Florida Music Director - May 2018

The Fall Concert:

A Worthy Goal for High School Bands

Lessons From My Toddler PLUS: Summer 2018 Conferences/Workshops FEMEA Dorothy Land Grant Awarded to Three Teachers for 2018-19

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Contents May 2018

•

Volume 71

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Number 8

F E AT U R E S

Summer 2018 Conferences/Workshops. . . . . . . . . . . . . . . . . . .

9

Lessons From My Toddler .. . . . . . . . . . . . . . . . . . . . . . . . . 11

William Bauer, PhD University of Florida, Gainesville (352) 273-3182; (wbauer@ufl.edu) Alice-Ann Darrow, PhD College of Music, FSU, Tallahassee (850) 645-1438; (aadarrow@fsu.edu) Jeanne Reynolds Pinellas County Schools, Largo (727) 588-6055; (reynoldsj@pcsb.org) John K. Southall, PhD Indian River State College, Fort Pierce (772) 462-7810; (johnsouthall@FloridaMusicEducation.org)

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The Fall Concert: A Worthy Goal for High School Bands. . . . . . . . . 17 FEMEA Dorothy Land Grant Awarded to Three Teachers for 2018-19. . . . . . . . . . . . . . . . . 22

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5 Academic Partners. . . . . . . . . . 6 Corporate Partners. . . . . . . . . . 7 Advertiser Index. . . . . . . . . . . . 8 Thank You, Donors. . . . . . . . . 14 President’s Message..

Component News.

. . . . . . . .

. . . . . . . . .

Committee Reports. .

Research Puzzles..

. . . . . . .

. . . . . . . . .

Executive Director’s Notes.

Officers and Directors.

. .

. . . . .

May 2018

24 30 35 36 39 3

President’sMessage

Kenneth Williams, PhD President Florida Music Education Association

As a Chapter Comes to a Close and We Turn the Page …

Y

ou should celebrate … all that you and your students have

it becomes mine. Ten years ago, our own Jeanne Reynolds, in an

your journey of the learning about and the making of music,

take stock and think about the future. Her insights are brilliant

accomplished this year. Identify the great strides made in

and honor your successes.

If you’ve done it, then it ain’t braggin’!

– Dr. Bobby Adams

You should rest … get away from the stress of the everyday

challenges of the work and allow yourself to be replenished to refill your reservoir of energy for the coming year.

In a cool solitude of trees Where leaves and birds a music spin, Mind that was weary is at ease, New rhythms in the soul begin.

– William Kean Seymour You should grow … set aside time to feed your soul, do some-

thing that is intellectually stimulating. Attend a workshop or a summer conference, read a book that will challenge, do something artful that is from a different discipline (paint or sculpt, write a short story or learn a new instrument).

I am always doing that which I cannot do, in order that I may learn how to do it.

– Pablo Picasso

You should plan … what will next year look like? What

article in Florida Music Director, asked that we use the summer to and as germane today as then.

Consider these questions: How is your music program seen through the eyes of your students, parents, administrators

and community members? Is your music program really

essential to your school? Is it a “must have” or a “nice to have” program in your school and community? If it is a “nice to have” program, what will it take to make it a “must have” program?

Suspend disbelief—think about what an essential quality music program would really look like. Don’t focus on the obstacles. The obstacles are real, and it is not my intention to

minimize them. I have just found that when all I can see are obstacles, I am often blind to obvious solutions. Haven’t you

ever stepped away from a problem only to return later and

see a clear solution? Creative problem solving is often about

suspending disbelief, taking risks, making connections among seemingly unrelated topics and letting the conscious and unconscious mind work together. Like all things worthwhile—it just takes time and effort.

You should spend quality time with those whom you love …

as this is critical to our individual well-being.

On behalf of the students whose lives you enrich every day, I

refinements will you make in the learning journey that your

thank you for your passion and service to our noble profession.

In my life, I have had no original thoughts, as all my knowl-

professional growth and sharing through our FMEA component

students experience in your classroom?

edge has come from others. When I can remember who impart-

ed that knowledge to me, I give credit … when I can’t remember,

I remind you of the wonderful opportunities this summer for

organizations (FBA, FEMEA, FOA, FVA). Have a safe and enriching summer!

With warmest regards,

Kenneth Williams, PhD, President

Florida Music Education Association

May 2018

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Music Director

May 2018

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ARTISTRY:

Teaching &Performing

2019 FMEA Professional Development Conference & All-State Concerts January 9-12, 2019

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CIRCULATION: 4,500 educators. Published eight times annually

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Music Director

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.

