. What struck me during this event was the level of energy and creativity present, especially in the collaborative sessions. The sharing, reimagining, and creation of lessons was an amazing sight to behold. Further, these sessions became a week full of takeaways that our teachers can implement immediately in their respec tiveByclassrooms.nowournew year is in full swing, and we are likely developing a clear er sense of the strengths and areas for improvement for our individual students and our ensembles. We are, I hope, in a groove, with our students solidifying what they can expect in the various class rooms they enter each day. This part of the year is so exciting to me. A topic of conversation during the professional development week, as well as myriad conversations with teachers around our state, addressed approaches and perceptions of the relative “weight” of our music performance assessment system. Some view it as an event that happens within the context of teaching music while others view it as a harbinger SUPERVISION ASSOCIATION
Seminole County Public Schools elementary music teachers Danielle Hatch and Lisa Langston share new lessons with their colleagues.
A quote from Adam Grant’s book sums this up nicely: “The more you value achievement, the more you come to dread failure.” I choose to interpret this quote to mean that if we overvalue a single result, we can lose the freedom and joy of creat ing art—alone or together. There is value in success and in “failure” when we treat each event in a formative (i.e., big picture) way rather than as repeated summative endeavors. Reference Grant, A. (2016). Originals: How non-conformists move the world. Viking Press.
Lindsey R. Williams, PhD, President of success/failure for the year. To many, especially our more novice teachers, it carries substantial importance verging on it being the sole purpose of the year. Meaningful assessment data can be very important in measuring a program, but I hope we are all seeking more than a single performance to make these judg ments. I trust we are helping each other to approach this process of preparing students to make music together—to cre ate beauty—as the “it,” where results of the assessment itself (aka MPA rating) function as a byproduct of the teaching/ learning process.
30 Florida Music Director Component News
Secondary teachers work with the staff at Orlando Repertory Theatre (The REP) on show design and production scheduling. (Photo: Jennifer Adams-Carrasquillo, The REP)
FLORIDA MUSIC
Professional networking starts from the first day of your undergradu ate music degree program. The ability to build professional connections is an important soft skill not often emphasized within the overwhelming music educa tion course load. Being a music major is unique, as you spend an incredible amount of time with your cohort and pro fessors, which creates an optimal setting for networking. These connections start to build your personal community of profes sional relationships so you feel supported throughout your career. As we increase our face-to-face inter actions, we may feel a bit uncomfortable and socially awkward. Do not be afraid to connect with others initially via email or social media. Social media is a great place to network with like-minded people. It is less awkward at times, and is socially and professionally acceptable. In 2020, I was faced with reinventing a conducting symposium to be virtual, allowing me to invite other professional musicians to take part. I direct messaged and emailed sever al agents, scholars, and conductors to take part, and these relationships still exist today—even with Maestra JoAnn Falletta of the Buffalo Philharmonic! I encourage you to reach out to those you admire. You’ll be surprised by the responses. The community you build through networking will organically populate through the snowball effect. Classmates, professors, graduate students, and clin ical teachers are key relationships that will help introduce you to others. NAfME Collegiate activities offer opportunities for networking and fostering relation ships. Daily ways you can network are through social activities, such as sharing a meal with your colleagues. Remember, you don’t have be in a formal music set ting to build relationships. Network by going to conferences and professional development activities. If your clinical teacher or professor sug gests a workshop, such as Orff or Kodály trainings, conducting clinics, dance work shops, etc.,—GO! There’s more to these workshops than pedagogy; it’s the opti mal time to network. These are the best places to find passionate people excited about what they do, and they will help to pump you up, too! As your collegiate chapter activities gain momentum this fall, invite your col leagues who are music majors to attend events and to join your chapter. These colleagues are valuable to your future endeavors. For example, they could pro vide lessons for your future students, help you book a gig, or collaborate on a commissioned composition. Almost all music majors will find themselves teach ing in some capacity, and being a part of NAfME Collegiate offers them a network ing opportunity as well as a foundation in pedagogicalNetworkingskills.can be lifechanging. In 2011, I lost my job, yet the professional community I had built offered me invi tations to give clinics in schools, stu dents to populate my teaching studio, and paid gigs. These opportunities opened pathways for me, including invitations to apply for teaching positions and a doctor al music education program. I often joke that there is only one degree of separa tion amongst people in our greater music community, so I encourage you all to take advantage of and start connecting!
September 2022 31 FLORIDA NAfME COLLEGIATE Mark A. Belfast, Jr., PhD, Advisor
Margaret Flood, PhD, is an assistant professor of music and coordinator of music edu cation at Florida Southern College. If you would like to network with her, or the Florida Southern College NAfME Collegiate Chapter, please reach out to mflood@flsouthern.edu or fscnafmecollegiate@gmail.com
Networking to Create
Your Professional Community by Margaret Flood, PhD
32 Florida Music Director Component News FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION
Ihope this column finds you well and enjoying the first few weeks of the term. This month I’m writing to our new music teachers in Florida. Welcome to the profession of music education! You are in store for a great year. When I think back to my first few years of teaching, I recall amazing colleagues, great students, many successes, and a few challenges. I remember that first year connecting with students through a shared youthful excitement for music. They were patient a noble place, but unless you’re teaching at an amazing school your first year, the music you’re picking is too hard. The other reason—which is common for expe rienced music educators as well—is that hard music is fun! Hard music tends to have cool counter-melodies, complicated harmonies, virtuosic solos, and high lev els of syncopation and chromaticism. We pick hard music because we are drawn to it, only to learn after a few weeks that it isn’t a good fit for our students.
Elementary music teachers are the most hardworking, compassionate people I know, and students need YOU most of all.
