Florida Music Director - September 2024

Peggy Joyce Barber

Nova Singers’ founding musical director and long-time mentor, Peggy Joyce Barber, 94, passed away peacefully at her John Knox Village home on Sunday, August 4. She has remained an honorary director emeritus since turning over the conducting reigns to Chuck Stanley in fall of 2010.

Peggy was a nationally recognized choral director and clinician. She served as director of music for the First Presbyterian Church in Pompano Beach as well as First Christian Church of Fort Lauderdale. She was a past state president of both the American Choral Directors Association as well as the Florida Music Education Association where she was inducted into their Hall of Fame in 1988 (the youngest person at the time).

She began her choral career in South Florida as director of the Stranahan High School music program. During Barber’s 18 years at Stranahan High School in southwest Fort Lauderdale, she nurtured the choral program from a handful of students to up to 500 singers winning numerous accolades and honors.

Peggy was a loving – but demanding –director and will be remembered for her uncanny energy and endless enthusiasm for bringing quality choral music to audiences in Southeast Florida. Bringing people together to share their passion of making music has been an everlasting gift to our community. An interesting side note ... 23 marriages (and still counting) have resulted from this common love.

To commemorate Peggy’s impact on choral music, the Nova University Community Singers will be dedicating their upcoming winter Concert Series to her as well as celebrating their 50th anniversary in 2026 with the theme “The Road Not Taken,” which was one of all of her choirs signature songs. Peggy and her life partner of more than 50 years, Janie Ann Hooks, moved to their beautiful waterfront villa in John Knox Village in 2002 and were very active in the community until Janie passed away in March of 2017. Both Peggy and Janie will be interred in a columbarium at the First Presbyterian Church of Pompano Beach (The Pink Church).

2024-25 FMEA MEMBERSHIP: You are eligible for membership in the Florida Music Education Association if you are an individual engaged in the teaching, supervision, or administration of music in elementary and secondary schools, colleges, or universities within the state. Visit FMEA.org/membership to learn more about the benefits of active membership.

SUBSCRIPTIONS: Direct correspondence regarding subscriptions to: Hinckley Center for Fine Arts Education, 402 Office Plaza, Tallahassee, FL, 32301-2757. Subscription cost included in FMEA membership dues ($9); libraries, educational institutions, and all others within the United States: $27 plus 7.5% sales tax.

CIRCULATION: 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. FMEA reserves the right to approve any application for appearance and to edit all materials proposed for distribution. Permission is granted to all FMEA members to reprint articles from the Florida Music Director for non-commercial, educational purposes. Non-members may request permission from the FMEA office.

SUBMISSIONS: Article and art submissions are always considered and should be submitted on or before the 1st of the month, one month prior to the publication issue to: Kelly Miller, DMA, kelly. miller@ucf.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

If you would like to honor Peggy’s memory, donations to the Nova University Community Singers would be welcome. You can either donate online through the Nova University website (giving.nova.edu) and make sure you select Nova Singers under the Select Gift area drop down or by mailing a check payable to:

Nova University Community Singers c/o John List 971 SW Pepperidge Terr. Boca Raton FL 33486

Advertiser Index

The Florida Music Director is made possible by the participation of the following businesses whose advertisements appear in this issue. They make it possible to provide you with a high-quality publication, and we gratefully acknowledge their support of our mission. We hope you will take special notice of these advertisements and consider the products and services offered. It is another important way you can support your professional association and the enhancement of Florida music education.

The publisher does not endorse any particular company, product, or service. The Florida Music Education Association (FMEA) is not responsible for the content of any advertisement and reserves the right to accept or refuse any advertisement submitted for publication. Information for advertisers (rate card, insertion orders, graphics requirements, etc.) can be found at FMEAMediaKit.org 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.

ADVERTISERS

Music Is Elementary 46

University of Florida .................................................. 4

Advertisers indicated in bold provide additional support to FMEA members through membership in the Florida Corporate and Academic Partners program. These partners deserve your special recognition and attention.

Executive Director Florida Music Education Association

Kathleen D. Sanz, PhD Hinckley Center for Fine Arts Education 402 Office Plaza Tallahassee, FL 32301 (850) 878-6844 or (800) 301-3632 (kdsanz@fmea.org)

Editor-in-Chief

Kelly Miller, DMA University of Central Florida 12488 Centaurus Blvd. Orlando, FL 32816-8009 (407) 823-4545 (kelly.miller@ucf.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 32301 (850) 878-6844

Official FMEA and FMD Photographers

Bob O’Lary Amanda Crawford

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

President’s Message

We Are Team FMEA

nother school year has begun! Classrooms were cleaned and prepared, and lessons were planned. School staff members and students alike returned from their summer time away from campus to talk about their travels, visits with friends and family, the books they read, and the movies and shows they watched. There always seems to be a certain optimistic energy surrounding the beginning of a new school year!

I had the good fortune to witness that energy in a special way this year. On the weekend before school began, I was able to have a quick visit with my family, just a couple of hours up the road. While there, I went to a local music store and was present as one of my sisters purchased her son his own French horn. He worked hard on a school-owned instrument last year in his sixth grade beginning band class, and his parents told him they would get him a horn of his own if he decided to stick with it. You should have seen the look on his face—both in the music store and for the rest of the afternoon! I don’t know if I have ever seen this young man smile so big or so much, as he was filled with pure joy at the feeling of accomplishment accompanying that moment.

As any musician can attest, there will be days when my nephew’s initial feeling of euphoria over his new instrument will turn to frustration. Perhaps he will be practicing a passage of music over and over again, and not be able to get it quite right. Maybe he’ll work really hard and still not be able to get into the advanced class, or get picked for the solo at an upcoming concert, or pass the honor band audition, or get the MPA solo rating he wants. He may even be without his horn for a while if it breaks and needs to spend some time in a repair shop. In addition to the joys of music (and life), we are all destined to experience difficulties, as well.

Have you seen any new teachers yet this year? If you haven’t, you aren’t looking hard enough! They are the ones who arrive at the first day faculty meeting or the district professional learning day with the brightest eyes and the biggest smiles. Like my nephew, they are excited to begin a new chapter, as they have just received their very first position as a music educator. It is the prize they have been working very hard for years to attain, and they are ready to get started and change lives for the better.

Jason P. Locker President

Once the students arrive, introductions are made, and the lessons begin, there will undoubtedly be challenges for these new colleagues to face. Time management, communication with stakeholders, school and district paperwork, finances and fundraising, repertoire selection and concert programming, and conflict resolution are just a few examples of the many things that a new (or seasoned) teacher may find challenging and disheartening.

Just as we, in our music ensemble courses, strive to build community among our students, we must make the same effort within our profession. We advocate for music education by discussing how enrollment in music courses provides our students with skills in leadership, teamwork, problem-solving, communication, and managing schedules and commitments, in addition to their academic successes and enjoyment of music. Are we doing our part to make sure we don’t just instill those values in our students, but also practice them as members of a professional community of music educators?

During this month of September, the novelty and “shine” of that new teaching gig will begin to wear off for some of us. It will be time to prepare our students for all-state auditions, plan performances and travel, raise funds, and really dig into musical fundamentals with our students. If you haven’t already done so, please join or renew your membership in the Florida Music Education Association. And as you do so, I hope you will also renew your commitment to reaching out and supporting your colleagues—whether they are right next door, across town, or in another part of the state or country. The leadership, teamwork, problem-solving, and communication we teach our students, and tout in our advocacy efforts, shouldn’t end with graduation from high school or college. We are Team FMEA, and when we all support one another, our positive impact on students is multiplied exponentially!

I am now in my 24th year as a music educator. During those years, I have experienced many peaks and valleys, both good days and bad. But thanks to mentors, colleagues, and friends too numerous to list, I am still here smiling, optimistic, and proud to be a Florida music educator!

Advocacy Report

Vote, Visit, Vigilance

PART 2

This month we are diving deeper into the concepts of vote, visit, and vigilance referenced in the August advocacy column. These ideas center on the premise that democracy is not a spectator sport. This column will focus on visit, specifically “official” visits, but all three concepts are important and interrelated.

September Vote “To Do” List

While there are no elections being held this month, it is important for FMEA members to continue to educate themselves on local, state, and federal candidates’ positions.

w Register and/or check your voter registration status (and vote by mail status).

~ Deadline to register to vote in the November election is October 7.

~ Deadline to request a mail ballot is October 24.

w Attend school board candidate forums. Ask school board candidates about their vision for strong music education programs in your district.

w Be an informed voter. Research unbiased sources such as vote411.org/florida

Jeanne W. Reynolds Chairperson, Advocacy Committee

by

Visits

We will discuss “official” visits this month. In this context the phrase “official visits” is used to describe scheduled events with elected federal, state, and local officials. For example, in June, FMEA members participated in the NAfME Hill Day (nafme.org/blog/look-back-nafmehill-day-2024/).

The FMEA team included Dr. Carlos Abril, Dr. Shelby Chipman, Jason Locker, Skip Pardee, Jeanne Reynolds, and Dr. Kathleen Sanz, as well as NAfME Florida collegiate members Megan Robichaud, Megan Rodriguez, and Grace Wieckowski. We visited 16 offices including Senators Scott and Rubio and 14 congressional representatives. In the broadest terms, we talked about the importance of music education and its relationship to specific legislation and/or funding requests. As a result of these visits, several offices have reached out with questions or to seek input on impending legislation.

Many FMEA members tell me they are nervous about making these visits. No need for any apprehension. It’s not hard. As a citizen, you have a right and a responsibility to make your voice heard. Most often these meetings are very cordial, and most importantly, they can be very productive.

When you call or email to schedule a visit (either in Washington D.C. for federal legislators or Tallahassee for state legislators) you will likely be asked if you are willing to meet with an aide if the legislator is unavailable. It’s

Photo

© Ashlee Wilcox Photography, LLC

fine to meet with an aide, and in fact, it may be more productive than a meeting with the legislator. Congressional aides are responsible for doing research on various legislative bills and priorities, and they advise their legislator regarding votes on those bills. Aides frequently ask thoughtful questions. They are generally polite, respectful, and pleased to meet with constituents.

There are many resources to prepare you for scheduling and meeting with your elected officials. In April, NAfME presented a Zoom training for Advocacy Leadership Force (ALF) members (nafme.org/advocacy/state-advocacy/advocacy-leadership-force/) entitled How to Hug a Porcupine – Building Relationships with Legislators and Why It’s Important presented by Brad Fitch, president and CEO of the Congressional Management Foundation (congressfoundation.org/). Even though I have been working on advocacy issues for decades and have made scores of legislative visits, I learned new strategies from this informative, engaging presentation and would be happy to share this resource with you. If you are interested, please contact me for the link and password. Some important themes follow:

w The ability to articulate the reason for a constituent’s support or opposition to a bill or issue

w Sharing a personal story that relates to the bill or issue

w Clearly stating the specific impact that the bill or issue has on the district (or school or program)

w Customizing the “pitch” to the specific legislator or decision maker

w Knowing the legislator’s (or decision maker’s) position on the issue

w In-person constituent visits have tremendous influence on legislators.

w Constituents who represent large groups of people have great influence. For example, an FMEA member represents 4,000 other members. On a local level, a band director may represent 200 families in a school board member’s district.

September Visit “To Do” List

w Make sure you know your state senator and state representative. Do not confuse them with your federal elected officials.

~ Find your state senator here: flsenate.gov/Senators/Find

~ Find your state representative here: myfloridahouse.gov/FindYourRepresentative

w Schedule an “official” visit with your state senator and/or representative this fall while legislators are back in their home districts. Find at least one other person to attend with you. This can be another music teacher, a parent, or a friend. You will schedule this visit at the home office close to you.

~ The message can be very simple. The message will be to thank them for their support of music education and their support for the Seal of Fine Arts bill. All the information you need can be found on the FMEA advocacy page (FMEA.org/ advocacy/).

~ Rarely do constituents thank their legislators. By doing this, you will be building a relationship for future communication with this legislator.

w For other local information and including the names of local decision makers, go to your county supervisor of elections page (dos.elections.myflorida.com/ supervisors/).

September Vigilance “To Do” List

w Build and nurture relationships with coworkers, building-level decision makers, and community members.

w Consider doing an informal needs assessment for your school or community regarding music education. What do you need to take your programs to the next level?

Vigilance means constant and careful attention. September is a great month for proactive advocacy. This can involve making some official visits, building relationships, and building a strategic plan for music education in your community. For music education to remain strong and thriving in ALL Florida schools, advocacy must be part of everything we do. Let me help you become the best advocate you can be.

Jeanne W. Reynolds

IMMEDIATE IMPACT

MUSIC EDUCATOR SPOTLIGHT

FMEA “Immediate Impact” Music Educator Spotlight

In this feature, FMEA seeks to spotlight the outstanding work and accomplishments of music educators in the earlier stages of their teaching careers. These educators are making an immediate impact on their schools, communities, and students.

GABRIELLE TORDI

DAVIDSON MIDDLE SCHOOL

OKALOOSA COUNTY

Gaby Tordi is incredibly honored to serve as band director of the Panther Band at Davidson Middle School (DMS) in Okaloosa County. She has been teaching at DMS since August 2022. During that time, Ms. Tordi has received incredibly high district assessment ratings. In addition, Ms. Tordi and the Davidson Middle School Band boast an impressive enrollment of around 250 band students across grades 6–8. Ms. Tordi received her BM degree in music education (2019) and MM in instrumental conducting and clarinet performance (2021) from the University of Florida. During her undergraduate and graduate studies, she performed in the UF Wind Symphony, Clarinet Ensemble, Symphony Orchestra, Gator Marching Band, and various chamber groups. Ms. Tordi served as a graduate assistant with the UF Gator Band, concert ensembles, and the undergraduate conducting courses. Additionally, she works as a regular clinician with several middle and high schools throughout Central Florida. She has performed with the New World Symphony Orchestra at Carnegie Hall and most recently at the Festival des Anches d’Azur in La Croix-Valmer in Paris, France, with the UF Wind Symphony. Ms. Tordi’s professional affiliations include NAfME, Sigma Alpha Iota Women’s Music Fraternity, and Kappa Kappa Psi.

Thank you, GABRIELLE , for making an immediate impact on your students, community, and music education in Florida!