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Summer 2018 Conferences/Workshops

Professional Development Opportunities for All! Emerging Leaders Drive-In

June 9

University of Central Florida, Orlando

For information and registration: FloridaMusicEducation.org/programs/emerging-leaders

Multicultural Network Summer Workshop

June 14

Ocoee High School, Orlando area

Contact: Bernard Hendricks bernard.hendricks@ocps.net

Summer Institute

June 18-20

University of South Florida, Tampa

By application/invitation: FloridaMusicEducation.org/ programs/summer-institute

FBA Summer Professional Development Conference

July 9-11

Hilton St. Petersburg Bayfront, St. Petersburg

FBA.FLMusicEd.org

Head’s House of Music Choral Panorama

July 26-27

Altamonte Springs/ Orlando Hilton, Altamonte Springs

FVA Summer Conference

July 27-28

Altamonte Springs/ Orlando Hilton, Altamonte Springs

Reservations: (407) 830-1985 Information: (813) 234-9181 fva.net

May 2018

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Music Director

Lessons From My Toddler

by Matthew McCutchen, PhD

T

Twenty years into our marriage (and 21

grow and encounter new experiences on

tiful wife and I unexpectedly learned that

ant things: 1) every one of my students is

a daily basis reminds me of two import-

years into my teaching career), my beau-

someone else’s child; and 2) in our jobs,

we were finally going to have a child.

we are often so focused on the minutia

While there is certainly nothing unusual

that we miss the big, beautiful picture.

about teaching while raising children, it

seems less common to become a parent for the first time after having been long

Change Your Perspective

ing. Initially I was concerned about how

world differently than an adult does.

A 2-year-old fundamentally views the

entrenched in the world of band direct-

Even as I type this sentence, I realize how

having a child would affect the way I

superficial it sounds. And yet I whole-

approached my job. But two and a half

heartedly believe that if we adults would

years into this venture, I am thrilled (and

stop for just a moment and remember

relieved) that fatherhood has improved

how life looks through the eyes of a

every aspect of my life and has made me

child, our jobs, relationships and self-

a more effective teacher than I was before

worth would come into better focus. For

my son arrived.

example, when Leighton wakes up in the

When Leighton was born in 2015,

morning, he never rolls over and asks for

we knew we would spend the foresee-

“five more minutes” under the covers, nor

able future teaching him to be a happy,

does he start his day fretting about the

healthy and compassionate person. What

challenges and obstacles that lie ahead.

Continued on page 12

we didn’t realize was how much we would learn from him. Watching him

May 2018

11

Lessons From My Toddler Continued from page 11

Instead, he stands right up, stretching his

Get Back Up

enthusiasm and energy. Just think how

one failure after another. In the last few

arms out wide to the day with excitement,

A toddler’s days are often filled with

much more could we give to—and get

weeks alone, Leighton has started the

out of—our students if we did the same.

How many of us greet our students at

the door with an open smile, eye contact and genuine warmth? What if instead of

assuming that our last chair trumpet will once again crack the high note, we chose to be confident that today he will play it

beautifully? More importantly, what if he knew that we believed he could

blender before the top was on, watched our dog eat a slice of pizza right out of

his hand and found out the hard way that early March is too early to jump into

he just got right back up and tried again.

Unfortunately, Leighton has inherited my athletic prowess, yet no matter how

many shots he misses on his Little Tykes basketball goal, he always picks up the ball, turns around and takes another

shot. There is no self-judgment, self-pity or condemnation. There’s simply anoth-

the pool. Go back a year or so to when he

er chance. How many of us can say the

ber thinking that there was not a single

for adults. We have life experiences, dis-

was taking his first steps, and I rememthing I would do in the foreseeable future

do it? How empowering and encouraging would our teaching be if all students knew we believed in them?

that would be as physically or

mentally challenging as learning to walk. Yet no

matter how often my son fell, he never quit;

same? Oh, I know, I know. It’s different appointments and the awareness to know

when it’s time to give up or change direc-

tions. Of course we do. But imagine what could happen if we rejected our own

fears and inhibitions, stepped out of our comfort zones, took risks and allowed our

students to see us struggle and, consequently, grow? Attend a conducting sym-

posium, apply to give a clinic at FMEA,

take bassoon lessons, try something new.

Just think how influential we could be if we modeled

what it means to be brave.

B+ (Be Positive)

When Leighton is pre-

sented with a new challenge, experience, food

or person, his initial

reaction is to assume that

everything is going to be OK. When something

inevitably goes awry, he

tends to assume it was just

a fluke. This positive outlook on life may well be the most significant reminder this child has given me. I’m embarrassed to say that over the years as my

ears and ensembles have improved, I

have often approached rehearsals as a time to correct mistakes rather than

an opportunity to make music. How much more enjoyable are rehearsals

12 F l o r i d a

for all involved when we use the time to Music Director

celebrate things that are going well rather

than attempting to put on a clinic in error

detection? Two-year-olds focus on the good, the exciting and “the right” in the world. Shouldn’t we approach rehearsals

the exact same way? Positivity should be

our priority. Think of how many students would continue participating in music

once they leave our rooms if we spent as much time pointing out what they are

doing right as we do focusing on their deficiencies. Along those same lines, one

of the perks of my job is that I get to spend a lot of time in music rooms all over Florida. I can tell you without hesitation

that the programs that are thriving are those in which the directors are positive, encouraging and enthusiastic.