Joani Slawson, President
Find yourself a mentor. I am very grateful to have had two mentors in the district during those years. One knew a lot about my content area and could help with pedagogy and repertoire. The other was invaluable because he was able to provide guidance with classroom management, an area in which I needed improvement.InFloridawe are fortunate that many of the component organizations in FMEA have mentorship programs to help you connect with an experienced music edu cator. Additionally, many school districts have programs and supervisors who can help. It might take some effort to and kind, but always quick to point out my mistakes. That brings us to the subject of today’s article, which is advice for new music teachers that I hope helps you this year. Picking music for MPA. Picking music that’s too hard for our students is a trap we all fall into. Why do we do this? It’s often because in college we formed a strong musical connection with a piece of music and we want our students to have that same experience. This comes from We are off and running in a new school year. There are so many things to plan, set up, and organize at the beginning of the year. It is easy to get bogged down with all the minutia. As we settle into this new school year, I am reminded of this quote by Haim Ginott: I’ve come to the frightening conclusion that I am the decisive element in the classroom. It’s my personal approach that creates the climate. It’s my daily mood that makes the weather. As a teacher, I possess tremendous power to make a student’s life miserable or joyous. I can be a tool of torture or an instrument of inspiration. I can humiliate or humor, hurt or heal. In all sit uations it is my response that decides whether a crisis will be escalated or de-escalated and a student humanized or de-humanized. YOU are the most important factor in the classroom. Let’s try our best to stay present with our students and tune out the background noise. Prioritize what your classroom needs and, more importantly, what you need to be your best!
FLORIDAMUSICELEMENTARYEDUCATORSASSOCIATION
For those of you who are auditioning all-state students, the September 22 deadline is approaching quickly. Please visit femeamember.org for all of your All-State Chorus, All-State Orff Ensemble, Regional Honor Choir, and Regional Orff Ensemble needs. You may also email questions to AskAllState@gmail.com
One of my first mentors, a brilliant mid dle school band director, gave me advice on this. She said that even after spend ing many hours searching for music, she wouldn’t know if it was the right fit until after the first rehearsal. On that day she would sight-read with the students, fix ing some mistakes, but ignoring the vast majority of wrong notes and rhythms. After all, there was plenty of time to fix that later, and she didn’t want the music to be too easy. The true test of difficulty came toward the end of rehearsal. She would start the piece and push all the way to the end to see if the ensemble ended together. If they could, then the music wasn’t too hard. I found that approach to be very successful as a new teacher.
Marc Decker, DMA, President
Find time for family, friends, relaxation, and personal wellness. I tend to talk a lot with students, friends, and colleagues about this topic because music education is a demanding profession. The many hours we give each week educating the children of Florida take a physical and emotional toll on us. We have to carve out time in our schedules to rest, stay healthy, and recharge our musical spirit. I’m sure you’re thinking right now about evening rehearsals, weekend performances, and after-school lessons. How is it possible to find time for me? Unfortunately, I don’t have the answer except to say that putting in an effort—any effort—does make a dif ference. I try each day to connect with my family at dinner, to avoid bringing work home after school, and whenever I do get a day off, to truly take that day off. We all need to do a better job of taking care of ourselves, and it’s important to find the time to do so.
September 2022 33 Print. Digital. Direct. FLORIDA VOCAL ASSOCIATION
Jeannine Stemmer, President
This April I bought a packet of zombie plant seeds. If you have never seen a zombie plant, look it up. They are super cool. I planted the seeds and after about a week, a little sprout came up from one of the seeds. A few more weeks went by, and about five baby zombies had sprouted from the 10 seeds I had plant ed. I decided to move the little plants to another planter, and as spring turned to summer, they continued to grow. I used the original planter with some leftover soil to plant some new succulents, and as time went on, I noticed a little zombie in the succulent planter. It took that seed a little longer than the others, but eventually it sprouted.Iwoke up today with a heavy heart. Sometimes a heavy heart is hard to explain. It just happens. I took a moment to pray, and then I checked an unread text on my phone. It said: Thank you for all that you’ve done, large and small. Thank you for leading by example, being unconditionally supportive, and always being such a wonder ful friend. – Paul Wow, what a blessing in the affirmation of my colleague. That was all I needed to get over the gloomy hump and find the purpose in my day because Paul decided to wake up and plant a seed of affirmation in my heart. We have no idea how our words can empower others. We may not always see the results of our words, but just like the little seed that eventually sprouted with the succulents, our words will not return void. Let us continue to breathe love, wisdom, joy, and hope into each other and our students this year. I do not know how many of you take the time to read these articles, but I sure have enjoyed writing them. If you do, let’s plant seeds of affirmation. #seedsofaffirmationfva I am looking forward to planting seeds of affirmation in our choral students this year as we lead them in their musical journey. Our all-state testing windows are September 5-17 for the musicianship portion and October 3-15 for the vocal quality portion. Have fun and share joy as you prepare. find yourself a mentor, but doing so will yield tremendous results. A good mentor will encourage you, support and guide your professional growth, offer advice, and be someone to bounce ideas off of. Connecting with a mentor (or two!) will make you the best teacher you can be.
New teachers, I hope you found this helpful. You are going to be great, and I look forward to seeing the impact you will have on all the children of Florida.
Good luck and teach well!
Florida Orchestra Association & Florida ASTA Fall Conference 2022 Thursday and Friday, October 6-7, 2022 Keynote Speaker & Guest Conductor: David Eccles Many sessions with information you can use now! FOA and FLASTA Business Meetings Two New Music Reading Sessions (Bring your instrument and stand!) Vendor Exhibits & Networking 6001 Destination Parkway Orlando, FL (1-888-488-3509)32819 Resort fee entitles you to: • 15% discount at all hotel restaurants (except the Tropics Restaurant) • Free basic internet, local phone calls, domestic long distance & 800 numbers • 50% off the daily self-park fee Ask for the FOA room rate: $175.00 (single or double); $13.00 per day resort fee Hotel reservations must be made by Saturday, Sept. 22, 2022! Preregistration Fee: $75.00 Orchestra Teachers/ASTA Members; $45.00 Retired/Spouse; $15.00 Collegiate On-Site Registration Fee: $100.00 Orchestra Teachers/ASTA Members; $60.00 Retired/Spouse; $25.00 Collegiate Preregistration must be postmarked by Sept. 16, 2022. Session details and additional information can be found at www.myfoa.org! Name Home Phone CityAddress State ZIP School Name Email Please place the quantity of those registering in each appropriate box: FOA & ASTA Member ASTA Member (only) Retired/Spouse Collegiate Make checks payable to FOA (Cash and POs are not accepted) Mail registration form and payment by check to: FOA Executive Director • 220 Parsons Woods Drive • Seffner, FL 33584 34 Florida Music Director
Do you subscribe to inspiration porn?