RAD BOLT

GEORGE JENKINS HIGH SCHOOL POLK COUNTY

Rad Bolt is in his fourth year as the director of bands at George Jenkins High School in Polk County. Under his leadership, the band program has flourished in enrollment and musical achievement at the district and state levels. Mr. Bolt places special emphasis on fostering a culture of safety, inclusivity, and growth in his music classroom. He has also made increased efforts to make his students and program visible in the community. With a steadfast belief in the power of music for all, Mr. Bolt started a beginning band class at his school to create as much accessibility and opportunity as possible for the students on campus to join band.

Thank you, RAD, for making an immediate impact on your students, community, and music education in Florida!

LET US BRAG ABOUT YOU!

Please submit the FMEA “Immediate Impact” Music

Educator Spotlight form and materials for yourself or a colleague who exemplifies the criteria for educators making an immediate impact on their schools, communities, and students.

CLICK HERE TO NOMINATE A DESERVING CANDIDATE.

JUNE M. HINCKLEY

MUSIC EDUCATION SCHOLARSHIP

Applicants were asked to respond to the prompts “Why do you wish to become a music educator?” and “Why should music be available to all students?” Arturo’s essay appears here with minor editing and the addition of a headline.

Education Is Society’s Foundation

submitted by Arturo Sabogal

“Education is the passport to the future, for tomorrow belongs to those who prepare for it today.” – Malcom X

This was my goodbye message to my fellow students at my old school before I moved to the U.S. in 2021. Throughout my life, I’ve realized that educators are fundamental in one’s journey through school, not only because they teach you about different topics, but because they are the ones who change your life; they influence your personality, discipline, choices, etc. They prepare you for the real world by making you a better person through their passion. Music has made out of me a passionate, happy, and determined person, but it wouldn’t be like that if it wasn’t for the amazing music educators I’ve had. Music should be available to all students because of how fundamental it is; it educates you, connects you with people, and it opens several doors for success academically and personally. Music education is about connecting with the younger generations and inspiring them to achieve their goals and be the best version of themselves. When I left Bogota, Colombia, I was a year away from graduating high school, which made me feel sad about not seeing my friends or teachers anymore. This made me reflect on how much of an influence my teachers had on me; they would inspire me to pursue what I wanted to do; they showed me how our society is and how we can be the best version of ourselves and make it better. All of this made me realize that

Arturo Sabogal

education is society’s foundation. When I started my sophomore year at Gaither High School, ironically, I wasn’t aware of the music programs that Gaither offered. At the end of that year, there was an orchestra and band concert called OPUS. At the time, I wasn’t sure of what an orchestra or a band was, I just knew some of the instruments. I decided to go, and I didn’t know back then that that concert would change my life. I had never experienced music in that way before. I had goosebumps with some of the pieces they played. When I saw the orchestra play, however, I didn’t just watch a group of people making wonderful music, but I saw a family who came together to have a good time and enjoy playing music. They were performing with confidence. That’s when I told myself, “I have to be there.” I did not know how to play any orchestra string instrument, but my guitar teacher (who is the orchestra director) gave me the opportunity to choose any of the four, so I chose the violin, and he let me borrow it. He believed in me, and that’s part of an educator’s job and what I aspire to do: care about the students’ success and help them pursue their passion.

Over that summer, I met Karen Bishop, former music educator and director of the Play it Forward Orchestra (an ensemble I’m part of), a community orchestra that

“Music offers a different kind of education that no other classes teach you; music teaches you leadership.”

performs for people who can’t experience this kind of music, seniors, veterans, and for fundraisers. She was my first violin teacher, and she taught me that music is about people; you make your community better through music and giving back.

In the start of my junior year, I was officially part of Gaither’s Concert Orchestra. Mr. Heglund, my orchestra director, is one of the most passionate educators I know (as well as my first inspiration to become a music educator), and the more the year advanced, the more I improved as a musician and the more I felt inspired by the music program at Gaither. I wasn’t sure of what I wanted to do after I graduated, but I knew that I wanted to influence young generations to make our society better. I reflected on the impact music had had in my life, so the idea of becoming a music educator was starting to form.

Not knowing what to do after high school can be extremely stressful. One day I was very anxious about this, so I talked to Mr. Heglund and, crying, I told him about my idea of becoming a music educator. He was really supportive and explained to me the journey of becoming one. It is not an easy path, and he told me that it requires a lot of work, but time made me realize that I love both teaching and music enough to be determined and try to reach my goal. Since then, my music, teaching, and leadership skills have become better by being a violin and viola section leader and a student conductor. I made it into Gaither’s Chamber Orchestra by my senior year (this current year), where I’m concertmaster, and I also joined Gaither’s marching band, wind ensemble, and percussion ensemble. I’ve gotten three superior ratings at solo and ensemble and one superior in the student-conductor section at MPA, and I’ve made it into the All-State Honors Orchestra and the All-County Orchestra. None of these achievements would have been possible without the motivation and help of my music educators.

Music offers a different kind of education that no other classes teach you; music teaches you leadership. A “leader” is a word with a broad definition; in a music program, you learn different skills and habits that turn you into a leader. These skills and habits transmit to other aspects

of your life. Just like Mr. Heglund says, “Orchestra is like a team sport.” In an ensemble, we are all accountable for ourselves, which teaches you autonomy; you work with several people to make music happen, which teaches you social skills and teamwork; you are responsible for having an organized schedule and practicing constantly, as well as developing mental endurance during long rehearsals, which teaches you responsibility and time management. Most importantly, however, you are enjoying and giving your best in the music you and your peers are making, which makes you passionate. All of these are the underlying effects of music on students, and they are what I will try to transmit to my students once I become a music educator.

Music offers a lot to students during their childhood and teenage stage; if music isn’t available in an education system, we are limiting students’ learning opportunities, and therefore we are failing as a society to provide future generations with the education they deserve so that they can be tomorrow’s leaders. On the other hand, students love having something to be passionate about, and something that keeps them busy, rather than wasting time at home or doing bad things on the streets; music gives students hope and a way to express themselves. As a Colombian, it makes me sad that the education system in my country doesn’t provide music programs or music education like the one in the U.S. Having music programs such as the ones in Florida’s education system is a privilege that can transform people. I am the perfect example of this. Just like I said earlier, I didn’t know what an orchestra was when I moved, I had never been near a violin in my life, but it was the music educators who showed me the spark that music can create in my life.

Music has a lot to offer to the young generations, which is why every child should have the opportunity to experience it. The high school stage in a teenager’s life is the foundation of what their life will be like. It will be my duty as a music educator to lead my students to success in what they are passionate about, through the beauty and complexity of music and how it can influence their lives.

JUNE M. HINCKLEY MUSIC EDUCATION SCHOLARSHIP

Applicants were asked to respond to the prompts “Why do you wish to become a music educator?” and “Why should music be available to all students?” Brianna’s essay appears here with minor editing and the addition of a headline.

Music Is a Universal Language That Can Touch the Heart

submitted by Brianna Steele

Iaspire to become a music educator to share the joys of learning music the way they have been brought to me over the course of my high school and middle school years. Making my way through high school, the chorus and band rooms became like second homes and second families, and the directors leading them, like parental figures. Because yes, they have taught me music, but also life lessons. They have been some of my biggest supporters, always building me up and pushing me to be my best.

My choral director is one of the most influential figures in my life, and is part of the reason I have decided to become a music educator. Walking into her classroom every day brings new musical opportunities, but also a continual growth as a person, surrounded by positivity, balance, and organization. I believe it is truly a sign of a good teacher when students can learn simply by observing how the teacher does their job. There are many times when, from the students’ perspective, rehearsal can be frustrating because progress is slow or something is not going as planned in the learning process. This frustration, of course, goes both ways, and directors feel

it as well. Our choir is no exception, but the way my director adapts her teaching and methods to find what works is amazing. If we have a class where one method of learning something is not working, she comes back the next day with a new angle to take or a new exercise to try. Even if it takes multiple rehearsals of trying different things before we truly accomplish the goal in mind, she always has a positive, happy mindset and never settles for less than what she knows we are capable of.

What catches my attention about this is how responsive and collected she is in times like this. Many directors would get frustrated and start to become angry, or decide to do something easier, or leave the music at a lower level than it could be performed at, deciding they simply did not have capable performers. Never once has my director ever made me feel like I am incapable of achieving something, nor has she for any of her pupils. She truly listens when we talk and ask questions, and values that input from us. She uses the questions we ask and input we give her to adjust her teaching in a way that works for our choir as a whole, rather than viewing our

Brianna Steele

“... nothing brings so many people together in the way music does.”

thoughts as unimportant just because we are students. I have been able to pick up so many skills just from watching the way my director teaches, plans, transitions, and respects her students. It has become more and more applicable when I help teach in small groups and for tasks like Senior Song as part of my job as president.

It is amazing to me how much I have grown as a musician and person since starting high school, and looking back, many of the steps in that growth process happened because of my directors. Every success, failure, long rehearsal, late bus ride home, laughter-filled class … They are there for all of it, and I think it is such a beautiful thing that as teachers they are helping create that sparkle in students’ eyes when they start to understand both the musical concepts and the joy they get out of those moments. Those are the memories students remember, the memories I will remember and smile about years down the road as I try to bring that same joy to others. My different music classes have also allowed me to be in multiple leadership positions in band and choir over my high school years, and have truly developed my ability to lead with respect and humility. I am the president of our top vocal ensemble, Opus One, and have also been a squad leader and librarian with our Wind Symphony and Eagle Pride Marching Band. I have always been fairly outspoken and felt the need to plan and direct things, even from the time I was little. Being in an environment where I had mentors to look up to and learn how to use those characteristics has been a huge part of helping me become who I am today. I have found that between these qualities and the excellent musical education I have received, I truly enjoy using that leadership to help teach music when the opportunity arises. Watching the lightbulb come on, especially when helping middle schoolers or underclassmen, makes me feel like I am doing something that is giving back to those around me, and allows me to see myself become a music educator. I want to use

the gifts God has given me in a way that honors him, and for me I believe that is continuing my music career and delving deeper into how I can be a music educator.

No one person approaches music in exactly the same way as anyone else. No one practices or performs identically to any other person. No one has an identical voice or timbre. But regardless of all that, nothing brings so many people together in the way music does. It is a universal language, and one of the few things that when done right can touch the heart of any person. If you need a boost before a sporting event, uplifting music. If you’re struggling, music that touches the soul. If you’re celebrating, music that feels like sunshine. Being able to bring anywhere from two to hundreds of people together to create that music makes an environment that is more alive than anything else I have ever experienced, and that should not be denied to anyone. The beauty of music is that everyone starts somewhere, and regardless of who you are or when you start, you can learn and progress to become your own musician. Whether that means being a professional or simply enjoying taking classes that give you a break from the stress that is life, it is not a joy that should be kept limited for sake of experience or talent.

Music is a beautiful method of communication that was passed down verbally before it was ever put on paper and printed. There was no restriction or limit based on talent or being able to afford it. It should remain as such, and be available to all students to help spark their creativity, allow them to breathe and do something they enjoy, and bring them into a community. All the while, it also offers an education on literature, poetry, the impact words and music can have on the world, and how the world impacts what music is made. The opportunity to express themselves and build relationships with others in a healthy environment should be a foundation offered to students as a space where they flourish and grow.

JUNE M. HINCKLEY MUSIC EDUCATION SCHOLARSHIP

Applicants were asked to respond to the prompts “Why do you wish to become a music educator?” and “Why should music be available to all students?” Gabriella’s essay appears here with minor editing and the addition of a headline.

Music Educators Helped to Shape Who I Am

submitted by Gabriella R. Sierra

Growing up, music has always played a significant role in my life, shaping much of who I am as a person; however, as I reflect upon who I am today, I find that much of what I have learned as a musician has to do more with the phenomenal educators I have been fortunate enough to study under, rather than the music itself.

My first ever music teacher was my childhood piano teacher, Ms. Ildelisa Maseda, whom I absolutely adored. She gave me all the fundamental skills I needed as a musician, teaching me how to read music from scratch. When I was younger, she would give me stickers at the end of every lesson as motivation to practice, but her classes were not always easy. She was probably one of the toughest teachers I ever had, and even though there were many times I considered giving up piano, she always picked me up and pushed me to keep going. I was eventually recognized in June 2023 by the National Guild of Piano Teachers Association with a High School Diploma in Social Music, which was one of my greatest accomplishments (and a huge weight off my shoulders)!

Gabriella Sierra

My middle school band director was another musical inspiration of mine early on; I always loved playing trombone and piano in his jazz band, and he even gave me the opportunity to sing a few songs throughout my time there. I’ll never forget the mornings he set aside before school to help me practice my Spanish pronunciation so I could sing “Brujeria” at my sixth grade end-of-year concert.

My high school band directors and staff have also played a huge role in shaping the person I am today. I’ll always remember my first FMBC state prelims performance; I was incredibly nervous right before my marching band took the field in competition, and our music caption head, Mr. Bill Muter, noticed. He walked over and helped calm me down while fixing my shako and reassuring me that I could do it. And of course, my high school band director, Mr. Dean Calmer, has always been there to support me in any of my musical pursuits; he showed up to watch my 2023 All-State Concert Chorus performance without me asking when my choir director couldn’t even make it. It’s the little moments that make

“… the arts are perfect for fostering environments where students can make lifelong friendships and lasting memories through simply participating.”

you look back and appreciate your teachers; their kindness, passion, and drive inspire me to be an educator just like them.

If it was not already apparent, I have always admired and respected my directors and teachers; however, my experiences throughout senior year specifically have altered my perspective in the importance of having great music educators in schools and sparked my desire to teach, too. I recently had the opportunity to revisit my old elementary school when my younger neighbor, Sofia, invited me to watch her as the lead in her school’s “High School Musical” play. When I was a student there, the school barely had a music program, but this production was amazing. I was absolutely blown away by how Sofia’s new teacher rebuilt the music program from practically nothing into something beautiful. I found out that she even had students making all-county and all-state choirs!

This year, I have also had the opportunity to study under my new choir director, Dr. Tim Brent, who has completely transformed my high school’s chorus program. For the first three years of high school, I had a hard time finding encouragement in my previous director, but now I feel as though I am learning so much more in a welcoming and positive environment, and I know my peers feel the same way. I’ll never forget the day after our winter concert. We spent that class looking back on all our hard work that semester, and I had never seen my classmates so passionate about the music they were creating. We discussed everything, from our awesome performance the night before, to our struggles as high schoolers balancing music and academics, to our fears about the uncertainty of college and the future. It was a very vulnerable moment. I remember in sharing his experiences, Dr. Brent told us (which hit particularly home for me), “Music chooses you; the hardest part about studying it is having the courage

to pursue it.” I am extremely grateful that I now have a chorus director I can look to for support, even if it is only for my last year of high school. It is important for me to do what I can to give back to my community, especially given the current state of the arts in Florida. Witnessing how these teachers have introduced singing and chorus to schools, involving more students in the arts, has given me a renewed sense of confidence that, with great educators, the arts in schools can be saved.