We Don’t Have to Do This, We Get To

The world is full of beauty, magic and joy; and most of the time we don’t have to look

very far to find it. Anyone who has spent time with toddlers knows they delight in things that adults tend to overlook. In his

short life, Leighton has been fascinated by dinosaurs, bubbles, Christmas lights,

Paw Patrol and some creatures called Bubble Guppies, none of which registered high on my radar before he was born. But

when I stop and look at them through his

About the Author

After serving as associate director for the past nine years, Matthew McCutchen

was recently promoted to director of bands at the University of South Florida. His responsibilities include conducting the USF Wind Ensemble, teaching courses

in conducting and music education and cheering on the HOT Band at football games. He is the founder and conductor of the Bay Area Youth (BAY) Winds,

which features many of the finest high school musicians throughout the Tampa

Bay area, and is assistant conductor of the Florida Wind Band. Dr. McCutchen

earned the PhD in music education with an emphasis in instrumental con-

ducting from Florida State University, a master’s degree in conducting from

Virginia Commonwealth University and a bachelor’s degree in music education from Furman University. His teaching experience spans from middle school

to the university level. He is an active guest conductor, clinician, adjudicator and performer. He serves on the National Band Association/William D. Revelli

Memorial Band Composition Contest Committee and the John Philip Sousa Foundation Legion of Honor Selection Committee.

eyes, I too am captivated. While I completely understand that music teachers

are required to spend time focusing on grades, fund-raisers, ratings, recruitment,

privilege and responsibility of creating

forget that the core of our calling is to be

at supper when we go around the table,

lunch duty and budgets, we sometimes creative, enriching and inspiring.

Regardless of whether we are working

on a Beethoven symphony or #38 in the

beginning band book, we still get to go to work every day and teach the magic

and mystery of music. Sometimes we just need to remember that we are granted the

to bring that same sense of wonder, awe and imagination to our interactions.

art. I’m reminded of this every evening

Life is difficult, making a living is

taking turns saying a blessing. Since mid-

tedious and, even in the best situations,

same one: “Dear Dod, (we’re still working

demanding job. I am grateful to have the

teaching music is a challenging and

December, Leighton has recited the exact

opportunity to raise a child who reminds

on G’s), thank you for big Jesus, little Jesus

me that attitude is everything and that

and Santa Claus. AAAA-MEN.” My class-

the fastest way to having better students

es are always better, and my students

is to be a better teacher.

benefit tremendously, when I remember

May 2018

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Music Director

May 2018

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Donate today for a stronger tomorrow.

With your support, FMEA will continue to grow its programs for teachers and students, strengthen united advocacy efforts and improve your professional development opportunities. FMEA strives to recognize the support of our donors. Beginning with the 2018-19 school year, donors will be recognized based on their giving level in each Florida Music Director magazine and in the conference program.

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Music Director

The Fall Concert: A Worthy Goal for High School Bands

A

by Thomas Singletary, PhD

As band directors, it is our job to give

various ways. In using the resources we

ences using all of our available resources.

for the students. If we strive to give stu-

have, we must consider our end goals

students the best possible musical experi-

dents experiences that will grow their

Resources come in many forms and may

musicianship and inspire them to value

include assets such as money, equipment,

music beyond participation in our pro-

rehearsal spaces, performing venues,

gram, our use of all types of resources

teaching units, emotional energy and

should reflect these priorities. Our values,

time. Each of these resources impacts

directors/staff and students/parents in

Continued on page 18

May 2018

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The Fall Concert Continued from page 17

making choices about using resources

Is it possible to give concert band a place in the allotment of resources early in the fall semester? Through doing so, both the concert and marching bands in your program can benefit.

to the document contains the following

marching band can meet as one class

evident through the choices we make for

our programs, directly influence the final outcomes for the students.

I was fortunate to serve with many dis-

tinguished teachers on the Best Practices Committee for the Florida Bandmasters

Association. The document we created is available online, and I believe it is an important document to consider when in our band programs. The introduction statement on the resource of time:

... the committee hopes that the findings presented herein may help

band directors, administrators, and

parents to achieve a comprehensive and well balanced band program

that places its emphasis on student learning within a structure of carefully planned performance activities. Above all else, an intelligent

and purposeful use of student time

must guide the activities of any

successful band program (FBA Best Practices).

Planning rehearsals and performances

for our groups is one of the most import-

ant things we do because it functions not only to organize the time itself (the

who, when and where), but the opportunities for musical engagement and learning (the what). We see evidence of our

values through our behaviors—in this case, through the way we plan musical

activities and structure time use in our programs (Madsen & Madsen, 1998).

In many high school band programs,

the fall semester is structured in a way

where students spend nearly all their

during the fall in order to more easily accommodate after-school rehearsals or a teacher’s travel from one school to anoth-

er. Each school’s band program is unique and has a unique set of resources, and

scheduling/programming decisions must

be made accordingly. Marching band is

a complex activity, and in many ways,

it is the most visible aspect of a school

band program. Investing resources in the marching band is a logical and important

made choices. It is the belief of many in

our profession that the concert band is the centerpiece of our band programs— the hub of the wheel, the trunk of the

tree (Cooper, 2016). I am not advocating

spending time on concert band to the detriment of the marching band. I am advocating a total program philosophy,

where all branches of the band program extend from a concert band experience that inspires students and audiences through exceptional musical learning

and performance throughout the entire year. One achievable and worthy goal for the fall semester is to establish the concert

band(s) as the centerpiece of the program from the first day of school by scheduling

a total program performance in the middle of the fall semester.

receive all of our musical attention during

ship can be positively affected by play-

the opening of the school year? Is it possible to give concert band a place in the

allotment of resources early in the fall semester? Through doing so, both the concert and marching bands in your program can benefit. Musical performance

skills are addressed in different ways in the concert and marching band settings.