Sadly, I admit that I do. I am a push over for nearly every sappy story about people with disabilities. After slapping myself around a bit, though, I analyze the story for signs of inspiration porn. Is the subject of the story being sensation alized or objectified? Inspiration porn is frequently discussed within the disabil ity community, though rarely addressed among individuals without disabilities. Inspiration porn, like other forms of por nography, is material that objectifies a person or persons for the benefit of oth ers. Obviously, anything pornographic has no place in the classroom, but what about inspiration porn? Isn’t inspiration good? As educators, shouldn’t we strive to inspire? Yes … unless we are inspiring some students by objectifying others. What is inspiration porn?
Alice-Ann Darrow, Chairperson
September 2022 35 Committee Reports SOCIAL JUSTICE & DIVERSE LEARNERS COMMITTEE
What is Inspiration Porn?
In her 2014 TED Talk “I Am Not Your Inspiration, Thank You Very Much,” the late Stella Young, a comedian and high school teacher with osteogenesis imper fecta, coined the term inspiration porn, a term now frequently referenced in dis ability literature. “Inspiration porn is any meme, video or feel-good article that sensationalizes people with disabilities” (Heideman, 2015, p. 1). As a beginning teacher, Young recalled a student who, not realizing she was going to be his teacher, asked when she was going to give her inspirational speech, adding, “They usually do them in the big hall.” Young realized the student had only known persons with disabilities as objects of inspiration, not as teachers, lawyers, doc tors, hair stylists, bank clerks, or other professionals. She recounted as a student herself being nominated for an award and called “inspirational,” not because she had accomplished anything, but sim ply because she had managed to live with her disability. In her TED Talk, Young went on to denounce images in the media that portray persons with disabilities as messengers of inspiration. You can view it above.Inspirational is now considered a type of epithet among many individuals with disabilities (Heideman, 2015). Disability activists and advocates consider use of the term inspirational, or any form of the word (inspire, inspiring, etc.), as “sepa rating, objectifying, and condescending and regressive in terms of equality and inclusion” (Davis, n.d.). The term is used often in news reports or Facebook posts depicting an individual with a disability accomplishing a task that may be extraor dinary, but is often simply ordinary but still considered “inspiring.” News reports or Facebook posts with accompanying phrases such as “If they can do it, so can you!” are designed to inspire or motivate the nondisabled reader. Sentimental examples of inspiration porn in the media include: the cheer leader or football player who asks a stu dent with a disability to the prom; a nondisabled student being praised for being friends with a student who has a disability; or the football player with a disability who is allowed to take the foot ball into the end zone for a touchdown. Such media accounts challenge assump tions about charity and kindness that perpetuate inspiration porn. Another example is the often-seen depiction of a person with prosthetic legs running, cap tioned with “What’s your excuse?” Such media accounts “give the nondisabled person a hit of ‘inspiration’ or emotion, and thus, realizes the pornographic selfgratification of people without disabili ties” (Gagliardi, 2017, p.1). One might fairly ask if the examples
And is it Good or Bad?
Continued on page 36
SOCIAL JUSTICE & DIVERSE LEARNERS COMMITTEE Inspiration Porn Continued from page 35
above are simply depictions of kindness or charity. To determine if a depiction is condescending, it helps to assume the role of the person with a disability. For exam ple, 1% to 2% of all Americans have red hair. People with disabilities see them selves similarly, as perhaps unique but not different or less than. Should someone with blonde or dark hair be congratulated or admired for being friends with some one who has red hair or for taking a red head to the prom? Should people with red hair feel proud that they are admired or considered inspirational simply because they have managed to live with red hair? Most people with disabilities do not see themselves as that different from nondis abled people. The same could likely be said for any person who may be consid ered an “other.”
Why is inspiration porn harmful?
All porn is harmful because it objectifies a person or persons for the benefit of others. Inspiration porn contributes, per haps unwittingly, to the subjugation and belittlement of people with disabilities. When people with disabilities befriend or help others, are they admired or congratulated? Likely not. Inspiration porn assumes that people with disabili ties should be grateful when shown “acts of kindness.” How can we teach children with disabilities to be proud and selfpossessed if they are expected to be grate ful for being accepted by others? Shouldn’t they expect the same acceptance given to others? After politely turning down an invitation, a young woman with disabil ities was told, “You should be thankful you were even asked.” Inspiration porn is harmful because it prevents people with disabilities from being perceived as part of the main stream. It perpetuates the impression that to live with a disability is considered an accomplishment that is inspiring. People with disabilities, like all people, would prefer to be respected for their actual accomplishments. When real accomplish ments are viewed as extraordinary or unusual, it diminishes the perception of people with disabilities as capable and competent. Disability and achievement should not be seen as incompatible or unexpected.Inspiration porn is also harmful because some people with disabilities, especially those with intellectual disabili ties, are often used in pornographic depic tions without their consent or the knowl edge that they were used to give “warm fuzzy feelings” to others. Those “feel good” or “I’m not crying, you’re crying” images may be uplifting for nondisabled people but are rarely welcomed by people with disabilities. Furthermore, inspiration porn does now allow society to normal ize disability. If we are fortunate to live long enough, we will all experience some degree of disability. Few people would want to be the subject of pornographic depictions. Inspiration Porn in Music Education
36 Florida Music Director Committee Reports