Obviously being involved in the arts has contributed a considerable amount to my personality. Besides basic character traits, I have also developed skills from being an active member in my school’s chorus and band programs that I will carry with me for the rest of my life. I have learned how crucial time management is in maintaining both academics and extracurriculars. Being in leadership positions has also pushed me to become more comfortable speaking in front of groups of people, and as a result, I now have more confidence. It has also developed my problem-solving skills by putting me in situations where I had to navigate conflict amongst my peers and find solutions. Every child wants to enter the real world feeling prepared and equipped to handle all the challenges that life will throw at them; the arts are a great setting to practice these skills.

Perhaps most importantly, the arts are perfect for fostering environments where students can make lifelong friendships and lasting memories through simply participating. Not every child involved in the arts is going to pursue music as a professional career, but I firmly believe that all students deserve to experience a community where they feel at home and a sense of belonging. I hope to create a space for future students of the arts that is as caring and inclusive as those my wonderful teachers have provided for me, while guiding them toward their fullest potentials; that is the type of educator I aspire to be.

2025 FMEA Professional Learning COnference

We can’t wait to see you in Tampa this January!

go digital!

The 2025 conference program will be digital only ... and of course you’ll want to download the conference app for all the latest info! Concert programs will still be printed.

The FMEA Professional Learning Conference is one of the largest music education professional development events in the United States. In addition to approximately 200 clinic sessions and concerts, it is host to 24 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:

w An exhibit hall with world-class exhibitors providing products and services for music educators and students

w More than 3,000 music teachers and 300 administrators

w More than 200 sessions covering a variety of topics for all music educators, with on-demand access to recordings after the conference

w Performances and mini-concerts from some of Florida’s top music programs

w Networking opportunities, college fair, awards ceremony, and other special events

Important Conference Dates & Information

September 28, 2024

Hotels begin taking reservations at 9 am; all hotel reservations to be made online and only five (5) rooms per director.

November 9, 2024 Hotel room cancellation deadline is 5 pm.

November 12, 2024

December 13, 2024

December 16, 2024

Hotels will charge your credit card a nonrefundable deposit for the first night of each room.

Early registration closes at midnight. Prices increase to the regular registration rates. You may continue to register and pay online until the conference.

Postmark deadline for checks mailed to pay for conference registration. After this date, all unpaid conference registrations must be paid by credit card online, or the check must be brought with you to the conference.

All school lodging checks are due to hotels, payable to the hotel where reservations were made for you and/or your students.

The final deadline for discounted hotel blocks; unsold rooms in the FMEA blocks are released back to hotels.

Registration

Registration Prices and Procedures

w Membership in FMEA and NAfME is a prerequisite for registration. See the Registration Policies for details.

w 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.

REGISTRATION FEES

Refund Policies

1. Full registration refunds are available for cancellation requests made through December 15, 2024.

2. No registration refunds will be made for cancellations made after December 15, 2024, except for emergency situations. These will be reviewed on a case-by-case basis.

3. Refunds must be requested in writing (email is acceptable).

4. All requests for refunds must be received no later than January 31, 2025. Requests received after that date will not be processed.

5. All refunds will be issued after the conference is completed.

6. There are no refunds for concert tickets.

Registration Policies

1. All participants—directors, students, chaperones, and guests—must be registered for the conference.

2. Only directors may register their groups or pick up registration materials if preregistered.

3. All participating students must be chaperoned. As required by 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.

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.

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, explain the extenuating circumstances preventing the director from attending, and must be submitted with registration materials. The school will be notified of approval.

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.)

7. All school music teachers must register for the conference as FMEA directors and be current members of FMEA. This includes directors of invited performing groups, 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.

Chaperone Registration

Chaperone registration is based on the following rules:

Elementary Students

w For each elementary student registered, one free chaperone and one paid chaperone may be registered.

w Any additional attendees must purchase a guest pass at on-site registration for entry into the convention center.

Middle School and High School Students

w For every six students registered, one free chaperone and one paid chaperone may be registered. No other chaperones may be registered until the seventh student is registered.

w Any additional attendees (chaperones or guests) must purchase a guest pass at on-site registration for entry into the convention center.

w EXCEPTIONS

~ 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.

~ 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.

Greetings! It’s the 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 8-11, 2025, Professional Learning Conference.

We look forward to seeing you in Tampa!

HOTELS

Contracted for 2025 FMEA Professional Learning Conference

NOTE: FMEA IS NOT offering a housing bureau service. All participants MUST reserve their rooms online via links that will be posted at FMEA.org/conference/hotels/ on September 28, 2024 . Please confirm the guest room rate posted below when you make your reservation. We look forward to seeing you in Tampa!

w All reservations will be made online via links that will be posted at FMEA.org/conference/hotels/. Room blocks will open on Saturday, September 28, 2024, at 9 am EDT. The hotel list will be available on the FMEA website at that time, along with the online reservation links and phone numbers for each hotel.

w Guest rooms at the contracted rates will be available until the room block is full or until the cancellation deadline of November 9, 2024, at 5 pm. If your hotel of choice is sold out, please continue to try to make a reservation until November 9, 2024, as FMEA attendees will periodically release surplus guest rooms.

w A maximum of five (5) guest rooms may be reserved per name/credit card.

w Directors should try to reserve rooms for all-state students and chap erones in the hotel where they are rehearsing.

w Credit cards are required for online reservations, and the credit card name must match the name on the reservation.

w If calling, be sure to request the “Florida Music Education Association” room block rate and confirm the guest room rate listed for the hotel.

w If paying by check, reservations must be made over the phone, and a check for the full amount must be mailed directly to the hotel no later than December 13, 2024.

w You do not need to register for the conference before reserving your hotel rooms, but this is something we are considering for future conferences.

w Each hotel will have contract terms, such as parking charges, etc., on their reservation link.

Frequently Asked Questions

Why are the FMEA hotels so expensive?

The prices we contract with the hotels are much lower than their standard room rates during the same dates (in many cases, less than half).

Why is it so hard to get a room?

When the blocks first open, everyone tries to get as many rooms as they can in case they need them for all-state students and chaperones, so they fill up very fast. If you wait until after the all-state results come out, many people will have cancelled their rooms and it will be much easier for everyone else to get a reservation.

Why don’t you wait and open the hotel block after all-state auditions results are released?

Our hotel partners are not comfortable waiting until we are so close to the start of the conference to start booking room reservations.

Is there a cancellation fee?

No, as long as you have cancelled all the rooms you no longer need by the cancellation deadline listed, you will not be charged any type of cancellation fee. After the cancellation deadline, a deposit of one night per room in your reservation will be charged to your credit card, and that deposit is nonrefundable.

Someone at the hotel told me that cancelled rooms don’t go back into the FMEA block, and they are sold at full price instead. Is that true?

Not until December 16. Before that date, all the hotel rooms in the FMEA blocks that are cancelled will go back into the FMEA blocks and can be reserved by other FMEA members at the low FMEA rate.

possible and no later than 5 PM ON NOVEMBER 9, 2024, and you must secure a cancellation confirmation number. This courtesy will make surplus rooms available to other FMEA members and conference attendees.

Nonrefundable Deposit

On November 12, 2024, each room reserved and not cancelled by November 9 will be charged a nonrefundable deposit in the amount of the posted rate for one night plus tax. It will be charged to the credit card used to secure the reservation. Invalid credit cards risk reservation cancellation.

If Hotels Are Full

Every year, the hotel blocks fill up almost immediately upon opening due to teachers overestimating how many they will need for all-state students and chaperones. They cancel the rooms they don’t need after the audition results are released (late October and early November).

w Try again in late October or early November after all-state results are released and teachers cancel rooms for students who were not selected. w Try again after the cancellation deadline. All cancelled rooms will return to the FMEA blocks until December 16, 2024.

w Please do not reserve a room outside of the FMEA blocks! To receive discounts for the ballrooms we use for all-state rehearsals, we must fill most of our allotted room blocks. If we do not meet our required minimum number of hotel nights sold, we will need to raise conference registration rates to compensate for the added cost of the rehearsal space.

All-State COncerts

Attendee Concert Tickets

Registered conference attendees, such as directors, chaperones, students, and administrators registered as part of your conference registration, will be admitted to all all-state concerts with their conference badge. Purchased tickets are necessary for other family or friends attending only the concert.

All-state concerts are now sold exclusively online through the FMEA conference ticket sponsor: TeachTix. Directors should send the following link to the parents or guardians of their all-state students who may need to purchase tickets: FMEA.org/Conference/ Tickets/

Ticket Sales

Tickets are sold online for family, friends, and other attendees who are not registered for the conference. Directors will no longer need to pre-order all-state concert tickets for their students’ family members or friends who will be attending their concerts. Send them this link instead: FMEA.org/Conference/Tickets/.

Tickets will go on sale in September, and can be purchased anytime up until 30 minutes after the start time of the concert.

Tickets purchased will be emailed to the purchaser and can be printed or stored on their phone. The barcode will be scanned at the door to validate a ticket’s authenticity and to gain entrance to the concert.

No Refunds. Tickets may be exchanged for another concert or transferred to another person using the online ticket sales portal only.

Signs with QR codes will be posted at the conference for purchasing tickets at the door with your smartphone.

A desk in the conference registration area on the second floor of the convention center will be selling paper tickets if you need to purchase tickets with cash or if you do not want to use electronic tickets.

Concert Reentry Procedure

Frequently Asked Questions

Do I get free tickets for my students’ family members to attend the concert?

No.

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?

Anyone can purchase tickets online. Electronic tickets will go on sale in September and sales will close 30 minutes after each concert’s scheduled start time. Paper tickets will be sold at the FMEA registration desk during its regular open hours on Thursday through Saturday.

Once a ticket’s barcode is scanned to gain entry, that ticket is marked as “used” and will no longer be eligible for another entry into the concert. Attendees who need to exit and reenter the concert should be prepared to show their ticket and a photo ID to confirm they are the ticket owner to gain reentry into the concert hall.

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-State Concert Ticket Policy

1. Registered (BADGED) attendees do not require tickets to attend any all-state concert. This includes directors/ members, directors’ non-teaching spouses, performing all-state students, registered chaperones, collegiate student members, retired members, and VIP guests that you entered as part of your conference registration.

2. All nonregistered (NONBADGED) attendees (parents, family members, guests, etc.) are required to purchase tickets for any all-state concert they wish to attend.

3. There are no “free” or “allotted” tickets. All concert attendees must either wear their conference badge or purchase a ticket.

4. Tickets will be electronic and sold online utilizing a mobile-friendly website. The link will be available on the conference website well in advance of the conference, and directors are encouraged to share the link with all of their all-state students and their parents or guardians. On site at the conference, the links and QR codes will be posted on signs in the venue so attendees may purchase tickets using their smartphones. Anyone who wishes to attend a concert can purchase an electronic ticket online anytime up until 30 minutes after the concert’s published start time.

5. There is no longer a need for directors to pre-purchase any tickets for their students or their families. Instead, they should direct the student and their family to the online ticket sales website. Any directors who still wish

All-Ticket Sales Are Final. No Refunds.

Please make sure you know the exact name of the all-state ensemble for which you need tickets before approaching the ticket sales window. Exchanges may only be made through the online portal.

Note: No concerts will be held in the Straz Performing Arts Center.

to purchase tickets should take care to correctly enter the names and email addresses of the people who will be using the tickets into the online sales portal, or transfer the tickets to those who will be using the tickets using their correct name and email address in the online ticket sales portal.

6. Paper tickets will be on sale at the registration desk on site at the conference for attendees who would like to pay by cash or who do not want to use electronic tickets. Paper ticket sales for all-state concerts will begin on Thursday morning and continue Friday and Saturday at the FMEA registration desk. There is no requirement that the director or any other registered attendee be the person purchasing these tickets. If a concert starts after the registration desk is closed, only electronic tickets will continue to be sold for that concert.

7. All ticket sales are final. There are no refunds for any concert tickets. Tickets may be transferred or exchanged using the online ticket sales portal only.

8. For entrance, ticket, and concert purposes, a concert is defined as the pair or 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 and ticketing would be the 5:30 pm concert that features both the Treble Chorus and Mixed Chorus or the 6:30 pm concert that features the Middle, Concert, and Symphonic Bands.