As in weightlifting, where opposing muscles are strengthened to create balance,

concert band and marching band can have a symbiotic relationship where they reinforce opposing skills and support one another.

Everything we do in the band program

formance. In some schools, music class

cussion ensemble, auxiliary units and

18 F l o r i d a

that is implemented through carefully

Why?

activity; however, should marching band

musical energy and time on the march-

schedules are structured so that the

mendous challenge, and it is a philosophy

component of success for the marching

should be done well, including marching

ing band activity in rehearsal and per-

resources to create a total program is a tre-

band, jazz band, chamber music, per-

concert band. This idea of using our

Music Director

While a student’s individual musicianing multiple instruments, students need opportunities to make music on their

primary instrument all year long. Each student is unique in his or her musical

abilities and contributions to our pro-

gram. Many directors consider students’ most effective and most important musi-

cal roles as the role they play in concert

band—oboe (not the flute/saxophone/ guard they play in marching band), horn

(not mellophone), trombone (not marching baritone) or percussion (not marching bass drum). The implementation of a fall

plan for students who play trombone, horn, double reeds or percussion seems

particularly important regarding their

individual musical growth and the potential sound of our concert ensembles.

Exposure to a variety of musical

literature is a second important consider-

Many directors design sophisticated

performing in a concert ensemble can

ety of quality music, and students’ musi-

match their musical ability level. For stu-

ation. How many performance cycles do

marching productions that include a vari-

during a school year? Typically these

cal lives can be greatly enriched by these

your high school concert bands present

may include an end of first semester concert, an adjudicated concert and a spring concert. Including concert band activities from the first day of school gives us an

opportunity to develop students’ musi-

cianship from a more holistic standpoint

while giving them an opportunity to appreciate concert literature that can add

variety to their musical lives. Adding

the fall concert increases the amount of music that students learn while helping

to structure the subsequent performances

for success. Concert groups typically per-

form at their best at the end of the year;

an early start down that path pays great dividends.

provide students with experiences that

dents in larger marching bands, a smaller concert ensemble may also provide

choices. When we design, rehearse and

an opportunity for more individualized

repeatedly perform a set of quality music

musical responsibility (e.g., playing the

with our marching bands, it does not nec-

second horn or trumpet part in a section

essarily have to be at the cost of learning/

of five or six players).

performing all other music. Establishing

The fall concert is not the only way to

the concert band from the beginning

gives us an economical and efficient place

strive toward a total program philosophy

while increasing the musical consump-

concert instrumental sectionals/master-

during the fall. Honor band auditions,

in which to teach musical fundamentals

classes and solo/ensemble activities are

tion of our students. Performing concert

all worthy goals for the fall semester. A

literature gives students an opportunity

fall concert may be considered a long-

to play a different musical role than the

term objective while a more attainable

one they play in marching band, which in

goal may be working on concert music

turn flexes and strengthens the opposing

or sight-reading several times a week

musical “muscle.” Further, because con-

cert bands are usually ability grouped,

Continued on page 20

May 2018

19

The Fall Concert Continued from page 19

without a performance of that music. A

band and some marching band music.

is unnecessary because the students are

during one period can be difficult when

case could be made that the concert itself

already performing so much through the

marching band and through concert band

The logistics of doing both activities considering the length and arrangement

of your daily class schedule, but cover-

performances later in the year; however,

ing both activities during class may be

to the implementation of the philosophy.

would like to implement this philosophy

scheduling the concert helps us commit Remember, we are in control of the con-

cert length, the literature choices, who performs (concert, jazz, marching, chamber ensembles, etc.) and how many selections are performed at the fall concert.

While a fall concert may serve as a struc-

tural goal that serves many purposes, the artistry of the performance itself may not

be the most important objective when compared to all the musical benefits, such

worth the consistency it brings. If you

but are concerned about losing the daily

consistency of rehearsing marching band materials, then rehearse concert literature

during class on the days the marching band rehearses after school.

«« Performing selections that are less

as listening in a concert ensemble setting, performing a wider variety of literature,

sight-reading and responding to the conductor’s baton.

How?

Organizing

our

most

resource—time—may

be

important the

best

approach to planning a fall concert. The

amount of class time spent on marching

band depends on two factors: the difficul-

ty of the marching band materials and the ability level of the students in the class.