Darrow and Hairston (2016) analyzed Internet users’ comments posted on YouTube videos of musicians with dis abilities, and in a second study (2019) they analyzed music education and music therapy majors’ comments after viewing these same videos. In the 2016 study, they found that: (1) musicians with disabili ties are often considered “inspirational,” “amazing,” “awesome,” “courageous,” or in need of God’s blessings; (2) respon dents had generalized positive impres sions of musicians with disabilities; (3) video respondents’ comments revealed preferences for character descriptors such as “courageous” and “inspirational” rath er than references to musicianship; and (4) musicianship comments, though pos itive, may be considered overly so when compared to those for nondisabled musi cians, perhaps implying disability conde scension.Intheir 2019 study, Hairston and Darrow found that, like the Internet users in their earlier study, music edu cation and music therapy majors also described musicians with disabilities as “inspirational” and “amazing.” We want our future educators and therapists to be positive in their assessments of others, but we also want them to be honest and aware of the tendency to be unwittingly demeaning and belittling by using terms that are inappropriate and considered to be patronizing or condescending. As teachers, we can discipline ourselves, and
September 2022 37 Continued on page 38 our students, to speak in a way that con veys respect. The key is awareness, the awareness to use our words with greater consciousness. How to Combat Inspiration Porn Make no mistake, most inspiration porn is proliferated with the best of intentions. There is rarely any intent to purposefully diminish people with disabilities, quite the opposite. Moreover, there are people with disabilities who do not mind being considered inspirational. Nevertheless, the consensus among people with dis abilities is that inspiration porn impedes their ability to be viewed as competent and equal to nondisabled people. So, how can we combat inspiration porn, especial ly in the music classroom? First, we need to hone our professional radar to detect inspiration porn, even though it is often subtle and not always easily recogniz able. There are questions we can ask if we suspect inspiration porn. Is the depiction overly sentimental and does it engender an “Awwww” type of response? Does the depiction portray the nondisabled person or persons as the hero or heroes? Is the person with disabilities portrayed as competent? Consider the the scenario depicted above from the “Hairography” episode of the TV series Glee (season 1, episode 11) and ask yourself these ques tions.There are many aspects of this excerpt to appreciate: the two choirs performing together; the Glee choir learning the signs to Imagine; and the Imagine lyr ics, which many people find inspiring. However, many people who are deaf and even some television critics did not like the segment and considered it overly sentimental. The following is an excerpt from a post on the disability blog Squidalicious (Rosa, 2009): … and then, to my shock and horror, someone from the glee club started interrupting the Deaf choir to sing. Ok, now, I have not sung in a choir, but I consulted a person who has performed in choirs, and I was informed that, no, it is not actually conventional or acceptable to inter rupt a choir while they are perform ing. Why was it ok here? How was it inspiring to watch the Deaf choir’s performance being interrupted and co-opted by the glee club? Because the Deaf choir was doing it wrong? Because the poor impaired folk need normal people to fill in their defects? After viewing the next scenario, also of a Deaf person signing to music, ask yourself the same questions: Does the depiction engender sentimentality and “warm fuzzy” emotions? Does the depiction portray the singer, Eminem, as a hero? Is the Deaf signer seen as capable?Pulrang (2019, 2022) has suggested
38 Florida Music Director some additional questions to ask if we suspect inspiration porn: Does the depiction demonstrate mean ingful inclusion?
Is there a veneer of charity and moral izing in the depiction? Is disability portrayed as something tragic or to overcome?
Are there adjectives other than inspi rational or inspiring that are used to refer to the person’s unique and pos itive qualities?
Attitudes toward students with disabil ities will be appropriately influenced if educators challenge stigmas associated with disability. By viewing videos in class of accomplished musicians with disabili ties and participating in discussions that are appropriate, students will come to know persons with disabilities as capa ble musicians, not as objects of inspira tion (Darrow & Hairston, 2016). One such video is of violinist Adrian Anantawan who is indeed inspiring, not because of his disability, but because of his musical ability.Asmusic educators, our job is to teach music, but also to teach our students to recognize the humanness in all people and to realize that disability is not the most salient characteristic of one’s being. Similarly, we want our students to under stand that musicality resides in all people. We can demonstrate that all students are capable of being competent musicians at whatever their capacity, not “courageous,” “brave,” or “inspiring” musicians, but competent musicians. By studying famous musicians, recognizing talented students with disabilities, and finally, by having high expectations of all students, we can combat the consumption of inspiration porn. References Darrow, A. A., & Hairston, M. (2016). Disability porn: A qualitative analysis of comments on music and persons with disabilities found on International YouTube posts. In M.Belgrave (Ed.), Proceedings of the 20th International Seminar of the Commission on Music in Special Education, Music Therapy, and Music Medicine, Edinburgh, Scotland, (pp. 49-57). SBN: 978-0-9942055-7-5 (eBook).
Australia: National Library of Australia Davis,Cataloguing.D.(n.d.).Disability as inspiration: Can greater exposure overcome this phenomenon? Retrieved from: Gagliardi,abilities.com/community/inspirational.htmlhttps://www.K.(2017).Facebookcaptions:Kindness,orinspirationporn? M/C – A journal of Media and Culture, 20(3). Retrieved from: . Retrieved from
Pulrang,ads/impressed_with_feel_good_super_bowl_is_not_okay_disability_activists_are_not_salon.com/2015/02/02/inspiration_porn_https://www.A.(2019,Nov.29).Howtoavoid“inspirationalporn.” Forbes. Retrieved from Pulrang,inspiration-porn/?sh=214ee7e45b3dandrewpulrang/2019/11/29/how-to-avoid-https://www.forbes.com/sites/A.(2022,Apr.21).Isthereaplacefor“inspirational”indisabilityculture? Forbes. Retrieved from Rosa,culture/?sh=5cdef5bf1418a-healthy-place-for-inspiration-in-disability-sites/andrewpulrang/2022/04/21/is-there-https://www.forbes.com/S.D.R.(2009,Nov.26).Facepalm:DeafchoironGlee. Squidalicious. Retrieved facepalm-deaf-choir-on-glee.htmlhttp://www.squidalicious.com/2009/11/from Committee Reports SOCIAL JUSTICE & DIVERSE LEARNERS COMMITTEE Inspiration Porn Continued from page 37
Is the person with a disability silent or able to tell their own story? Is the tone infantizing or patronizing?