All-State Rehearsals

All-State Concert Band

Concert – Tampa Convention Center, Ballroom A Saturday, January 11, 2025, 6:30pm

Reseating Auditions

Hotel Tampa Riverwalk, Riverwalk Ballroom

Thursday 9am-11am

Rehearsals

Hotel Tampa Riverwalk, Riverwalk Ballroom

Thursday 1pm-5pm

Thursday 7pm-9:30pm

Friday 8:30am-11:30am

Friday 1pm-5pm

Saturday ............................................... 9am-12noon

All-State Concert Chorus

Concert – Tampa Convention Center, Ballroom A Saturday, January 11, 2025, 11am

Rehearsals – Tampa Convention Center, Room 114

Thursday .......................... 8am-8:30am, Registration

Thursday 8:30am-11:30am

Thursday 1:30pm-4:30pm

Thursday 6:30pm-9pm

Friday 8:30am-11:30am

Friday 1:30pm-4pm

All-State Concert Orchestra

Concert – Tampa Convention Center, Ballroom A Saturday, January 11, 2025, 2:30pm

Registration for Strings – Marriott Water Street, Florida Ballroom, Salons 5-6

Thursday, 7:30am-8am

Reseating Auditions for Strings

Marriott Water Street, Florida Ballroom, Salons 5-6

Thursday, 8am-11:30am

Registration for Woodwinds/Brass/Percussion –

Marriott Water Street, Florida Ballroom, Salons 5-6

Thursday, 9am-9:30am

Sectional Rehearsal – Marriott Water Street, Florida Ballroom, Salons 5-6

Thursday 9:30am-11:30am

Woodwinds/Brass/Percussion

Full Orchestra Rehearsals – Marriott Water Street, Florida Ballroom, Salons 5-6

Thursday .................................................. 1pm-5pm

Thursday 7pm-9pm

Friday 8:30am-11:30am

Friday 1pm-5pm

Saturday 8:30am-10:30am

All-State Elementary Chorus

Concert – Tampa Convention Center, Ballroom A Thursday, January 9, 2025, 1:30pm

Rehearsals – Tampa Convention Center

Wednesday ...... 12noon-1pm, Registration, Room 114

Wednesday .............................. 1pm-6pm, Room 114

Thursday 7:45am-12:45pm, Room 111

All-State Elementary Orff Ensemble

Concert – Tampa Convention Center, Ballroom A Friday, January 10, 2025, 1pm

Rehearsals – Tampa Convention Center

Thursday 10am-11am, Registration, West Hall A Thursday 11am-6pm, West Hall A Friday ................................8am-11:30am, Room 112

All-State Guitar Ensemble

Concert – Marriott Water Street, Grand Ballroom Thursday, January 9, 2025, 12:30pm Rehearsals

Tuesday ..................................................... 7pm-9pm

Marriott Water Street, Meeting Room 8

Wednesday 8:30am-12noon

Marriott Water Street, Meeting Room 8

Wednesday 1pm-5pm

Marriott Water Street, Meeting Room 8

Thursday ....................................... 8:30am-11:30am

Marriott Water Street, Grand Ballroom

All-State High School

Jazz Band

Concert – Marriott Water Street, Grand Ballroom

Friday, January 10, 2025, 7:30pm

Rehearsals – Tampa Convention Center, Room 407

Wednesday 2pm-5:30pm

Wednesday ............................................... 7pm-9pm

Thursday ....................................... 8:30am-11:30am

Thursday 1pm-5pm Friday 8:30am-12noon

All-State Intercollegiate Band

Concert – Marriott Water Street, Grand Ballroom

Friday, January 10, 2025, 4pm

Rehearsals – Barrymore Hotel Tampa Riverwalk, Crown Ballroom

Thursday 8am-9am, Registration

Thursday ............................................ 9am-11:30am

Thursday ............................................. 1pm-4:30pm

Thursday 6pm-9pm Friday 8am-12noon

All-State Middle School Band

Concert – Tampa Convention Center, Ballroom A Saturday, January 11, 2025, 6:30pm

Reseating Auditions – Hilton Tampa Downtown, Palma Ceia Ballroom

Thursday, 9am-11am

Rehearsals

Hilton Tampa Downtown, Palma Ceia Ballroom

Thursday 1pm-5pm

Thursday 7pm-9pm

Friday 8:30am-11:30am Friday 2pm-5:30pm

Saturday .......................................... 8:30am-12noon

All-State Middle School Jazz Band

Concert – Marriott Water Street, Grand Ballroom

Friday, January 10, 2025, 7:30pm Rehearsals

Westin Tampa Waterside, Conch Room

Wednesday .......................................... 2pm-5:30pm

Wednesday ............................................... 7pm-9pm

Thursday ....................................... 8:30am-11:30am

Thursday 1pm-5pm

Friday 8:30am-12noon

All-State Middle School Mixed Chorus

Concert – Tampa Convention Center, Ballroom A

Friday, January 10, 2025, 5:30pm

Rehearsals – Hilton Tampa Downtown, Bayshore Ballroom 1-3

Thursday ...................... 11am-11:30am, Registration

Thursday ....................................... 11:30am-1:30pm

Thursday 3pm-5pm

Thursday 6:30pm-8:30pm

Friday 8:30am-11:15am

Friday 12:45pm-2:45pm

All-State Middle School Orchestra

Concert – Tampa Convention Center, Ballroom A

Saturday, January 11, 2025, 2:30pm Reseating Auditions

Marriott Water Street, Meeting Room 8

Thursday, 7:30am-8am, Registration Thursday, 8am-11:30am Rehearsals

Marriott Water Street, Meeting Room 8

Thursday 1pm-5pm

Thursday 7pm-9pm

Friday ............................................ 8:30am-11:30am

Friday ....................................................... 1pm-5pm

Saturday 9am-11am

All-State Middle School Treble Chorus

Concert – Tampa Convention Center, Ballroom A Friday, January 10, 2025, 5:30pm Rehearsals

Hilton Tampa Downtown, Bayshore Ballroom 5-7

Thursday ...................... 10:30am-11am, Registration Thursday ............................................ 11am-1:15pm Thursday ........................................ 2:45pm-4:45pm Thursday 6:15pm-8:15pm Friday 8:45am-11:30am Friday 1pm-3pm

All-State Popular Music Collective

Concert – Marriott Water Street, Grand Ballroom Thursday, January 9, 2025, 6pm

Rehearsals – Tampa Convention Center, Room 403 Wednesday ........................................... 8am-12noon Wednesday ............................................... 1pm-5pm

Wednesday 6pm-9pm

All-State Reading Chorus

Concert – Tampa Convention Center, Ballroom A Saturday, January 11, 2025, 8:45am Rehearsals

Embassy Suites Downtown, Gandy Meeting Room Thursday 8am-8:30am, Registration

Thursday 8:30am-11:30am Thursday 1:30pm-4:30pm Thursday ..............................................6:30pm-9pm Friday ............................................ 8:30am-11:30am Friday 1:30pm-4pm Friday 4:30pm-5:30pm, Tampa Convention Center, Room 120

All-State SSAA Chorus

Concert – Tampa Convention Center, Ballroom A Friday, January 10, 2025, 7:30pm Rehearsals

Westin Tampa Waterside, Oasis Ballroom

Thursday 8am-8:30am, Registration

Thursday ....................................... 8:30am-11:30am

Thursday ........................................ 1:30pm-4:30pm Thursday 6:30pm-9pm Friday 8:30am-11:30am Friday 1:30pm-4pm

All-State Symphonic Band

Concert – Tampa Convention Center, Ballroom A Saturday, January 11, 2025, 6:30pm

Reseating Auditions

Tampa Convention Center, Room 122

Thursday 8:30am-10:30am

Rehearsals – Tampa Convention Center, Room 122

Thursday ...................................... 12:30pm-4:30pm

Thursday 6:30pm-9pm Friday 8:30am-11:30am Friday 1pm-5pm Saturday 9am-12noon

All-State Symphonic Orchestra

Concert – Tampa Convention Center, Ballroom A Saturday, January 11, 2025, 2:30pm

Reseating Auditions – Tampa Convention Center Thursday, 8am-8:30am, Registration, Room 124

Thursday ....................................... 8:30am-11:30am

Violin 1, Room 103

Violin 2, Room 105

Viola, Room 106 Cello, Room 104 Bass, Room 109

Sectional Rehearsal

Tampa Convention Center, Room 124

Thursday 8:30am-11:30am Woodwind/Brass/Percussion

Full Orchestra Rehearsals

Tampa Convention Center, Room 124

Thursday .................................................. 1pm-5pm

Thursday .................................................. 7pm-9pm Friday 8:30am-11:30am Friday 1pm-5pm Saturday 9am-11am

All-State TTBB Chorus

Concert – Tampa Convention Center, Ballroom A Saturday, January 11, 2025, 8:45am Rehearsals

Embassy Suites Downtown, Bayside Ballroom

Thursday ......................... 8am-8:30am, Registration

Thursday ....................................... 8:30am-11:30am

Thursday 1:30pm-4:30pm

Thursday 6:30pm-9pm

Friday 8:30am-11:30am Friday 1:30pm-4pm

All-State Rehearsals

High School Honors Band

Concert – Marriott Water Street, Grand Ballroom

Saturday, January 11, 2025, 2:30pm

Reseating Auditions

Hotel Tampa Riverwalk, Bayshore Ballroom

Thursday, 9am-11am Rehearsals

Hotel Tampa Riverwalk, Bayshore Ballroom

Thursday .................................................. 1pm-5pm

Thursday ............................................. 7pm-9:30pm

Friday 8:30am-11:30am

Friday 1pm-5pm

High School Honors

Big Band

Concert – Marriott Water Street, Grand Ballroom

Friday, January 10, 2025, 7:30pm

Rehearsals – Embassy Suites Tampa Airport

Westshore, Cypress Room

Wednesday .......................................... 2pm-5:30pm

Wednesday ............................................... 7pm-9pm

Thursday 8:30am-11:30am

Thursday 1pm-5pm

Friday 8:30am-12noon

High School Honors Orchestra

Concert – Marriott Water Street, Grand Ballroom

Saturday, January 11, 2025, 11am Rehearsals

Embassy Suites Downtown, Skyway Room

Thursday 8am-8:30am, Registration Thursday 8:30am-11:30am Thursday .................................................. 1pm-5pm Thursday .................................................. 7pm-9pm Friday 8:30am-11:30am Friday 1pm-5pm

Middle School Honors Band

Concert – Marriott Water Street, Grand Ballroom

Saturday, January 11, 2025, 2:30pm

Reseating Auditions

Hilton Tampa Downtown, Esplanade Suite Thursday, 9am-11am

Rehearsals

Hilton Tampa Downtown, Esplanade Suite Thursday 1pm-5pm Thursday 7pm-9:30pm Friday 8:30am-11:30am Friday 1pm-5pm

Middle School Honors Orchestra

Concert – Marriott Water Street, Grand Ballroom

Saturday, January 11, 2025, 11am Rehearsals

Hotel Tampa Riverwalk, Riverview Room

Thursday 8am-8:30am, Registration

Thursday 8:30am-11:30am

Thursday 1pm-5pm

Thursday 7pm-9pm

Friday ............................................ 8:30am-11:30am Friday ....................................................... 1pm-5pm

Session Attendance Verification Report

Provide proof of the sessions you attended to your administration with Session Attendance Verification Reports!

Each of our presenters will be provided a QR code and asked to display it on the last slide of their presentation. Scan that QR code to confirm your attendance and add the session to your Verification Report.

Requirements:

w Register for the conference, either via preregistration or on site.

w Make sure you can login to the FMEA website using the web browser on your phone. Use the username and password you chose when you renewed your membership. If you are from outside of Florida, you should have chosen your username and password when you registered for the conference.

w Learn how to scan a QR code with your phone. With iPhones and newer Androids, you just need to open your camera, point it at the code, and a box will appear for you to click.

FMEA does NOT automatically submit your hours for you. It is up to you to follow the process outlined by your school or school district to apply for the professional development points toward your certificate renewal.

Policies

Code of Conduct

FMEA is dedicated to providing a positive environment of respect and civility for all attendees, including members, students, parents, speakers, clinicians, exhibitors, sponsors, staff, volunteers, and guests. All attendees are asked to follow all applicable laws and conference policies and to refrain from physical and verbal harassment, bullying, disorderly conduct, or any actions or behaviors that create unsafe conditions or interfere with presentations or performances. Harassment, bullying, and sexual language and imagery are not appropriate for any conference venue, including clinics, workshops, concerts, rehearsals, social events, online, and social media. Violations should be reported to convention center security or conference staff in a timely manner. Violators and their registered students may be expelled from the conference without a refund at the discretion of the FMEA Executive Committee.

Indemnity Clause

FMEA reserves the right to change the conference/workshop content, timing, speakers, or venue without notice. The event may be postponed or cancelled due to acts of terrorism, war, extreme weather conditions, industrial action, fewer than expected delegates, pandemic, or any event beyond the control of FMEA. If such a situation arises, FMEA will endeavor to reschedule the event; however, FMEA cannot be held responsible for any cost, damage, or expenses that may be incurred by the registrant as a consequence of the event being postponed or cancelled. Some registrants consider travel insurance to cover the cost of the registration, travel, and expenses for these types of situations. FMEA is not responsible for any registrant’s personal injury (i.e., physical, psychological, or emotional stress) or property damages while attending an FMEA conference or event. Conference registrants assume all risks inherent in attending an FMEA conference for which the registration covers, whether before, during, or after the conference.

Photographic Release

By attending the conference and/or associated activities, you grant permission for FMEA to use any and all photographic imagery and video footage taken of you and your students at this event and activities pertaining to this event, without payment or any other consideration. You understand that such materials may be published electronically or in print, or used in presentations or exhibitions.

Security Procedures

The Florida Music Education Association works with the Tampa Police Department and Allied Security at the Tampa Convention Center (TCC) to enhance the conference experience for the students and attendees.

Great News!

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 personnel. 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.

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.

Student Experiences at the Conference

Did you know that most Florida music educators were not a part of an all-state ensemble when they were in high school? In fact, according to a recent survey, two-thirds of our music teachers were not in an all-state group, yet most of the students at our state conference are there to participate in an all-state ensemble. Now more than ever, it is important to identify and provide opportunities for all our students who might be interested in pursuing music education as a career. How can we provide all our students incredible, life-changing opportunities?

Did you know that the Florida Music Education Association’s Student Engagement Committee facilitates several opportunities for our students?

Please visit the FMEA website for details about these events, as well as other opportunities. If you have any questions, please email Michael Antmann, committee chairperson, at michaelantmann@ mac.com

Student conference experience

The Student Conference Experience expands 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 they can take back and share with their high school music programs. The program will take place on Thursday and Friday of the 2025 FMEA Professional Learning Conference. Students will participate in workshops, observe rehearsals, attend College Night, and engage in networking and social activities with their peers.

Tri-M experience

The Tri-M Experience provides students with experiences that will build their leadership and advocacy skills, as well as expose them to the experiences available at the annual conference. 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 Tri-M and Student Conference Experiences run concurrently with some overlap; schools can choose to participate in one of these experiences.

Student leadership workshop

The Student Leadership Workshop takes place on Wednesday of the FMEA conference. It is open to all Florida high school music students. Both the Tri-M and Student Conference Experience students can also participate in the Student Leadership Workshop. Participants have the opportunity to learn from world-class leadership experts.

How do I get to the conference?

Making your case to attend the 2025 FMEA Professional Learning Conference

Getting approval to attend the Florida Music Education Association Professional Learning Conference may require developing a proposal. Due to tight budgets in today’s economy, school principals and districts carefully scrutinize requests to attend professional learning. That does not mean you should not give it your best effort by showing your administrators how your attendance will benefit the students in your school. Rather than assuming your administrators are aware of the critical importance of you professionally benefitting from content-specific sessions, consider submitting a formal proposal. Through this proposal, you can demonstrate how your participation directly relates to the strategies and the objectives of your school (including those beyond the classroom). This will allow you to articulate the need for your continuing education and how it will benefit your students, your school, and you.