Does the top performing concert band

need to spend the same amount of time

on marching band activities as the second or third band? If not, then there is certain-

ly room to include some concert music in the top band, and that group can carry

the most performance responsibility for a fall concert. A second-level concert band (or jazz band or any group) may play

only one or two pieces on the concert, but those students will have reaped the benefits associated with musical and instruc-

tional variety. Concert band rehearsal could be on fixed days within the week

(e.g., Monday and Wednesday), or each class period may contain some concert

20 F l o r i d a

The concert itself can be structured in

many different ways and may include:

Music Director

difficult than you typically perform for an adjudicated event

«« Performing

challenging selections

that are more difficult than you typi-

«« Performances by the jazz band(s) «« Performances by a percussion ensemble «« Performances from soloists or small ensembles «« One performance by each class «« An indoor standstill performance by cally perform for an adjudicated event

the marching band or sections of the

«« Performances from one or more of the marching band

middle school groups

We should always strive to choose

appropriate materials for our students (Madsen & Kuhn, 1998). Implementing

the philosophy of making time for

concert music during the fall means that

practice would eliminate an extra event

fall concert is performed, using your

the marching band must be chosen with

comfortable adding an additional evening

achieves the goals of giving students

the materials (and performance goals) for

your specific students in mind. Because

there can be a wide variety of ability levels present in the group, the materials (music, movement, etc.) must be chosen

or intentionally designed in a way where each part is achievable by each individual in the time you choose to spend on

marching band. Keep efficiency in mind

when choosing marching materials. Do

you have an efficient system to teach

music and movement? Are the students capable of performing the materials if any

(or many) of the rehearsals are lost due

to weather issues? Do you have alternate ways to rehearse when weather or other logistical issues interfere with planned marching rehearsal time? It is easier to

commit resources to a fall concert when efficient systems of teaching and per-

forming are in place for all aspects of the

Scheduling the concert at a time when

you may typically have a marching band

musicianship through a variety of means

when the concert is done, it can create a

all year long.

marching band renaissance—a renewal of

emotional energy and commitment that

can last the rest of the marching season.

Dr. Thomas Singletary

concert might be dedicated to practicing

composer, clinician and

All of the class time following the fall

is an active conductor,

details in the marching show, rehears-

music educator. He earned

ing marching fundamentals, discussing

the PhD in music educa-

logistics and analyzing marching perfor-

tion and wind conduct-

mance videos with the group. Using class

ing from Florida State

time to refocus students’ energy toward

University in 2016, and he serves as an

their end-of-season outdoor performanc-

adjunct faculty member at the Texas Christian

es can be a nice way to make a push for

University School of Music.

excellence and to renew the spirit of the marching band performances with added

References

polish and attention to detail.

Cooper, L. G. (2016). Teaching Band and Orchestra: Methods and Materials, 2nd edition. Chicago: Gia Publications.

In 2005, several hurricanes affected our

uled the fall concert for a Friday night in

form between school week six and eight.

bands for year-long success and teaching

the middle of marching season is that

When?

tious (yet rewarding) is to plan to per-

instrument all year, structuring concert

things about scheduling the concert in

school’s auditorium, which became unus-

a fall concert, and one of the most ambi-

opportunities to play their primary

event for one week. One of the interesting

band program.

There are many options for scheduling

resources to include such an event

on families’ schedules, but you may feel

FBA Best Practices. (n.d.). Retrieved from http:// fba.flmusiced.org/for-directors/best-practices/

able for months. That year, we resched-

Madsen, C. K., & Kuhn, T. L. (1993). Contemporary Music Education, 2nd edition. Raleigh, NC: Contemporary Publishing Company of Raleigh.

the school gym, just prior to a home football game. I was so proud that our students could so flexibly perform a concert

Madsen, C. K., & Madsen, C. H. (1998). Teaching/ Discipline: A Positive Approach to Educational Development, 4th edition. Raleigh, NC: Contemporary Publishing Company of Raleigh.

at 6, pregame at 7:15 and halftime at 8:30,

and perform each set of music with a high level of artistry. Regardless of when the

May 2018

21

FEMEA Dorothy Land Grant Awarded to Three Teachers for 2018-19

by Lesleigh Howard-Zeno

F

EMEA allocated $2,500 for the 2018-19 school year to provide grants to current members. A limited number of grants are awarded each year, up to $1,000 each.

FEMEA may choose to provide partial funding for any grants submitted. The purpose is to encourage teachers to develop projects that promote research, creative teaching

and innovation, and exemplary models of teaching in the elementary music classroom.

The 2018-19 Dorothy Land Past President’s Grant has been awarded to three deserv-

ing teachers. All three projects will be fully funded by FEMEA this year.

Congratulations to our FEMEA Dorothy Land Past President’s Grant winners! We

look forward to seeing your projects at the Curriculum Fair in January. If you have a grant idea, please consider applying for the 2019-20 school year. Check out the 2018-19 projects at the 2019 Curriculum Fair and speak with these teachers about their grant experiences.

Lesleigh Howard-Zeno is chairwoman for FEMEA District 7, which includes Indian River, Martin, Okeechobee, Palm Beach and St. Lucie coun-

ties. She can be reached at femeadistrict7@gmail.com.

Janine Jones, Osceola Magnet School, was

awarded the grant to fund her project “Ukes Can Do It!”

This project will help fund the purchase of ukuleles to enhance the traditional music program and engage more students in unique activities.