Australia: National Library of Australia Hairston,Cataloguing.M.,& Darrow, A. A. (2019). Inspiration porn–Part II: An analysis of music education and music therapy majors’ descriptors of musicians with disabilities profiled on the Internet. In G. Tsiris & K. VanWeelden (Eds.), Proceedings of the 20th International Seminar of the Commission on Music in Special Education, Music Therapy, and Music Medicine, Salzburg, Austria, (pp. 83-95). SBN: 978-0-6481219-9-2 (eBook).
Is the person with a disability por trayed as someone in need of a good Woulddeed? you mind being depicted sim ilarly?
Music educators can do much to shape perceptions of students and musicians with disabilities in class and on social media by providing appropriate model ing and open discussions on diversity.
Implications for Practice
Heideman,index.php/mcjournal/article/view/1258http://journal.media-culture.org.au/E.(2015,February).Inspirationpornisnotokay:Disabilityactivistsarenotimpressedwithfeel-goodSuperBowlads. Salon
September 2022 39 GOLD PARTNERS Partners as of July 28, 2022. *Please visit FMEA.org/partners for partnership details or call 850-878-6844. BRONZE PARTNERS Please take time to thank and support our 2022-2023 Corporate & Academic Partners. Eastman Music WestMeloquest,CompanyInc.MusicManMusicCompany Bornoff Foundation for the Advancement of String Education (FASE, Inc.)
FMEACategoriesAwards recognizes the most deserving individ uals throughout our state. The deadline for all major categories (except the Music Education Service and the Music Enrollment Awards) is September 11, 2022. All applications are completed and turned in online. Please check the FMEA website for details about the awards and nomination process: https://fmea.org/ programs/awards/ I know you have some outstanding potential awardees in your component, district, and sphere of influence. Please take the opportunity to recognize them. They were the light, and now it’s your turn to be their light, by recognizing them.As we think about colleagues to nomi nate, I’d like for you to hear some inspir ing words from our amazing 2022 FMEA Leadership for Music Education awardee, Dale Choate, and Distinguished Service for Music Education awardees, Marilyn and Gary Wirsz. Dale Choate, instructional specialist for secondary music in Duval County Public Schools, states: I am blessed and I am grateful for the many mentors in my life that have shaped and inspired my teaching. People who are not only extraordinary educators, but who themselves modeled selfless qualities of leadership and service. Colleen Kirk, Clayton Craybill, Wayne Bailey, Mark Scott, and so many others who, by their own example, taught me that great educators always give back. We all know why music education is important. That’s why we are all here. Music is to be experienced, not just to be spoken about. So, what I wish to say to all music educators, whether you are just beginning or a veteran teacher, is to give back. Step up where there is a need. Accept the call to serve when you’re asked. See the potential in other people, in music programs, and in our great organizations. Invest yourself into others to help and encourage young er teachers just beginning their careers. Share your experience. To you, it may not seem like much, but to a younger teacher just beginning their career, your wisdom may be the thing they need to get them through a difficult time.
We are just a few days away from t he application deadline for many of the FMEA awards nominations! We want to recognize the heroes among us who have been “the light” this past year. We want to shine a light on those who have demonstrated visionary thinking, resiliency, positivity, innovation, and a collaborative spirit. We want to hold up and empower those who persevered through another constantly changing year of music education and continued to be the light for their students and others.
40 Florida Music Director Committee Reports
Your FMEA Awards Program offers several awards in recognition of the efforts and accomplishments of music educators, school administrators, super intendents, school board members, school boards, business partners, music edu cation leaders, music advocates, music programs, and music projects that have made outstanding contributions to music education. Your active involvement in the nomination process ensures that FMEA
Elementary Music Educator of the Year Secondary Music Educator of the Year College Music Educator of the Year Administrator of the Year Leadership Award for Music Education Distinguished Service Award for Music Education Exemplary Model Music Program Exemplary Model Music Project
September 2022 41 AWARDS COMMITTEE Sondra A. W. Collins, Chairperson
Marilyn Wirsz, proprietor of Head’s House of Music, states: Music has always been a part of our lives. Gary grew up playing the organ for church and accompanying choirs, and to this day it remains an important part of his life. My mom started teaching me piano when I was four, and by the time I was six, my parents began what became Head’s House of Music. I grew up with serving musi cians as part of my life. Eventually, the business became more focused on serving music educators, and that has remained our focus throughout the years. In 1984, we began our choral panorama, which is a workshop available for choral educators every summer. My parents brought many well-known figures in the choral world to conduct reading sessions. Teachers are able to learn from nationally recognized composers and conductors, and as a service to directors, we provide this experience at no charge. For many years, we have partnered with the Florida Vocal Association in many capacities, from supplying all-state packets, to packets for reading sessions during the FMEA conference and the FVA summer conference. It is a deep relationship that is very important to us. Personally, I couldn’t be more proud of the services we provide. If my parents were still alive today, they would be thrilled that we have continued their legacy. Music education crosses many barriers. We come together for making music, and in the process we learn to love a little more, be a little more tolerant, and grow together into a new family. We are proud to be part of this ever-expanding family.
by Angela Pagunsan
New Teachers
Bruce J. Green, Chairperson
Committee Reports
Just say hello. Building Relationships
Hello again! Sometimes life gets overwhelming. While figuring out teaching in a new school district, I went through major life changes includ ing moving away, getting married, and having children. Furthermore, being an Asian-American band director in the state of Florida made it difficult for me to find people to relate to. Ultimately I realized that if I wanted to thrive as a teacher, I could not shut out the world. I started saying hello to people. Gradually that hello turned into mean ingful relationships with my colleagues. are some people who have helped
42 Florida Music Director MULTICULTURAL NETWORK
guide me through my journey as a band director simply because I was open to having a conversation: Peer Teachers I often compared myself to teachers who have been teaching the same amount of time as I have. Slowly I began to shed my insecurities and was able to bond with my peers by sitting together at meetings and band events, starting our group chat, working with each other’s bands, and sending recordings of our groups for feedback. Share your struggles and victo ries regularly.