Develop Your Case

w Write down three of the most important goals and strategies being addressed in your school’s plan.

w Think about how you personally contribute to those three goals and strategies. How does your work as a music educator affect the overall mission of your school? Make a list of your personal contributions to your school’s goals and strategies.

w Review the conference’s professional learning schedule to better understand how the information provided will support your school’s goals. Mark meetings that relate to your list of personal contributions to the attainment of those goals and strategies, and make note of the clinicians and others you will be able to observe and/or with whom you will be able to interact while at the conference. List the high-quality performances you will observe and from which you will learn. You can download the conference app from the FMEA’s website and bookmark your sessions.

w Write down your case for how attending the FMEA Professional Learning Conference and meeting the people there will help you contribute to your school’s goals and strategies, and use this case with your administrators when making your request to attend the conference.

When you create your proposal, in addition to providing a summary of the funding you will need, detail your case for attending. List your school’s goals, download the conference schedule, list the sessions and the clinicians and presenters who will be there, and list the specific sessions you plan to attend. Also, list the performing groups you will have the opportunity to observe during rehearsals with national clinicians as well as the performances by these well-known conductors (from whom you can gain programming and conducting ideas). Additionally, let your administrators know that this conference has more than 10,000 teachers, administrators, students, and parents in attendance, the second largest music education conference in the nation.

Finally, ask your administrators to support you to attend the FMEA Professional Learning Conference in Tampa, Florida, January 8-11, 2025.

Noteworthy Connections

Mentorship in Music Education

by Jacquelyn Tabone

“The only music or art teacher in the building, a novice often finds that strategies that work in a desk-lined classroom do not transfer to a studio or rehearsal.”

– Conway et al., 2002

Feelings of isolation are common among music educators (Benson, 2008; Blair, 2008; Conway et al., 2002), and new teachers are no exception (Allen et al., 2006). Thinking back to my first year of teaching, I remember turning around to ask a question only to realize I was the lone adult in a room with 50 pairs of eyes staring at me for an answer. I also realized that while I did not have all the answers, I could pick up the phone and ask someone who might. This is where having a mentor for support eases the burden of isolation. Researchers have shown that mentorship is an effective practice in reducing isolation and contributing factors to music teacher attrition and burnout for both new and veteran teachers. (Benson, 2008; Blair, 2008; Conway et al., 2002, Hays et al., 2000).

An effective mentor has a genuine interest in the mentee’s welfare and needs while being honest and committed to professional integrity (Hays et al., 2000). An intuitive mentor anticipates the needs of the mentee as they learn to navigate their new career, and introduces mentees

Connections

As the mentor, the most effective way to support the mentee is to ask questions and help them navigate these new experiences rather than imparting their past experiences and choices.

—Grant, 2023

Noteworthy Connections

continued from page 30

to helpful colleagues, corporate and local businesses, and resources (Hays et al., 2000). A successful mentor-mentee pairing is evident when both individuals gain friendship, acceptance, and career satisfaction from sharing experiences and decrease the feelings of isolation that contribute to teacher burnout (Allen et al., 2006). These mentorships can be found through our professional organizations, feeder patterns, and through the friendships we maintained through our undergraduate experiences. It is common not to seek out mentorship because of the perception that asking questions or for advice can be burdensome; however, the benefits of mentorship are not exclusive to the mentee. Mentors gain a high level of fulfillment when their mentees gain success (Grant, 2023; Hays et al., 2000). For mentors, the passing of knowledge and experiences from their past validates themselves as music educators. Mentors get a deep sense of fulfillment and joy from helping and developing their mentees and the idea of giving back to the profession (Grant, 2023).

Who should mentor?

Realistically, anyone who is looking to take an interest in the career of a young music educator can be a mentor. Grant (2023) in an interview with Belle Ragins, an organizational psychologist at the University of Wisconsin,

Milwaukee, and mentorship expert, on the podcast Work Life explains that the best mentors aren’t necessarily superstars or leaders in their field. The highest performers may not be the best teachers. Ragins states that perspective-taking and empathy are critical mentorship skills that make mentors who are closer to the mentee’s experience level a viable mentor option. This empathy gives the mentor the perspective of what the mentee needs and can help them work through some of their daily challenges (Grant, 2023; Hays et al., 2000). A common misconception of mentorship is that the mentee is an empty vessel to be filled with knowledge. However, mentees are actively in the field and taking in experiences. As the mentor, the most effective way to support the mentee is to ask questions and help them navigate these new experiences rather than imparting their past experiences and choices (Grant, 2023).

Communities of Practice

As the school year progresses, available time to meet dwindles. The time and care required of mentorship are common perceived barriers to starting the mentoring process. A lack of consistent meetings can put a strain on an established mentorship pair (Benson, 2008). What if the burden of mentorship was not placed on a single individual, but on a community of music educators?

A community of practice is defined as a “group of people who share a concern, a set of problems, or a passion about a topic and who deepen their knowledge and expertise in this area by interacting on an ongoing basis” (Wenger-Trayner, 2015). Alternatively, it could be defined as a group of people who not only have their experiences and a career in music education in common but also the problems they face in this career and the shared passion to find solutions for these problems. Teachers who participated in communities of practice found support in their group members and received mentorship and guidance while sharing their experiences with others. While collaborating in these communities, teachers had the opportunity to design lessons, combine concerts, and share classroom strategies using their common successes to fix problems as a community (Blair, 2008; Wenger, 2015).

The camaraderie created in communities of practice reinforces teacher identity while providing a platform to discuss and receive positive and negative feedback in a nonthreatening environment. Using planned interactions, group members reduce professional isolation and

raise self-efficacy. In doing so, teachers are empowered to reflect on and adjust their teaching strategies based on what they learn from their peers in the learning community. In contrast, teachers who experience their first year without a mentor or peer support struggle to establish their identity as music teachers (Blair, 2008; Wenger 2015).

Participants in a community of practice have a common identity and shared domain of interest. Continued membership in these communities implies that all members have shared goals, which can include self-improvement, eagerness to learn, and being accepting and open to new ideas. As a community, member engagement is essential to building relationships and sharing information. Participating in joint activities and discussions enriches the community of practice and increases the flow of information. Members are encouraged not to gatekeep information or experiences. In turn, staying open to and accepting new ideas is an acknowledgment of wanting to build strong and successful careers (Blair, 2008; Wenger 2015).

Lastly, the members of the community of practice are practitioners who are willing to share a repertoire of resources, ideas, and tools to address recurring problems. Sharing these resources with teachers in the community supports everyone and raises the expertise of the community as a group. This open flow of information takes time and sustained interaction. Regularity and consistency in meetings are crucial to the continued success of the community of practice. The community thrives when a protective space is established where mentees are focused, stimulated, and motivated to be independent thinkers toward long-term goals (Hays et al., 2000).

In conclusion, the challenges faced by music educators, particularly in terms of isolation and stress, are significant factors contributing to attrition and burnout. Having supportive mentorship, either one-on-one or in a community

of practice, can alleviate feelings of isolation and foster career satisfaction for both new and veteran teachers. By actively participating in mentorship, music educators can build strong connections, enhance professional identity, and collaboratively overcome the shared challenges faced every day, ultimately contributing to the long-term success and fulfillment of music educators.

Jacquelyn Tabone is pursuing a PhD in music education at Florida State University and is an active educator and adjudicator in Florida. Previously, Mrs. Tabone was a band director at Liberty Middle School in Orlando, Florida.

References

Allen, T. D., Eby, L. T., & Lentz, E. (2006). Mentorship behaviors and mentorship quality associated with formal mentoring programs: closing the gap between research and practice. Journal of Applied Psychology, 91(3), 567–578. https://doi.org/10.1037/0021-9010.91.3.567

Benson, M. A. (2008). Effective mentoring for new music teachers: an analysis of the mentoring programs for new music teachers as described in the literature. Update: Applications of Research in Music Education, 26(2), 42–49. https://doi.org/10.1177/8755123308317953

Blair, D. V. (2008). Mentoring novice teachers: developing a community of practice. Research Studies in Music Education, 30(2), 99–117. https://doi.org/10.1177/1321103X08097502

Conway, C., Krueger, P., Robinson, M., Haack, P., & Smith, M. V. (2002). Beginning music teacher induction and mentor policies: a cross-state perspective. Arts Education Policy Review, 104(2), 9–17. https://doi.org/10.1080/10632910209605998

Grant, A. (Host). (2023, October 17). The three big myths of mentoring. [Audio podcast episode]. In Work life with Adam Grant. TED Series.

Hays, T., Minichiello, V., & Wright, P. (2000). Mentorship: the meaning of the relationship for musicians. Research Studies in Music Education, 15(1), 3–14. https://doi.org/10.1177/1321103X0001500102

Wenger-Trayner, E., & Wenger-Trayner, B. (2015, June 4). Introduction to communities of practice. Wenger. https://www. wenger-trayner.com/introduction-to-communities-of-practice/

A Five Ways to Cultivate Culture in Urban Music Classrooms

by Danté Webb, PhD

As music educators, we try to ensure that our classrooms are places where students can feel safe, grow musically, harness different emotions, and build relationships with classmates and teachers. Teachers can accomplish this through the social experience of performing and learn ing music, which allows students and teachers to bond, form a sense of community, and learn from each other’s diverse backgrounds and experiences while cultivating and expanding their musicianship. Unfortunately, however, students of Color and students who attend schools of low socioeconomic status are more likely to drop out of music electives than White middle-class students (Elpus & Abril, 2011). Additionally, most music educators did not receive adequate preparation in their collegiate courses to teach in urban school districts (Frierson-Campbell, 2006). Because the term “urban” can be interpreted in many ways, urban is defined as schools with more students of Color (Black, Hispanic, etc.) than White students (Fitzpatrick-Harnish, 2015). With that said, it is imperative that teachers who primarily teach students of Color have strategies to create a culture that will maintain student engagement and involvement in the arts. Unlike many teachers, I completed my bachelor’s degree at the end of the fall semester and started teaching at the beginning of the spring semester. Before my appointment, the students did not have a teacher for months and were accustomed to doing whatever they wanted. It was continued on page 36

Urban Music Classrooms

continued from page 34

easy to assume that I could establish a positive culture upon entering the classroom due to my personal experi ence in an urban music program and as a person of Color. However, my first semester of teaching was a nightmare. Every other day, thoughts of joining the Navy or leaving the profession crossed my mind; however, I developed a system that proved successful and effective through patience, consistency, and persistence. The strategies below will help you establish a positive culture in your classroom, and they will cause your students to be more invested in your program.

cardstock, and include a paragraph about anything music related. For my classes, students answered the question “Why music?” Then, before posting each student’s selfie on the wall, you can have your students present their selfie projects to the class. You may have students who lack the resources to print pictures or purchase cardstock paper for this project. In that case, the teacher should consider having students email or scan their selfies for the teacher to print in class or at the school library and provide cardstock paper for the students to choose for their picture. This activity will not only spotlight the students but will also show them you are interested in who they are and that your classroom is inclusive. Most importantly, your students will feel seen and have the opportunity to learn and see other students you teach. The important thing to remember is to enable your students to express themselves as they choose with this project. This beginning-ofthe-year assignment is an excellent opportunity to inquire about students’ pronouns and personal interests before presenting their selfie project.

Showtime @ (name of your school). I loved watching Showtime at the Apollo growing up and dreamed of one day being able to sing on that stage. Although my dreams of being a contestant on the show were never realized, it inspired a similar activity for my students. Showtime @ (name of your school) is an opportunity for students to showcase their talents. Each student should have 30 seconds to one minute to showcase a talent, depending on class size. Some of my students chose to sing by themselves or with others for their talent presentation while other students played instruments, rapped, and/or performed poetry. Students were not allowed to laugh or boo any student, nor were there any winners. This activity is to get your students comfortable performing and

supporting one another. Giving your students a platform to perform and let their creativity shine is a great way to build rapport, social skills, and class morale. As the teacher, you are highly encouraged to participate in the

Student-Teacher Partnerships

My instructors determined all decisions about repertoire, attire, and fundraisers during my high school and undergraduate years. Due to the traditional approach to education during that time, my creative ideas and suggestions on repertoire were viewed as either disrespectful or insulting to the teacher. Those experiences motivated me to try something different in my classes, allowing students to feel that their opinions and feedback mattered. For example, since my students had an excellent ear for spirituals and gospel music, I selected three pieces that my students listened to in class. Afterward, the students voted, and the piece with the most votes was added to the program. As the teacher, I served as a tie-breaker in the event of a tie. As a result, my students became more engaged in class and put more effort into learning and practicing their music. Eventually, my more advanced students would come to rehearsals with music they thought would be significant to the program. If the repertoire could not be expanded for the performance, it was added to the queue for our next concert. Of course, music should not be removed from the program whenever your students dislike a piece; our students need their “vegetables.”

In addition to feedback on repertoire, I encouraged students to help me decide on their concert attire and the type of fundraisers we conducted. Many colleagues frowned at this approach. However, suppose we are master musicians and train our students daily to be efficient musicians. In that case, we should allow our students to have input on the music they are responsible for singing and performing, what they will wear, and the fundraisers they will be participating in so they have an opportunity to practice these skills. Student-teacher partnerships will enhance class engagement, participation, and socialization. Allowing students to select repertoire for your concert does not mean students should be choosing the music for the entire program. I suggest allowing students to choose one or two pieces of music from a few options you have selected for the year.

Many students live in single-parent households. Students who participate in extracurricular activities often lack parental support because of their parents’ work schedules or disinterest in the arts. Former students of mine were either athletes or took part in other fine arts courses. Attending their performances and offering my time conveyed to my students my level of commitment to their interests outside of chorus. I can still remember the moments my mother sacrificed time at her job (as a single parent) to hear me sing solos or perform with my high school choir. I treasure those moments and hold them dear to my heart.

Your presence also means being visible to your students, with a smile and a personal greeting before they enter your class every day. One of my former teachers in high school always greeted my classmates and me by our last names. She believed that because we could not address her by her first name, she would return the same respect to her students. Because of this simple gesture, students in her class were generally respectful, and she had little to no behavior issues. Likewise, students in my classes were usually well-behaved and on task. Mr. and Miss (insert last name) were used in my classroom to greet my students. It is essential to respect your students’ preferred pronouns and address them accordingly. Always ask your students what they want to be called (Mr., Miss, Mx., etc.).