«« Students in grades three, four and five (266 students) will participate in Janine’s plans include:

ukulele lessons in music class and as a club activity in fifth grade. Students

«« Activities and lesson plans will be extended to include district music teachers. «« The ukuleles will be a valuable addition to the program, and will be will be assessed on their understanding and performance on the ukuleles.

something that will interest more students, including those who are more difficult to reach in a traditional program. She is also using the ukulele

program to encourage community and respect, among fifth grade students in

particular. “This is a difficult age, and a common focus on this folk instrument

«« One of the main goals of the ukulele program will be to foster a love of music could lower some of the social barriers between students.”

in all students and to give them a successful performance opportunity on an affordable, playable instrument.

22 F l o r i d a

Music Director

Erin Hemond, Sun Ridge Elementary School, will be receiving funds for her

project “Recorders for All: Building Performance, Evaluation and Composing Skills

Through Recorders.” This project will provide recorders for “rent” for those students who are unable to buy their own recorder. Erin states in her grant essay, “I hope to make all my students feel equal within the bounds of my classroom, by providing

them a recorder of their own, versus the classroom loaner system that we use now …

I want every student excited about playing recorder, not worried if the germs from yesterday were sufficiently cleaned off their classroom loaner.”

«« Using recorders as a composition tool; «« Reflecting on learning through self-evaluations; «« Cooperative learning and differentiated skill progression on the recorder through Recorder Karate; and «« Increased enthusiasm for recorders.

Erin’s goals for this program include:

Shaun Bennett, Ortega Elementary School, will be receiving

the grant for his project “Calypso in the Classroom, Community and

Beyond.” This grant will help purchase a steel pan to further grow the school’s steel drum program. The main points of Shaun’s grant are as follows: “The focus on this project is to promote calypso music in the

elementary music classroom. Students need to experience world music

«« Purchase a new instrument – This project will add a new double first hand. This is how the grant money will be used:

second steel pan to the classroom to be used in a classroom unit on the steel pan. The instrument will be utilized with

all students in grades third through fifth. When paired with jumbie pans, the double second is a great tool for playing

«« Guest artist – In addition to the purchase of the instrument, the pan ostinatos, chord strumming and melodies.

builder Mr. Tom Reynolds has agreed to come out to the school and speak with students about the origins of the steel pan and the building process,

«« Performances – Students in the after-school music program will utilize the instrument for and to discuss how the instrument has developed over the years.

various performances and rehearsals in the community. Events such as the Porchfest Music

Festival, Christmas in Avondale and the multicultural World of Nations festival will provide

«« Community projects – The instrument has the option to be utilized in a community steel a way to spread the love of calypso into the community. band project.”

May 2018

23

ComponentNews I

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Rosemary Pilonero, President

t is hard to believe it’s almost summer-

groundbreaking work for our All-State

your president seems to have flown by.

her new position. We are happy to have

time already. My first year serving as

FEMEA has much to celebrate as we take a look back at the school year. We had a stellar conference in Tampa! In addition

to our fabulous clinicians and sessions, our All-State Chorus and All-State Orff Ensemble had outstanding experiences and performances. Much of our suc-

cess is due to the diligent efforts of the FEMEA Board, and we are fortunate to have such dedicated people representing

and working hard for the children of Florida.

As a result of FEMEA elections in

Tampa, we are happy to report that

Amanda Peek (District 6) and Joani Slawson (District 4) were reelected to

serve as district chairpersons. Jason Thomashefsky (District 2) has served the two-term limit, and we thank him for his service. We welcome David Katz as our new chairman for District 2 and

look forward to working with him. Lisa Hewitt, coordinator of the All-State Orff Ensemble, will be leaving the board as

she moves into the role of vice president of the American Orff-Schulwerk Association. We are grateful for her

24 F l o r i d a

Thank you to all of our FEMEA mem-

Orff Ensemble and wish her the best in

bers for making these dreams possible.

Holly Mullenix continue her service on

is funded through your FEMEA mem-

the board in her new role as coordinator of the All-State Orff Ensemble.

Congratulations

Lancaster

to

Professional

our

Janice

Development

«« Kristen Dumas, District 6 – Ticket to Scholarship winners:

Tampa Scholarship winner, attended her first FMEA conference in January

«« Rainy Barton, District 5 – Will attend Orff Level II in Central Florida «« Michelle King, District 7 – Will attend 2018

Orff Schulwerk Level I at Florida International University

Congratulations to our Dorothy Land

«« Erin Hemond, District 4 – “Recorders

Past President’s Grant winners: for

All:

Building

Performance,

Evaluation and Composing Skills

«« Shaun Bennett, District 5 – “Calypso Through Recorders”

in the Classroom, Community and

«« Janine Jones, District 7 – “Ukes Can

Music Director

Beyond” Do It”

The Dorothy Land Past President’s Grant bership contributions, and the Janice Lancaster

Professional

Development

Scholarship is funded through our Basket

Bash, FEMEA logo merchandise and allstate souvenir sales. I hope you will take advantage of seeing and hearing about

these fabulous projects at our FEMEA Curriculum Fair during the 2019 FMEA Professional Development Conference.

Speaking of professional develop-

ment, due to circumstances beyond our control, including the loss of a substan-

tial sponsorship, FEMEA will not be able to provide a summer conference this

year. Please stay tuned for some exciting

new projects that we have in the works.