With Your Colleagues, Part 2
Pen Pal Teachers Intentionally keep up with teachers you have made connections with even if one of you moves away. Talking with teach ers in different places gives me a fresh
Here
As a younger band director, I was too shy and awkward to introduce myself to oth ers. I chose to sit alone. Now I deliberately say hi to new faces at band events, invite them to sit with me, check in to see if they are connected with other teachers, and answer any questions. Be the person you wish you had.
Balancing mom life with band director life is a battle! I found women with sim ilar priorities who have showed me how to maximize my time, compartmentalize my mind, told me to cut myself some slack when needed, and have encouraged me to be my very best.
Want to contribute a feature article to Florida Music Director?
Teachers Who Look Like Me!
Florida Music Director contains articles of interest to music educators of all lev els—from kindergarten through college. It is published eight times annually and distributed to more than 5,000 music teachers, district music supervisors, and otherPleasesubscribers.consider sharing your knowledge with other music educators by writ ing an article and submitting it for consideration. You can view our submission guidelines for authors at FMEA.org/FMD. As FMEA members, you can view the current issue and past issues of Florida Music Director at FMEA.org/FMD.
We invite you to submit a feature article to be considered for publication in Florida Music Director
FromTheEditor
Florida Music Director is a previous recipient of the Music Educators National Conference Award for Excellence. It is the official publication of the Florida Music Education Association, the largest unit in the 11-state NAfME Southern Division and one of the largest MEAs in the nation.
Many Asian-American students are select ed for the Florida All-State bands, choirs, and orchestras. However, only a small percentage attend the FMEA conference as collegiates, and hardly any are band directors. I have connected with AsianAmerican band directors by attending the FMEA and FBA conferences, going to the Midwest Clinic, joining the FMEA Multicultural Network, and through the Facebook group called “subtle asian con ductors.” This type of camaraderie builds confidence by allowing us to discuss our similar experiences, provides mentorship, and gives representation for students who look like us to feel supported should they pursue music beyond the K-12 classroom. People learn best from one another. You never know how your unique charac teristics and background will help others. These meaningful relationships you cre ate with colleagues can all start by simply saying hello. Angela Pagunsan received the BME from the University of Central Florida. She is the band director at Timber Springs Middle School in Orlando, Florida.
D. Gregory Springer, PhD, Editor-in-Chief, Florida Music Director
September 2022 43 perspective on my current teaching sit uation. Through these conversations, I have learned to appreciate the things that are going well in my classroom and have gained new solutions to problems.
If you have any questions about submissions, please contact me at dgspring er@fsu.edu
The Tri-M Music Honor Society is a program of the National Association for Music Education, which focuses on creating future leaders in music education and music advocacy. Learn more at: musichonors.com
Teachers Who Are Moms
Autonomy. Autonomy is a feeling of being in control of one’s actions and being able to set personal goals. Music teaching
Competence. When people feel competent, that they have mastery of skills needed to accomplish a task, they are more likely to be motivated to achieve goals. Appropriate sequencing and scaffolding of curricular content are ways that teachers can help nurture competence in students.
Motivation impacts our personal and professional lives. Personally, you may attempt to motivate yourself to do things such as eat healthily, exercise regularly, or read more books. Professionally, music teachers consider motivation as it applies to many aspects of their jobs, including things like motivating students to (a) participate in a school music pro gram, (b) practice their instrument, (c) learn something new, and (d) persist in music classes and rehearsals when difficulties are encountered. Motivation is an integral part of learning and can be defined as “the process by which goal-directed activity is instigated or sustained” (Schunk, Meece, & Pintrich, 2013).
William I. Bauer, PhD of
44 Florida Music Director ResearchPuzzles FOR MUSIC TEACHERS
While there are several theories of motivation that have been derived through research and practice, this column is based on an article by Australian researcher Paul Evans (2015), who suggests that self-determination theory is a model of motivation that can help unify varied motivational theories and provide guidance to music teachers on how to approach motivation with their Motivationstudents.canbe conceived in two broad categories: intrin sic and extrinsic. Intrinsic motivation is when a person does something because the task itself is inherently interesting or enjoyable. For most people, engaging with music as a listener, performer, and/or composer is pleasurable, and we are intrinsi cally motivated by the experience. In contrast, extrinsic motiva tion is when something is done for a reason other than the task itself. Some examples of extrinsic motivators include awarding stickers or gold stars to students who turn in a completed practice chart and when a parent allows their child to play a video game after completing their chores. Intrinsic motivation is what we seek, ideally; it leads to longer lasting, sustainable behaviors. Importantly, while certain types of extrinsic moti vators can be appropriate and lead to intrinsic motivation, too often they are used in a manner that undermines intrinsic motivation by emphasizing immediate compliance over the intrinsic value in a task (e.g., telling a student to practice if they want to get a good grade on a playing test). When this type of extrinsic reward is withdrawn, the desired behavior will often
Florida
no longer continue. In reality, appropriate extrinsic motivation that facilitates intrinsic motivation is necessary for developing musicians.Self-determination theory accounts for the role of intrinsic and extrinsic motivation. It is based on the premise that people have three basic, innate psychological needs that are either ful filled or not through social interactions. These needs are:
Dweck’s (2007) research on also applicable here. A person with a fixed mindset might believe that musical talent is set at a specific level and can’t be altered while another individual with a growth mindset will believe they can develop and improve through prac tice. Teachers should strive to help their students develop a growth mindset. One way to do this is to teach them how to purposefully practice by following the principles of delib erate practice.1
Relatedness. Relatedness involves feeling connected to oth ers (peers, teachers, parents, others in the community); it is a sense of belonging. A warm, accepting classroom environ ment is important to relatedness. Students appear to value different types of teachers according to their developmental level, with young students perceiving warmth and friendli ness as being more important than professional competence while older students prefer the opposite. The teacher can also help to facilitate appropriate parental support of their child’s participation in music. Such support should devel op students’ long-term autonomy as a musician. Parents need suggestions about (a) how to enable the conditions for intrinsic motivation and (b) use of extrinsic motivational strategies that can lead to intrinsic motivation.