Establishing Rapport With Parents

Creating a partnership with parents and members of your school’s community is vital to the culture of any music classroom. Having the support of your parents and community can increase student attendance and desired behavior, promote diversity and growth, and strengthen continued on page 38

Your Presence Is a Present

Urban Music Classrooms

continued from page 37

bonds with all involved. One way to establish rapport with your parents is by constantly communicating and by learning their names. At the beginning of each year, parents, students, and I met to talk about the goals for the year and ways they could assist in accomplishing those goals. After the meeting, light refreshments were provided. (Who doesn’t like food?) It was a priority of mine to speak with every parent, show my smiling face, and learn their names. Meeting with your parents at the beginning of the year with positivity can increase parental support and participation. Your first interaction with your parents should not be when there are disciplinary issues in your class. Instead, make phone calls or send emails early in the year to establish a positive relationship. That way, when you call them later in the year, your expectations are already set.

Many of the students we teach have parents with musical training. Allowing parents to perform with your students or creating a separate parent ensemble can be exciting. Once that rapport is established with parents, they will be the first to chaperone on field trips, help with fundraisers, or help fund an out-of-town trip. In my last year teaching high school, one of my parents worked for the finance department at the board of education and secured a $65,000 donation to fund a competition for my choir.

Embrace Being Vulnerable

When I was studying to become a music educator, my professors encouraged me to be strong and not show any weakness to my future students. This approach was ineffective during my first semester of teaching. To establish an authentic relationship with students and facilitate meaningful learning experiences, teachers must be comfortable with being vulnerable. The more vulnerable you are, the stronger your connection with your students will be. Frequently in the semester, you should have days where you check in with your students and ask for their feedback. Ask simple questions like “What has been your experience in this class?” “Have any of my actions caused you to be disinterested in the course or made you feel uncomfortable?” “Is there anything I’ve said or done to make you feel unappreciated?” There is one caveat: when you ask for feedback, it is imperative that you listen, acknowledge, and apply. It would be best if you do not use that time to disagree with your students or challenge their feelings. As the facilitator of this conversation, you

should be prepared for all types of feedback. Feel free to state your non-negotiables. For example, “I welcome all feedback, but please be considerate of your tone and delivery.” Every opinion matters, and if a student says anything you know is not valid, you should request to have another conversation with that student individually. Open dialogue with your students will create a safe and inclusive environment while impacting how students perform music. Teachers should consider sharing with their students any moments of failure they have experienced and appropriate painful experiences. Teachers should assume that the students they teach may experience traumatizing events while in school. Reminding your students that you, too, have experienced hardships will open their hearts and make them more likely to come to you if there isn’t anyone else they can trust. My students saw every emotion imaginable, including my tears. My vulnerability did not result in students acting out, but you should have a positive rapport and a relationship established first.

Keep in mind that cultivating culture in an urban music classroom requires consistency, patience, and persistence. Although this is by no means an exhaustive list of how to create culture in the classroom, these strategies proved to be effective in my classroom. It may take months to gain the trust and respect of your students. However, trust the process. Do not allow time to deter your efforts to reach your students. You may be the one person to change the trajectory of a student’s life simply by creating an environment that is safe and grounded in love and respect.

Danté Webb, PhD, is an assistant professor of choral music education at Wingate University. He earned a PhD from Florida State University in 2023, writing a dissertation on the demographics of composers studied in graduate choral literature courses. He is an active clinician, presenter, and chorister.

References

Elpus, K., & Abril, C. R. (2011). High school music ensemble students in the United States: A demographic profile. Journal of Research in Music Education, 59(2), 128–145. https://doi.org/10.1177/0022429411405207

Fitzpatrick-Harnish, K. (2015). Urban music education: A practical guide for teachers. Oxford University Press.

Frierson-Campbell, C. (Ed.). (2006). Teaching music in the urban classroom: Vol. 2. A guide to leadership, teacher education, and reform. Rowman & Littlefield Education.

Fall Professional Development Conference Ignite Your Inner Champion

Hotel Information

Hilton Orlando

6001 Destination Parkway Orlando FL, 32819

$181/night – single or double occupancy

$206/night – triple occupancy

$231/night – quad occupancy

50% off self-parking

$20/night resort fee includes:

• Basic WiFi

• Free local and toll-free calls

• 15% discount on hotel restaurants and lounges (except Tropics pool bar & grill)

• 24-hour access to fitness center

• 10% discount on spa treatments

• 25% discount on pool cabanas

FIRST-YEAR TEACHERS

SPOUSES & RETIRED

COLLEGE STUDENTS Preregistration

Component News

s your FOA president for another year, I’m excited to continue leading our organization. The 2024-25 school year has arrived, and we’ve been busy preparing during our district chairperson training in July. It’s my pleasure to welcome our new district chairpersons:

District 6: Victoria Senko

District 7: Alli Howard

District 8: Lisa Coyne

District 10: Michelle Eggen

District 12: Andrew Beckner

District 16: Richard Yaklich

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Ashley Peek President

FLORIDA ORCHESTRA ASSOCIATION

Laurie Bitters President

A big thank you to all our district chairpersons for setting the stage for a successful year. Remember, your district chairperson is your resource for any FOA questions or suggestions throughout the year.

Upcoming Events and Opportunities

The all-state audition window is quickly approaching, scheduled for September 16-22. Please check your district calendar for specific audition dates and consider

“Teachers who love teaching, teach children to love learning.”

– Unknown

Greetings, colleagues! As we move into September, I hope you are feeling settled in your routine and are having a joyous time teaching!

One of my goals for this teaching year (a continual goal for each year, really) is to exhibit joy and to share that joyous feeling of music with my students. When we are loving what we are doing, it’s impossible for our students not to see that. Think about your “why” and let that passion speak. Let your students feel your excitement and then feel it within themselves! Feel your love of music, and pass that along so it continues to reach more and more people.

Another quote that resonated with me at this point of the school year is from Walt Disney:

“All of

our

dreams can come true— if we have the courage to pursue them.”

As teachers, we have great power to encourage our students to be their best and to encourage them when they feel they are not enough. We can lift them up to be willing to try new things and to have the courage to fail.

The last quote I’d like to leave here is from Steven Anderson:

“Alone we are smart. Together we are brilliant.”

Let’s encourage our students to be the best of their own personal abilities, and let’s cultivate a strong team atmosphere. Not only can we work together to achieve our goals; we can be there for each other. There’s so much happening in the lives of our students. As teachers, we can instill values in our students to help them lift each other up and build community within our classrooms and schools.

volunteering to assist with this event. We also need volunteers for all-state judging on October 12 at the Hilton Orlando. If you’re interested, please contact your district chairperson. A special thanks to Brian Hellhake and all those assisting in this process.

FOA/FLASTA Fall Conference & FMEA Professional Learning Conference

The 2024 Fall Conference is scheduled for October 10-11 at the Hilton Orlando. Registration is now open on our FOA website (myfoa.org ). We are thrilled to welcome Creston Herron as our keynote speaker. The full schedule, featuring a range of exciting sessions, is available on the website. The conference is an excellent opportunity to reconnect with colleagues, network with other educators, and gather new ideas for your classroom. Don’t forget to bring your instrument and music stand for our music reading sessions to help with your music selections for the year. There’s something for everyone, and we look forward to seeing you there!

FMEA Professional Learning Conference room blocks open on Saturday, September 28, at 9 am EDT. Details, including the hotel list, reservation links, and phone numbers, will be available then. Please remember to release any unneeded rooms to allow others to book. Note that a non-refundable deposit will be charged for rooms not cancelled by November 9.

Please stay engaged in your district, and don’t hesitate to share your suggestions or seek assistance. Your FOA is here to support you. As we navigate the challenges and changes ahead, remember to take care of yourself and your family. Wishing you all the best for a fantastic school year!

Happynew school year to all of our dedicated music teachers and supervisors! The Florida Music Supervision Association (FMSA) is thrilled to welcome you back for another year of inspiring young musicians and fostering a love for music across our state. We hope your summer was filled with rest, rejuvenation, and perhaps a few exciting musical endeavors.

FLORIDA MUSIC SUPERVISION ASSOCIATION

Christopher Burns, PhD President

integration with civics in the dance curriculum. Please send an email invitation to the FDOE with proposed dates, and they will be delighted to come and share their expertise. This is an excellent opportunity to enhance your district’s fine and performing arts programs and provide valuable learning experiences for your students and educators.

As we embark on this new academic year, we want to take a moment to celebrate the incredible achievements of our music programs from the previous year. From securing essential funding to participating in prestigious events like the Jimmy Awards and the FMEA President’s Concert, your dedication to music education is truly making a difference in the lives of countless students. We extend our heartfelt congratulations to Volusia County for their outstanding FMEA performances and recognition as one of the Best Communities in Schools, Pinellas County for their participation in the Jimmy Awards and the Ignite Program, Marion County and Shady Hill Elementary on being selected to represent Florida at the National Christmas Tree Lighting Ceremony, and Seminole County for having two ensembles selected to perform at the FMEA President’s Concert. These accomplishments are a testament to the hard work and passion that you pour into your programs every day.

We also recognize the challenges that come with our profession. That’s why FMSA is committed to providing ongoing support and professional development opportunities. We encourage you to take advantage of the resources available through FMEA, including sessions on advocacy, curriculum development, and more.

We encourage all districts to reach out to Amanda El Shemi, fine arts education specialist at the Florida Department of Education (FDOE). She offers free professional learning during district visits, covering various topics such as preapproving slide decks with presentations, sight-reading preparation for MPA, integrating strategies with cross-curricular connections, visual art pouring techniques, and dance

Supervisors – We encourage you to mark your calendars for October 20, 2024, and join us at the University of North Florida for our fall meeting. We will also be meeting with future music educators to help them navigate the amazing journey that is music education. Together, we can ensure that music education continues to thrive in Florida, enriching the lives of our students and communities for years to come.

We’re also excited about the progress being made on the Florida Seal of Fine Arts. This prestigious recognition will soon be available to high school graduates who have demonstrated exceptional achievement in the arts. The guidelines for students to meet are currently under review at the state, and we anticipate information to be sent out from the state in the near future. This is a fantastic opportunity to showcase the value of arts education and celebrate the accomplishments of our talented students.

As we navigate the complexities of education in the 21st century, remember that you are not alone. We are here to support you every step of the way. The Florida music supervisors are a community of passionate music educators who believe in the power of music to transform lives. Let’s continue to advocate for our programs, inspire our students, and make a lasting impact on the future of music education in Florida.

Amanda El Shemi, FDOE

Component News

FLORIDA VOCAL ASSOCIATION

David Pletincks President

Oneof our main events every year is the Florida all-state choirs, and we are just about to get into the thick of it. As we approach this all-state season, I would like to talk numbers with you to let you know how our students did last year. Some of these statistics you’ll need to read several times to fully grasp the context and the results of the audition process.

Let’s look first at the high school choir auditions for 2024 All-State. We had 1,835 registrations with 65% passing the first two rounds. The concert chorus is 300 singers made up of the top 75 per voice part (37 on part one and 38 on part two). Seven hundred thirty-three singers went on to audition on the concert chorus music, vying for those 300 spots. All remaining singers who passed the VQ audition, beyond the 300, were moved to the SSAA or TTBB choirs where their composite scores would stand against all students auditioning for those respective choirs.

The SSAA chorus selects the top 50 final composite scores per voice part for a base of 200 singers. The 2024 SSAA chorus had 251 singers. Of those initial 200 spots, 162 singers had auditioned on the concert chorus repertoire and were moved into the SSAA chorus when their scores were

not high enough to make the cutoff for the concert chorus. Of the 315 singers who auditioned on SSAA repertoire, only 38 received one of the initial 200 seats. Eighty-one percent of the SSAA chorus did not audition on that repertoire, and only 12% of the students who auditioned on the SSAA music received a spot in the initial 200. In addition, 51 singers were added, after no one from their school was selected for any all-state chorus, receiving a representative seat.

The high school TTBB chorus has no set size limit; it’s mostly based on how many tenor 1s are available to balance the choir. Just like the tenors and basses in middle school, any singers who can pass all three rounds of auditions have a very good chance at being placed.

Last year in the middle school mixed chorus, we had 486 students registered and 65% passed the first two rounds. We were left with 316 singers auditioning on vocal quality for a choir we usually seat up to 300. This year, we wound up with 279 singers, being very short in alto and bass numbers.

The middle school treble chorus had 548 registered, and 52% passed the first two rounds giving us 284 auditioning on VQ for a choir we usually seat up to 300. This choir was short on treble 3. Every

student who passed all three auditions for the treble chorus was selected for this choir.

Eleven years ago in 2013, there were 677 singers registered for mixed choir (486 last year) with 59% passing the first two rounds of auditions (65% last year). The treble chorus in 2013 had 643 registered (548 last year) with 52% passing the first two rounds (52% last year).

Although our high school numbers are pretty much back to pre-COVID numbers, we need to get our audition numbers up in middle school. The cutoff scores for middle school treble are much lower than the mixed chorus, so keep that in mind as you register your students. Also, avoid putting your singers all on one voice part. Spread them out amongst the two choirs in middle school and all four voice parts in high school. And finally, there were 100 fewer auditions on alto 2 than alto 1, and bass 2 than bass 1. Be sure to use those voice parts if you have students who can sing the range.

Hopefully this gives you a peek inside the numbers of the Florida all-state choirs and can help as you prepare your students for the 2025 round of auditions, which will be starting any day now. Best of luck to you and all your students auditioning.

FLORIDA NAfME COLLEGIATE

Mark A. Belfast, Jr., PhD Advisor

What’s it worth to you?

Welcomeback! I hope your transition back to school was smooth and your schedule this fall will enable you to achieve your personal goals. I also hope you’re able to have valuable teaching experiences and receive mentorship in your local school districts, time to develop your personal musicianship, opportunities to party and enjoy being a college student, and LOTS of time to rest! The time we have is a gift with no refunds or returns. It’s essential we learn to prioritize that which is most important and set boundaries to ensure we’re devoting our resources (e.g., time, energy, money, and emotional capacity) to that which we hold most dear. My high school biology teacher, Mrs. Freeman, used to say, “Life is a series of choices.” Let that marinate for a bit …

In every moment of our lives, we are faced with making a choice. Should I get out of bed today? It’s blazing hot outside but freezing in that theory room, do I feel like carrying a hoodie all day? I’m going to skip breakfast. What is this professor even saying? Lemme see what’s happening over on TikTok. College algebra, practice études, or Chipotle with friends? The holes in these jeans have gotten out of hand, should I still wear them? You will. I’ve seen you.