This will be a little bit of a transitional

time as we continue to grow to meet the ever-changing needs of our members and their students.

Finally, I hope you enjoy a well-

deserved summer break. Whether you

plan to travel, learn something new, enjoy time with family and friends or

just chill with a good book, I wish you the happiest of summers.

FLORIDA VOCAL ASSOCIATION

Thomas Jomisko, President

A

s each year comes to an end, we inevitably start to reflect and to plan ahead. What can we do to improve upon our teaching?

What lessons did we succeed in teaching? Which failed? As I have

continued in this amazing career as a music educator, I have come to the realization that the most fruitful qualities of a successful, experienced teacher are NOT musical in nature.

Earlier this year one of my students said to me on her way out of

class on a Friday, “You’re the scariest teacher on this campus!” and

promptly left. That statement hung over me for the whole weekend. I wondered if I was really that scary, and how did it possibly adversely affect my students?

The next week I decided to have a class discussion on whether or

not I was “scary.” The initial reaction was that I was, indeed, scary to many of my students. I tried not to be offended in that moment,

but it was hard not to think that somehow I had failed. I continued to ask leading questions, and one of my very mature and well-

Have HEART:

H

umility.

To be successful, you must be humble

with your students. Don’t assume you know

what they’ve gone through, even on that particu-

lar day. And don’t be afraid to take responsibility when something that wasn’t successful is your

fault! Nothing will ruin a relationship with your

students faster than not admitting your mistakes.

E

xcellence.

This is not perfectionism. Perfectionism

spoken seniors finally wrapped up what she felt the students really

focuses on doing the right thing ALL the time. It

“We are just so afraid to disappoint you. That’s what scares

unattainable. You can always grow in excellence.

meant when they said I was scary.

us.” Now I was back in business! I explored some more, and we determined that this fear of disappointment extended outside the

classroom. I had, with this particular group of students anyway,

causes you to work in fear because perfection is

A

rtistry.

Always be striving to create, not just repro-

achieved what I hoped to with all of my students: a relationship

duce. If we are asking our students to be creative

were in my ensemble.

through the music, bringing us all closer through

built on love and trust in all aspects of their lives, not just who they To be successful in this career, the musical knowledge you are

trying to convey to your students must submit itself to the relationship you have with your students and the environment you have created.

I have tried to use an acronym in my classroom to enable me to

be the best music educator I can be. (I am fully aware that acronyms like this tend to be cheesy—but I am going to go with it anyway!)

See Sidebar >> My desire for FVA has and always will be to help everyone build

a program where each student can grow to be the best person he or

she can be. Continuing in that pursuit, the theme of this summer’s convention will be Integrity in the Choral Classroom. Almost all of us chose this profession due to a music educator who took HEART in us. I hope this article helps in some way to give you focus for 2018-19.

We hope to see you at the FVA Summer Convention, July 27-28,

at the Hilton Orlando/Altamonte Springs. Registration materials are available now at FVA.net. Don’t forget to sign up for Choral

Panorama, July 26-27, which directly precedes the FVA convention.

Information is available at the Head’s House of Music website.

ALL the time, we give them the ability to express our craft.

R

elationship.

If we truly invest in our students beyond

what their musical value is to us, then they see

that we care about them beyond the singing. Once they know that, the fear that comes with being

afraid to fail morphs into the fear to disappoint.

After that, you establish with them that you per-

ceive lack of effort as failure, NOT missing a note,

and the freedom to pursue excellence through artistry is created. And this all started with the relationship.

T

rust.

When they know you care more about them

than the music itself and that music is the vehicle

by which you will help them become the best ver-

sion of themselves, the trust you have gained will create the program you always wanted to have!

May 2018

25

ComponentNews T

his is my last article as president of

the Florida Bandmasters Association.

It has been an honor to serve this organi-

zation. Rest assured you are in great

hands as our new president takes office.

FLORIDA BANDMASTERS ASSOCIATION

Jason Duckett, President

Cathi Leibinger is passionate about con-

over the last two years. First, thank you

serve us well.

in without hesitation to assume the role

tinuing to move FBA forward. She will I would be remiss if I did not publicly

thank a few folks for their service to FBA

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

Stacie Rossow, DMA, President

to Richard Davenport. Richard stepped of past president when we lost Linda. His

even-keeled temperament and his sage advice provide a sense of calm, even in

turbulent moments. Second, thank you to the district chairpersons. They give more to this organization than many of you

may realize. This year has been particularly trying, thanks to hurricanes and

I

can hardly believe another semester is gone. Spring 2018 is in the books! It has

senseless acts of violence. Your district

making plans for 2018-19. That includes making sure your membership is renewed

and adaptability, and take great pride in

Information is often missed because it only goes out to current members. Make

Finally, thank you to Neil Jenkins. You

been a busy academic year, and as we close this one, I encourage you to begin

before September. Please encourage your collegiate colleagues to do the same. sure you are in the know!

chairpersons show incredible resolve their administration.

have no idea how much work Neil does

Take the time to join the FCMEA Facebook page; the link is below. As soon as we

behind the scenes to keep FBA running.

our Facebook page. If you have an idea for the Fall Conference, please reach out to

broad-brush needs of the organization

The leadership continues to look for ways to make the January conference more

of individual schools or directors. Neil is

discussion with the two- and four-year colleges and universities to continue the

tional professionalism. He never com-

believe we should address, please do not hesitate to contact me.

the best from all members. We are lucky

have a date and location for the Fall Conference, that information will be posted on

There is constant balance between the

me. I would love to hear from you.

as a whole and the minutia of the needs

relevant to college music educators. We hope, once again, to open a round-table

masterful at handling both with excep-

conversation that began a few years ago. If you have any ideas or topics that you

promises high standards, and he expects

All my best wishes for a restful and productive summer.