Applying Self-Determination Theory to Motivation in Music Education
FMEA Research Committee Chairperson, University
Dweck, C. S. (2007). Mindset: The new psychology of success. Ballantine Evans,Books.P.(2015). Self-determination theory: An approach to motivation in music education. Musicae Scientiae, 19(1), 65-83. https://doi.org/10.1177/1029864914568044
Crucial to meeting these needs is an understanding of four types of extrinsic motivation that have been identified by researchers: external, introjected, identified, and integrated. They range from largely external to largely internal (i.e., closest to intrinsic motivation). See Table 1 for an overview of types of motivation, which can be conceived as being on a continuum from no motivation at all (amotivation) through the four types of extrinsic motivation to intrinsic motivation.
Implications
Many common approaches to motivation that rely on strat egies such as extrinsic rewards and punishments, excessive praise, a controlling approach by the teacher, and competition
September 2022 45 sense of autonomy.
Schunk, D .H., Meece, J. L., & Pintrich, P.R. (2013). Motivation in education: Theory, research, and applications (4th ed.). Pearson. Endnotes 1 See Bauer, W. I. (2022). Practice. Florida music director, 76(1), 42-43. Email your questions and feedback to wbauer@ufl.edu with a subject heading Research Puzzles.
We hope the beginning of your school year has started off with energy and excitement. The 2022-23 school year will provide us and our students with new challenges and opportu nities. Please be aware of your own and your students’ physical and mental health. The FMEA Health and Wellness Committee provides opportunities for maintaining wellness. One of these opportunities is the 3K Run & Walk being held during the FMEA Professional Development Conference in January. Sign up on the FMEA website to participate. We continue to experience a critical teacher shortage. The shortage is not unique to Florida; it is a nationwide dilemma. One of our strategies for “grow our own” is to encourage our young students to become more involved by performing, leading, and serving. The Florida NAfME Collegiate chapters throughout the state provide opportunities for our university and college stu dents to join together. In addition, building Tri-M Music Honor Society chapters in our secondary schools will help us to encour age our young students to become more involved and to make a connection to their fellow students and music. Through perfor mance and community service, they’ll develop confidence, creativity, critical thinking, compassion, and a host of other leadership skills sure to serve them well in school and beyond. For additional information, go to NAfME.org and click on the “For Students” tab.
IMPORTANT LEGISLATIVE DATES
The 2023 Legislative Session will begin on March 7 and end on May 5. By now you have had the opportunity to vote in the Primary Election. The General Election is scheduled for November 8, 2022.
Legislative Session/Government Relations
Summer Institute
The FMEA Summer Institute is being held June 12-14, 2023, at the University of South Florida in Tampa. The Summer Institute is an inspiring multiday professional development training involving a relatively small number of successful, well-respect ed music educators. This all-expense-paid institute is a corner stone of FMEA’s commitment to a proactive approach to build ing a strong future for music education in all Florida schools for the decades to come. The participants address relevant topics and questions centered on ensuring the vitality, inclusiveness, and quality of music education in a changing educational environment. There is time built in for directed discussion and reflection.Havea fantastic and prosperous school year. Kathleen D. Sanz, PhD
Auditions will be taking place during September for the all-state performing ensembles. Component associations are actively working with teachers within the component districts to select the students who will participate. In addition, FMEA is now col lecting ethnicity and racial category data for students, members, and other participants in our programs. This is to ensure we are reaching goals in our strategic plan regarding the diversity of learners, including underserved populations, in accordance with our Mission and Diversity, Equity, Inclusion, and Access statements.
46 Florida Music Director
ExecutiveDirector’sNotes Executive Director Kathleen D. Sanz, PhD
October 24, 2022November 6, 2022 Early Voting November 8, 2022Election Day Professional Development Opportunities for Members
The mission of the Florida Music Education Association is to promote quality, comprehensive music education in all Florida schools.
October 11, 2022 Deadline to register to vote in the General Election
New Opportunities for the New Year
The Florida Music Education Association Professional Development Conference and All-State Concerts offers a wealth of professional development each year. Registration for the 2023 event opens on September 17, 2022. Join us January 11-14, 2023, in Tampa as we celebrate Unity in Music Education: Building Communities, One Note at a Time. We’re looking forward to Dr. Shelby Chipman’s leadership for this conference.
FMEA
All-State Auditions
FCMEA President Marc Decker, DMA Florida Atlantic University 777 Glades Rd.; Boca Raton, FL 33431 (561) 297-3883; deckerm@fau.edu
FLORIDA MUSIC SUPERVISION ASSOCIATION
Editor-in-Chief
FLORIDA BANDMASTERS ASSOCIATION
FMEA COMMITTEE CHAIRPERSONS
D. Gregory Springer, PhD FSU College of Music; 122 N. Copeland St.; Tallahassee, FL 32306 (850) 644-2925; dgspringer@fsu.edu
Past President. Alexis Hobbs Southeastern University; (352) 220-2791; aphobbs@seu.edu
Florida A&M University, Department of Music, Foster-Tanner Music Bldg., Room 318 Tallahassee, FL 32307; (850) 599-8165; shelby.chipman@famu.edu
Scott Evans Orange County Public Schools; 445 S. Amelia St.; Orlando, FL 32801 (407) 317-3200; scott.evans@ocps.net
President. Allison Yopp Southeastern University; ayopp@seu.edu