The point is, when making those choices, we must always measure the value of our intended outcome. In other words, we ask ourselves, “What’s it worth to me?” As you’re aware, once the semester gets going … it doesn’t let up. So, let’s roll up our sleeves and get a running start! Here are some things for you to remember this month. Measure how important each is in relation to achieving your personal and professional goals:

2024 NAfME Collegiate Kickoff Week (September 16-20)

Visit nafme.org/event/2024-collegiate-kickoff-week/ to learn how your chapter can participate in this national initiative. Let’s show everyone why Florida has the largest MEA and the best institutions in which to study music education in the country.

Voter Registration

In many places, the voter registration deadline is at the beginning of October. Are you registered to vote? Are the members of your NAfME Collegiate chapter? Remember, you can only vote in the state/district where you are registered, so your chapter members may need to request absentee ballots. Check out usa.gov/how-to-vote for specifics. What can you do to help facilitate a voter registration drive?

NAfME Collegiate Fall Conference

Now’s the time to hype it up for the music education majors on your campus. We’ll convene October 19-20 at UNF. Be sure your members know how beneficial and fun the conference can be. Plan to carpool. Ask your advisor to rent a van and drive you! Make it a bonding experience for your members! Keep an eye on your inboxes, our website (flnafmecollegiate.com ), follow @flnafmecollegiate on socials, and join our Discord (discord.com/invite/P387qeV2gb ), to stay up-to-date.

Have a great month!

FLORIDA NAfME COLLEGIATE

Megan Robichaud President

Thesemester has begun! It may have only been a few weeks, but the blueprint of the next few months is beginning to take shape. Now is the time to ask yourself—what are you hoping to get out of this semester? Maybe you’re excited to get better at conducting or wondering how you’re going to survive your flute techniques class. Maybe you are considering running for your chapter’s e-board (or preparing to run for state board in January). Perhaps it’s not school related at all, and there’s a more personal goal you’re pursuing. It doesn’t matter what goal you have, as long as you make a plan to achieve it. We talk about setting goals a lot, but it is vital that we take actual, concrete steps to get there. Once you know what your goal is, ask yourself— what steps do I need to take to reach this? When will those steps be taken?

While setting goals in school is essential to make the most of each semester, our personal goals should be just as important. Most of us go through each semester trying to stay on top of everything asked of us. The thought of adding an item of your own to your to-do list may seem impossible. However, it’s not only possible, but necessary. It is just important that we fill ourselves up during the semester, in addition to pursuing our degree. An argument can be made that pursuing our degree counts as “filling ourselves up,” but I disagree. In the present moment, our degree is our career. In order to prevent burnout, we must have aspects of our life outside of our degree that bring us joy. Work-life balance should be present—even as a college student. When you take the time to find something you genuinely enjoy, you’ll feel more energetic and prepared to take on your classes.

This semester, I challenge us all to make two goals—one for ourselves and one for our career. Write them down, make a plan, and follow it.

ResearchPuzzles FOR MUSIC TEACHERS

William I. Bauer, PhD FMEA Research Committee Chairperson, University of Florida

Micropolitical Literacy in Music Education

recent Journal of Research in Music Education article titled “A Beginning Music Teacher’s Micropolitical Literacy” by Ryan D. Shaw (2023) explores the micropolitical literacy of a novice music educator named George. Micropolitics in education refers to the use of formal and informal strategies by individuals or groups within a school to influence decisions, negotiate power dynamics, and achieve personal or collective goals. It involves navigating the interests, relationships, and conflicts that arise within the educational environment, including interactions among teachers, administrators, students, and other stakeholders. Shaw’s study delves into George’s experiences, the strategies he employs, and his emotional responses to the micropolitical challenges he faces.

Background

Schools are particularly susceptible to micropolitical activity due to their public nature and complex internal and external pressures. They are considered “loosely coupled” organizations, meaning they have unclear goals, inputs, outputs, and evaluation mechanisms. This loose coupling leads to ambiguous leadership structures and uneven policy implementation. In music education, micropolitical literacy is crucial due to the unique challenges music teachers face, such as isolation, the need for special resources, and vulnerability to program cuts. Music education researchers have focused on both beginning and experienced music teachers, highlighting the different strategies they use to navigate micropolitics.

Theoretical Framework

Shaw (2023) utilized the theoretical framework of Kelchtermans and Ballet (2002) to understand how George navigates the micropolitical landscape of his school. Kelchtermans and Ballet’s theory of micropolitical literacy consists of three key aspects:

1. Knowledge Literacy: This involves understanding the power dynamics, interests, and relationships within the school environment. It includes awareness of how decisions are made, who holds influence, and the underlying motivations of various stakeholders.

2. Operational Literacy: This refers to the strategies and tactics individuals use to navigate and influence the micropolitical landscape. It encompasses the practical skills needed to manage interactions, build alliances, and achieve desired outcomes within the school’s power structure.

3. Experiential Literacy: This aspect focuses on the emotional responses and personal experiences that arise from engaging in micropolitical activities. It includes managing the stress, frustration, and satisfaction that come from dealing with power dynamics and conflicts in the school setting. Additionally, Kelchtermans and Ballet identified five categories of professional interests: material, organizational, socio-professional, cultural-ideological, and self-interest. These categories help define the specific content of teachers’ micropolitical worlds.

Purpose and Research Questions

The purpose of this study was to explore a beginning music teacher’s micropolitical literacy in an urban school district. The research questions focused on how the participant described their micropolitical understanding, strategies, and feelings about their micropolitical literacy. This exploration was intended to provide insights for early-career music teachers and teacher educators, potentially influencing policies related to mentoring, professional development, and preservice teacher education.

Method

Shaw (2023) utilized a single case study approach, centering on George, a novice music educator. The analysis is based on George’s experiences during his initial years of teaching. George was chosen due to his challenging circumstances in an urban district that faced multiple issues, including declining student enrollment, financial difficulties, and leadership transitions, all worsened by the COVID-19 pandemic. Shaw selected George because of his strong motivation and reform-minded attitude, which made him an intriguing subject for examining the development of micropolitical literacy.

This on-going column seeks to stimulate awareness of research issues for FMEA teachers and researchers.

Data Collection and Analysis

Data was collected through a series of 10 semi-structured interviews with George, conducted from June 2021 to May 2022. These interviews, lasting 45–60 minutes each, were recorded, transcribed, and supplemented with informal field notes from a day-long observation of George’s professional environment. Shaw used an open-coding approach to analyze the transcripts, attaching codes that represented the content and mapped them onto the knowledge, operational, and experiential aspects of Kelchtermans and Ballet’s (2002) framework. This approach allowed for a flexible yet theoretically grounded analysis.

Findings

Shaw’s (2023) findings revealed that George had a sophisticated understanding of the power dynamics and interests within his school. He employed various strategies to navigate these dynamics, such as building alliances and leveraging his personal qualities to influence decision-making. However, he also experienced significant emotional responses to these interactions, including frustration and disillusionment.

Discussion and Implications for Music Educators

In discussing the implications of George’s experiences for understanding the micropolitical landscape of urban schools, Shaw (2023) highlighted the importance of micropolitical literacy for beginning teachers, particularly in challenging environments. He suggested that teacher education programs should include components that prepare teachers for the micropolitical aspects of their roles. Additionally, there appears to be a need for ongoing professional development and support to help teachers navigate these challenges effectively.

For music educators, the study underscores the necessity of developing micropolitical literacy to advocate for their programs and navigate the complexities of their school environments. It suggests that music educators should be equipped with strategies to build alliances, negotiate resources, and influence policy decisions. Furthermore, the emotional aspect of micropolitical literacy should not be overlooked, and music

Email your questions and feedback to wbauer@ufl.edu with a subject heading Research Puzzles.

educators should be supported in managing the emotional challenges that come with their roles. By understanding the micropolitical dynamics of schools, music teachers can better navigate their professional landscapes and advocate for their programs effectively.

To learn more, read the full article, which can be accessed as part of your FMEA/NAfME membership at https://tinyurl. com/journal-jrme.

References

Kelchtermans, G., & Ballet, K. (2002). Micropolitical literacy: Reconstructing a neglected dimension in teacher development. International Journal of Educational Research, 37(8), 755–767. https://doi. org/10.1016/s0883-0355(03)00069-7

Shaw, R. D. (2023). A beginning music teacher’s micropolitical literacy development. Journal of Research in Music Education, Advance online publication. https://doi.org/10.1177/00224294231190404

Committee Reports

Embracing the New Year With a Global Mindset

s the new academic year begins, we stand on the brink of endless possibilities. To our returning music educators, welcome back. To our new colleagues, welcome to our music family. The world of music education is a vibrant tapestry of

cultures, rhythms, and melodies, and it is our privilege to weave these threads into the hearts and minds of our students.

The Joy of Teaching Music

Teaching music is more than a profession; it is a calling. There is an unparalleled joy in witnessing a student’s eyes light up when they master a new piece or discover a new genre. This joy is amplified when we see them embrace music from cultures different than their own. As educators, we are not just teaching notes and rhythms; we are nurturing a lifelong love for music and fostering a global perspective.

Encouragement for the Journey Ahead

To our returning colleagues, your experience and dedication are invaluable. Your

MULTICULTURAL NETWORK COMMITTEE

Arnekua Jackson, PhD Chairperson

commitment to excellence and your passion for music continue to inspire both students and peers. Remember to embrace new ideas and approaches, as the world of music is ever-evolving.

To our new colleagues, welcome to a profession filled with creativity, inspiration, and profound impact. The journey ahead will be challenging, but it will also be incredibly rewarding. Seek out mentorship, collaborate with your peers, and never stop learning.

In closing, let us carry forward the spirit of unity and diversity in our teaching. May we inspire our students not only to become skilled performers but also compassionate musicians. Here’s to a year filled with melody, harmony, and the boundless joy of music.

Have an amazing year!

New Beginnings for Contemporary Media in Florida!

CONTEMPORARY MEDIA COMMITTEE

Clint Randles, PhD Chairperson

It’s a new school year—another opportunity to grow in the area of contemporary media. In Florida we have the Digital Music Showcase to help music teachers spotlight their students in the area of contemporary music-making and music production. We have the FMEA AllState Popular Music Collective to showcase gifted students from around the state in this area. And in Florida we have the FMEA Crossover Festivals for you to showcase your contemporary ensembles. We are leading the music education landscape nationwide in offering expanded versions of music education that focus on students’ creative potential. I am also blessed to be working with my colleague Kenrick Wagner to recruit students for a degree in contemporary commercial music at USF. We believe in the power of music to break boundaries and to be something that unites people to work toward a common good. In what ways can you grow your school’s contemporary media footprint in this growing area of study?

Committee Reports

Helping Students With a Social Story and Music

DIVERSE LEARNERS COMMITTEE

Christine Lapka, EdD Chairperson

Severalyears ago, while I was teaching a self-contained elementary music class, a program assistant took a student aside and went through a series of pictures. After the assistant whispered to the student and pointed to the pictures, the student returned to class with an increased focus. After class I asked about the laminated sheet they had used. The teaching assistant explained that the student had a social story that reminded them to look at the teacher. They further explained how repetition is part of the strategy so you might read the story before, during, and after the class and on multiple days. This assistant was assertive yet gentle, and I thanked them for their work in helping the class run smoothly.

Since that time, so many practicing teachers have asked me for advice with teaching tricky students. I always suggest a social story. When needed, I suggest adding an external reward, like sensory play or adding in a favorite song/activity. The class referenced above loved to play the green door. If they met our objectives, the class and program assistants would sing a tapping song while students took turns hiding behind a large door and “surprising” us by bursting through the door at the end of the song. They loved this activity so much that the classroom teacher asked to borrow the door so they could use it in their classroom as a reward. Little did students know I was assessing their ability to sequence the form of the song and open the door at the end of the song. I believe the children loved being the center of attention and they loved being surprised by the person opening the door. It is magical when we can see how much they adore a particular song or activity.However, social stories have many

functions beyond shaping behavior. We can use the stories to calm anxiety about going to a new room by creating a series of pictures that show the trip to the music room, a picture of the teacher, a picture of the room, and pictures of activities and other things to expect during the class. If you make an electronic presentation (like a PowerPoint), you might include recordings of songs, especially the opening and closing songs. When a self-contained class and a typical class attend music together, you might pair students. Include a picture of each student’s new music friend to help decrease anxiety and promote social interaction.

Here are a few more areas that can be addressed with the social story:

w Problem solving

w Emotional regulation

w Empathy and understanding others

w Self-awareness and self-esteem

From rwapsych.com.au/blog/the-benefits-of-social-stories-for-neurodiverse-children/

In the end, we can teach how to live in this world with a social story. That said, I should tell you that a social story might not be a research-based practice (Camilleri et al., 2022). As they looked at studies, they found that research had var-

ious conclusions. It is possible that social stories are great for some people and not for others. Because the strategy is associated with students on the spectrum, going over a story may not work for the entire spectrum. Perhaps, as recommended by developer Carol Gray, the student needs to be verbal for the story to have an effect. In fact, we might need to adhere to Gray’s other guidelines. For more information, Carol has a helpful website, carolgraysocialstories.com

Even with varied empirical evidence, I recommend social stories and using music activities as a reward for meeting expectations. If you try these ideas, send me your results.

The social story images are used with permission from SingPlayLearn, teacherspayteachers.com/store/singplaylearn.

To purchase the social story, visit teacherspayteachers.com/Product/MusicClass-Social-Story-4770147.

Reference

Camilleri, L. J., Maras, K. & Brosnan, M. (2022). Autism spectrum disorder and social story research: A scoping study of published, peer-reviewed literature reviews. Review Journal of Autism Developmental Disorder, 9, (21–38). https://doi.org/10.1007/s40489-02000235-6

Committee Reports

Your FMEA Awards Committee strives to recognize and empower the heroes among us who have been and continue to be the light for their students and others. Your FMEA Awards program offers several awards in recognition of the efforts and accomplishments of those who have made outstanding contributions to music education.

We are days away from the application deadline for many of the FMEA award nominations. The deadline for all categories (except the Music Education Service and the Music Enrollment awards) is September 11, 2024. All applications are completed and turned in online. Please check the FMEA website for details about the awards and nomination process: FMEA.org/programs/awards.