Fred Schiff All County Music; 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fred@allcountymusic.com
Executive Director Jennifer Sullivan 1750 Common Way Rd., Orlando, FL 32814 (321) 624-5433; slljenn@aol.com
John K. Southall, PhD Indian River State College; 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810; johnsouthall@me.com
Conference Planning Committee
President Joani Slawson Holy Trinity Episcopal Academy; 1720 Peachtree St.; Melbourne, FL 32901 joanislawson@gmail.com
Past President Ian Schwindt Titusville High School; 150 Terrier Trail S.; Titusville, FL 32780-4735 (321) 264-3108; schwindt.ian@brevardschools.org
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Government Relations
FVA President Jeannine Stemmer Florida Christian School 4200 SW 89th Ave.; Miami, FL j9stemmer@floridachristian.org33165
Florida NAfME Collegiate President Allison Yopp Southeastern ayopp@seu.eduUniversity
September 2022 47 FLORIDA MUSIC EDUCATION ASSOCIATION Officers and Directors EX-OFFICIO ExecutiveHistorian/ParliamentarianMEMBERS&Director
President-Elect Jason Locker Orange County Public Schools 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jasonlocker@fmea.org
Jeanne W. Reynolds jeannewrey@gmail.com
Past President Ernesta Chicklowski Roosevelt Elementary School; 3205 S. Ferdinand Ave.; Tampa, FL 33629 (813) 272-3090; ernesta.chicklowski@sdhc.k12.fl.us
Bruce J. Green (407) 927-3141; bruce.green@ocps.net
Reclamation
President Laurie Bitters Winter Park High School 2100 Summerfield Rd.; Winter Park, FL 32792 (407) 622-3200; laurie.bitters@gmail.com
FOA
EXECUTIVE BOARD
Member-at-Large Chad Norton Miami Northwestern Senior High School cnorton@dadeschools.net
Michael Antmann, EdD Freedom High School; 2500 W. Taft-Vineland Rd.; Orlando, FL 32837 (407) 816-5600; michael.antmann@ocps.net
Florida NAfME Collegiate Advisor Mark A. Belfast, Jr., PhD Southeastern University 1000 Longfellow Blvd.; Lakeland, FL 33801 (863) 667-5104; mabelfast@seu.edu
Kathleen D. Sanz, PhD
FEMEA President Joani Slawson Holy Trinity Episcopal Academy 1720 Peachtree St.; Melbourne, FL 32901 joanislawson@gmail.com
Sondra A. W. Collins sondra.collins@marion.k12.fl.us Budget/Finance, Development Shelby Chipman, PhD
President Shelby Chipman, PhD Florida A&M University, Department of Music
FMSA President Lindsey R. Williams, PhD Seminole County Public Schools (407) 320-0434; willialz2@scps.k12.fl.us
Business Manager Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; jo@barefootaccounting.com
Past President Steven N. Kelly, PhD Florida State University; College of Music, KMU 330 Tallahassee, FL 32306 (850) 644-4069; skelly@admin.fsu.edu
County Public Schools (407) 320-0434; willialz2@scps.k12.fl.us Past President Harry “Skip” Pardee 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 FLORIDA ORCHESTRA ASSOCIATION President Laurie Bitters Winter Park High School; 2100 Summerfield Rd.; Winter Park, FL 32792 (407) 622-3200; laurie.bitters@gmail.com Past President Matthew Davis Harrison School for the Arts; 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 499-2855; matthew.lawson.davis@gmail.com Executive Director Donald Langland 220 Parsons Woods Dr.; Seffner, FL 33594 (813) 502-5233; Fax: (813) 502-6832; exdirfoa@yahoo.com FLORIDA VOCAL ASSOCIATION President Jeannine Stemmer Florida Christian School, 4200 SW 89th Ave.; Miami, FL 33165 j9stemmer@floridachristian.org Past President Jason Locker jason@fva.net Executive Director.................................................................... Michael Dye 231 S. Bayshore Dr.; Valparaiso, FL 32580 (850) 217-7419; mike@fva.net Business Manager Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; business@fva.net CENTER FOR FINE ARTS EDUCATION 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 President Kathleen D. Sanz, PhD (kdsanz@fmea.org) Director of Operations Valeria Anderson, IOM (val@fmea.org) Technology Director Josh Bula, PhD (josh@fmea.org) Public Affairs & Communications Coordinator Jenny Abdelnour, CAE (jenny@fmea.org) Marketing & Membership Coordinator Jasmine Van Weelden (jasmine@fmea.org) AFFILIATIONS
Emerging Leaders Mary Palmer, EdD 11410 Swift Water Cir.; Orlando, FL 32817 (407) 382-1661; mpalmerassoc@aol.com
Ed Prasse Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net
Florida NAfME Collegiate
Professional Development/Committee Council
Alice-Ann Darrow, PhD alifsu@mac.com
Multicultural Network
Student Development
PROFESSIONAL DEVELOPMENT CONFERENCE
Executive Director Neil Jenkins Florida Bandmasters Association P.O. Box 840135; Pembroke Pines, FL 33084 (954) 432-4111; Fax: (954) 432-4909; exec@fba.flmusiced.org
Contemporary Media David Williams, PhD University of South Florida; 4202 E. Fowler Ave., MUS 101 Tampa, FL 33620; (813) 974-9166; davidw@usf.edu
FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION
Foster-Tanner Music Bldg., Room 318 Tallahassee, FL 32307; (850) 599-8165 shelby.chipman@famu.edu
Hinckley Center for Fine Arts Education 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793; kdsanz@fmea.org
President Bernard (Bernie) Hendricks, Jr. Ocoee High School; 1925 Ocoee Crown Point Pkwy.; Ocoee, FL 34761 bernard.hendricks@ocps.net
Florida Corporate & Academic Partners
Exhibits Manager fmeaexhibits@fmea.org Local Chairman Ted Hope—(813) 272-4861; ted.hope@sdhc.k12.fl.us
Awards
FBA President Bernard (Bernie) Hendricks, Jr. Ocoee High School 1925 Ocoee Crown Point Pkwy.; Ocoee, FL 34761 bernard.hendricks@ocps.net
President Lindsey R. Williams, PhD Seminole
FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION
Chad Norton Miami Northwestern Senior High School; 1100 NW 71st St.; Miami, FL 33150; cnorton@dadeschools.net Research
President Marc Decker, DMA Florida Atlantic University; 777 Glades Rd.; Boca Raton, FL 33431 deckerm@fau.edu
Social Justice & Diverse Learners
Health & Wellness Revae Douglas Ross Brandon High School; 1101 Victoria St.; Brandon, FL 33510 (813) 744-8120, ext. 311; revae.douglas@hcps.net
FSMA President Jane Goodwin jane.goodwin@sarasotacountyschools.net
Secondary General Music
William I. Bauer, PhD University of Florida; wbauer@ufl.edu
SAVE TH E DATES