In the coming months I will continue to share with you a little of the brilliance that this year’s awardees shared with us at our awards ceremony during the 2024 FMEA Professional Development Conference. These words of inspiration I share with you to give you the confidence to be the light to your own students at the beginning of this school year, as well as the drive to help shine a light on others during this nomination period.

Lauren Limoncelli Watson, principal of Lake George Elementary School in Orange County Public Schools, inspires through personal testimony:

AWARDS COMMITTEE

Sondra A. W. Collins Chairperson

“Music education is super important to me. From when I started off as a youngin, I was in music. I played piano for years. It was a way for me to express myself without academics being put over my head. So as a first-year teacher, I was at a school where they would bring violins in and they would teach the students in my class violin. My students did not speak English very well and their academics weren’t very strong, but man, could they play that violin and they were super proud of it! Just to see the light in their eyes after an accomplishment of something that they practiced is something that is amazing to me. Watching kids perform and watching the amount of different instruments and different exposures to different types of music they have, as well as watching them be able to accomplish something that they practice and can do, no matter what their background is and no matter what their academic level is, with their music and their expression of who they are coming out in their music, is just absolutely overwhelming! I will tell you that I cry every time. No matter what they’re doing: if they are playing an instrument or if they’re singing, it brings tears to my eyes. Music is such a big deal for me because it’s something students can do, no matter what. And I will continue to support it.”

2024 FMEA Administrator of the Year Lauren Limoncelli Watson

Please take time to thank and support our 2024-2025 Academic Partners.

BRONZE PARTNERS

Florida Gulf Coast University

Partners as of August 1, 2024.

*Please visit FMEA.org/partners for partnership details or call 850-878-6844.

Partners as of August 1, 2024.

*Please visit FMEA.org/partners for partnership details or call 850-878-6844.

FLORIDA MUSIC EDUCATION ASSOCIATION

2024-2025 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, 2024, through August 1, 2024.

MAESTRO’S CIRCLE

$10,000 and up

No current donors at this time.

SUSTAINERS

$100 – $999

Carlos Abril

In Honor of Dr. Alice-Ann Darrow

Lucinda Balistreri

In Honor of Sarasota County Music Educators

Trent Brown

In Honor of J. Mark Scott

Dale Choate

In Honor of R. Wayne Bailey

Virginia Dickert

In Memory of Debbie Liles & Lindsay Keller

William Fredrickson

Sheila King

Deborah Mar

In Memory of Barbara Kingman

John Nista

In Memory of Stanley Dmitrenko

Douglas Phillips

In Memory of Dr. Bobby Adams

ARTIST’S CIRCLE

$1,000 – $9,999

Frank Howes

In Memory of Vashti Jordan Howes

Louis Schiff

David Pletincks

In Honor of My Children

Clinton Randles

Jeanne Reynolds

In Honor of Pinellas County Performing Arts Teachers

Mary Catherine Salo

In Memory of Gary Rivenbark & Wes Rainer

Kathleen Sanz

In Memory of June M. Hinckley

J.Mark Scott

In Honor of Jason Locker, Dr. Andre Thomas, Dr. Judy Bowers, & Dr. Judy Arthur

Harr y Spyker

In Honor of Fred & Marlene Miller

Jeannine Stemmer

In Memory of Barbara Kingman & Lauren Alonso

Leiland Theriot

In Memory of Clayton Krehbiel

SUSTAINERS continued

Rebecca Traenkner

On Behalf of the Hillsborough County Elementary Music

Educators Council

Richard Uhler

Howard Weinstein

In Memory of Barry Weinstein

PATRONS

$25 – $99

Meghan Alfaro

Kasia Bugaj

Dayna Cole

In Memory of Linda Mann

Bradley Franks

In Memory of Gary W. Rivenbark

Rebecca Hammac

Marsha Kindall-Smith

Craig Lilly

Katie McGuire Menges

FRIENDS

up to $24

Crystal Berner

Ernesta Chicklowski

On Behalf of Roosevelt Elementary Musicians

Debbie Fahmie

Angela Hartvigsen

Mark Morette

Marie Radloff

Kenneth Williams Anonymous (1) In Memory of Claude Dobbins

In Memory of Charles F. Ulrey

Rudolf Radocy

Diana Rollo

Eddie Steadman

Mark Stevens

In Honor of Dr. Clifford K. Madsen

Phil Tempkins

In Memory ofSue McCray

William Hazlett

Yangqian Hu

Lu Anne Leone

Anthony Moore

Ian Schwindt

Valerie Terry

David Verdoni

Anonymous (3) In Honor of Columbia County Music Teachers

Gary Smith

Andrea Szarowicz

Anonymous (4)

The mission of The Florida Music Education Association is to promote quality, comprehensive music education for all Florida students as a part of their complete education.

New Opportunities

Weare almost one month into the 2024-25 school year. We hope the beginning of the school year has brought forth a new and invigorating search for learning opportunities for you and your students. You will have the opportunity to interact with new students, early career teachers, and new teachers to Florida. Reach out to your colleagues and invite them into your circle. If you are a new teacher, please know that your colleagues and the Florida Music Education Association are here to help you adjust to your new role of teaching Florida students.

Professional Learning Opportunities for Members

Registration for the 2025 FMEA Professional Learning and All-State Concerts, Music Education Begins with ME, begins on September 13, 2024. We look forward to coming together January 8-11, 2025, in Tampa.

Now is the time for you to develop your plan to request professional learning leave and financial assistance from your school administrator. Please look for information in this edition of Florida Music Director for suggestions about requesting your leave, including information on the importance of the conference to your personal professional learning for the 2024-25 school year. For additional information, see “How do I get to the conference?” on page 29.

All-State Auditions

The all-state auditions take place during September. Please be sure you are aware of the eligibility requirements for students to audition, in particular the requirement for the student to be a regularly participating member of a school ensemble. Encourage your eligible students to audition for this musical opportunity.

Legislative Session/Government Relations

The 2025 Legislative Session will begin on March 4, 2025, and will end on May 2, 2025. If you are interested in being involved in the advocacy process for FMEA, please sign up on the Advocacy page at FMEA.org/advocacy/.

FMEA Executive Director

Kathleen D. Sanz, PhD

The Florida Seal of Fine Arts Program (HB 523) passed unanimously through the Florida Senate and House and was signed by the governor to become effective for graduating seniors at the end of the 2024-25 school year. The state of Florida is developing procedures for implementation. Each school district may have some nuances to the implementation, so be sure to be in touch with your school district departments. VOTE! VOTE! VOTE! This is election season. Use your voice to vote—please register and vote in the upcoming local, state, and federal elections in November.

General Election 2024

w Deadline to register to vote: October 7, 2024 (no deadline to change party affiliation)

w Deadline to request a mail-in ballot: October 24, 2024

w Early voting period (mandatory period): October 26–November 2, 2024

w Election Day: November 5, 2024

Quality Music Education for Florida Schools

The mission of the Florida Music Education Association is to promote quality comprehensive music education in all Florida schools. FMEA works closely with public, charter, private, virtual, and home education music cooperatives to provide opportunities for students to succeed within their school music programs.

FMEA is working diligently for our members, and we are looking forward to a very productive 2024-25 school year. If you have questions, please reach out to the FMEA Executive Board and the FMEA staff.

Musically, Kathleen D. Sanz, PhD

FLORIDA MUSIC EDUCATION ASSOCIATION

Officers and Directors

EXECUTIVE

BOARD

President Jason P. Locker

Orange County Public Schools

445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jasonlocker@fmea.org

Past President

Shelby R. Chipman, PhD

Florida A&M University, Department of Music Foster-Tanner Music Bldg., Room 318 Tallahassee, FL 32307; (850) 599-8165 shelby.chipman@famu.edu

President-Elect

Harry “Skip” Pardee Collier County Public Schools 5775 Osceola Trail; Naples, FL 34109-0919 (239) 377-0087; pardeh@collierschools.com

FBA President Jeff Cayer, EdD president@fba.flmusiced.org

FCMEA President Sandra Sanchez Adorno, PhD

Florida International University 10910 SW 17 St.; Miami, FL 33199 sadorno@fiu.edu

FEMEA President Ashley Peek

Holley-Navarre Intermediate 1936 Navarre School Rd.; Navarre, FL 32566-7504 ashley@femea.flmusiced.org

Florida NAfME Collegiate President Megan Robichaud University of North Florida n01492523@unf.edu

Florida NAfME Collegiate Advisor

Mark A. Belfast, Jr., PhD Florida State University mbelfast@fsu.edu

FMSA President Christopher Burns, PhD School District of Osceola County (407) 870-4901; christopher.burns@ osceolaschools.net

FOA President Laurie Bitters

Winter Park High School

2100 Summerfield Rd.; Winter Park, FL 32792 (407) 622-3200; laurie.bitters@gmail.com

FVA President David Pletincks

Powell Middle School

4100 Barclay Ave.; Brooksville, FL 34609-0860 (352) 403-8437; david@fva.net

Member-at-Large

Steven N. Kelly, PhD

Florida State University

School of Music, KMU 330; Tallahassee, FL 32306 (850) 644-4069; skelly@fsu.edu

EX-OFFICIO MEMBERS

Historian/Parliamentarian &

Executive Director ................................................. Kathleen D. Sanz, PhD

Hinckley Center for Fine Arts Education 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793; kdsanz@fmea.org

Editor-in-Chief Kelly Miller, DMA

University of Central Florida; 12488 Centaurus Blvd.; Orlando, FL 32816-8009 (407) 823-4545; kelly.miller@ucf.edu

Conference Planning Committee Chairperson John K. Southall, PhD Indian River State College; 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 418-9133; johnsouthall@me.com

FSMA President Benny L. Bolden, Jr., EdD laruemusic99@gmail.com

Hall of Fame Chairperson Mary Palmer, EdD (407) 252-5172; mpalmerassoc@aol.com

FMEA COMMITTEE CHAIRPERSONS

Advocacy Jeanne W. Reynolds (727) 744-7252; jeannewrey@gmail.com

Awards Sondra A. W. Collins sondra.collins@marion.k12.fl.us

Budget/Finance, Development

Jason P. Locker

Orange County Public Schools; 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jasonlocker@fmea.org

Contemporary Media

Clint Randles, PhD University of South Florida; 4202 E. Fowler Ave.; Tampa, FL 33620-9951 (813) 974-2311; randlesc@usf.edu

Diverse Learners

Christine Lapka, EdD University of Central Florida; 12488 Centaurus Blvd.; Orlando, FL 32816-2372; christine.lapka@ucf.edu

Emerging Leaders Dakeyan C. Graham, PhD, EdD, DMA Alachua County Public Schools; 3600 NE 15th St.; Gainesville, FL 32609 dregraham@gmail.com

Florida Corporate & Academic Partners

Fred Schiff All County Music; 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fred@allcountymusic.com

Health & Wellness

Aaron Kass Lake Nona High School; 12500 Narcoossee Rd.; Orlando, FL 32832-6922 (407) 956-8327; aaron.kass@ocps.net

Multicultural Network

Arnekua Jackson, PhD Boynton Beach Community High School; 4975 Park Ridge Blvd.; Boynton Beach, FL 33426-8318 (561) 713-6851; arnekua.jackson@palmbeachschools.org

Professional Learning ...........................................................Ajori Spencer Pinellas District Office; 301 4th St. SW; Largo, FL 33770-3536 (727) 588-6055; spencera@pcsb.org

Research

William I. Bauer, PhD University of Florida; (352) 273-3182; wbauer@ufl.edu

Secondary General Music

Ed Prasse Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net

Student Engagement

Michael Antmann, EdD Freedom High School; 2500 W. Taft-Vineland Rd.; Orlando, FL 32837 (407) 816-5600; michael.antmann@ocps.net

PROFESSIONAL DEVELOPMENT CONFERENCE

Exhibits Manager fmeaexhibits@fmea.org

Local Chairperson Jon Sever (813) 272-4861; jon.sever@sdhc.k12.fl.us

FLORIDA BANDMASTERS ASSOCIATION

President Jeff Cayer, EdD president@fba.flmusiced.org

Past President Bernard (Bernie) Hendricks, Jr. Ocoee High School; 1925 Ocoee Crown Point Pkwy.; Ocoee, FL 34761 bernard.hendricks@ocps.net

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 Business Manager Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; jo@barefootaccounting.com

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

President Sandra Sanchez Adorno, PhD Florida International University; 10910 SW 17 St.; Miami, FL 33199 sadorno@fiu.edu

Past President Marc Decker, DMA Florida Atlantic University; 777 Glades Rd.; Boca Raton, FL 33431 deckerm@fau.edu

FLORIDA NAFME COLLEGIATE

President Megan Robichaud University of North Florida; n01492523@unf.edu

Past President ................................................................. Colin Urbina University of Central Florida; co006947@ucf.edu

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

President................................................................................. Ashley Peek Holley-Navarre Intermediate; 1936 Navarre School Rd.; Navarre, FL 32566-7504; ashley@femea.flmusiced.org

Past President Joani Slawson Holy Trinity Episcopal Academy; 1720 Peachtree St.; Melbourne, FL 32901 joanislawson@gmail.com

Executive Director Jennifer Sullivan 1750 Common Way Rd., Orlando, FL 32814 (321) 624-5433; slljenn@aol.com

FLORIDA MUSIC SUPERVISION ASSOCIATION

President Christopher Burns, PhD School District of Osceola County (407) 870-4901; christopher.burns@osceolaschools.net

Past President Lindsey R. Williams, PhD Seminole County Public Schools (407) 320-0434; willialz2@scps.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 L. Davis Harrison School of the Arts; 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 393-4232

Executive Director Cheri A. Sleeper 1915 S. 47th St.; Tampa, FL 33619 (813) 363-4139; csleeper@myfoa.org

FLORIDA VOCAL ASSOCIATION

President David Pletincks Powell Middle School; 4100 Barclay Ave.; Brooksville, FL 34609-0860 (352) 403-8437; david@fva.net

Past President Jeannine Stemmer Florida Christian School, 4200 SW 89th Ave.; Miami, FL 33165 j9stemmer@floridachristian.org

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

Executive Director Kathleen D. Sanz, PhD (kdsanz@fmea.org)

Director of Operations Valeria Anderson, IOM (val@fmea.org)

Technology Director Josh Bula, PhD (josh@fmea.org)

Marketing & Membership Coordinator Jasmine VanWeelden (jasmine@fmea.org)

Administrative Assistant Siena Deaton (siena@fmea.org)