FCMEA is on Facebook: https://www.facebook.com/groups/342061629617972/

to have him.

Have a fantastic summer! See you in

July at the FBA Summer Conference in St. Pete. Go, Band!

Interested in submitting an article for publication in the Florida Music Director?

Learn more at:

FloridaMusicEducation.org/publications/florida-music-director/submission-information

26 F l o r i d a

Music Director

FLORIDA COLLEGIATE NAFME

Shelby R. Chipman, PhD, Advisor

T

he 2017-18 Florida Collegiate chapter of the National

demonstrate excellence and serve as mentors to music edu-

of Michael Gabriel (FSU), has developed continual systems

by data that supports the arts as a strong means of devel-

Association for Music Education, under the leadership

of support for all of our students studying music in Florida.

These collegiate students are pleased to communicate con-

sistently with the Florida Music Education Association (FMEA) Executive Board, which provides opportunities for

collegiate students to grow and also understands the impor-

tance of shared learning and of meeting the goals outlined by the NAfME national office. Our goals and specific strat-

«« Reminding everyone of the purpose of NAfME collegiate membership and its role in music education; «« Enhancing the professional development, tools and resources of chapters; «« Providing valuable sessions/clinicians for our members; «« Interacting with music supervisors and learning how to prepare for jobs, as well as expectations; «« Becoming an advocate for music; «« Improving our website and means of communication; and «« Discussing ways to develop Music in Our Schools Month egies include:

chapters and supporting Tri-M Music Honor Society programs for middle school and high school students.

Members of FCNAfME are truly inspired by the myr-

iad music teachers in the state of Florida who continue to

cation students. The importance of music is demonstrated oping the whole student’s being. The countless testimonies

of music and its relationship to life are powerful. Therefore, collegiate students in Florida and beyond must be diligent in

gaining understanding and acquiring opportunities to grow

in the areas of history, theory, pedagogy, musical interpretation, professional development and classroom management.

When collegiate students do the work to acquire these professional tools, they will find the rewards to be commensurate

when they work with students who enjoy their teaching and appreciate music as a lifelong learning experience.

Personally, I have spent my entire career learning from

outstanding musicians from across the country. The true irony of my learning is there is still much more learning to be

done. This, in my opinion, is the true essence of what makes our study so valuable and worthwhile.

As many of the Florida colleges conclude their academ-

ic semesters, I trust that collegiate NAfME members have

gained valuable knowledge in the realm of music and all it has to offer for this phase of their lives. I also hope that those

students who are graduating feel good about the aesthetic

impact of music and FMEA’s role in developing their indi-

vidual skills as they embark on an exciting career in music.

Thank you for being a member of our association.

Join us for the 2018 Collegiate Advocacy Summit June 26-28, 2018 #NAfMEHD18

Learn more at CAS.nafme.org

May 2018

27

ComponentNews FLORIDA ORCHESTRA ASSOCIATION

Jason Jerald, President

I

s it May already? As we come out of the MPA season and start pre-

paring for our spring concerts, ban-

quets, etc., I’m sure we can agree that it seems that our job never ends.

As we conclude the school year and prepare next year’s calendar, be

sure to remember our exciting Fall Conference in Orlando, Sept. 27-28,

2018. Our keynote speakers will be Peter L. Boonshaft and Carrie Lane Gruselle. As a reminder, please check

the FOA website for adjudicator training registration details. The train-

ing will take place prior to the Fall Conference.

It was an honor to hear your orches-

tras at state MPA. I would like to thank

our state concert judges and clinicians:

Dr. Kirk Moss, Dr. Mark Laycock, Dr. Michael Palumbo, Dr. David

Eccles and Dr. Laura Joella. I hope you and your students were able to

gain wisdom through the state MPA

the community. We had the incred-

to witness the face of a visually

needs of our amazing students and

Meyer’s Giving Bach program to

experienced the vibrations of my stu-

experience. Our goal is to serve the

educators. As always, we welcome

your input to our conference planning and handbook updates, and I

encourage you to contact me or any

other board member with questions or concerns you may have.

As the school year is coming to

an end, take time to reflect on the

good of this year with your students.

The most significant moment for

our orchestra was “Giving Bach” to

28 F l o r i d a

Music Director

ible honor of implementing Richard patients of St. Joseph’s Children’s Hospital, as well as our surrounding

elementary schools this past spring.

The Giving Bach program allows student musicians to advocate music

education through performance and teaching.

“Mr. Jerald, she rarely gives people hugs.

Now she can’t leave my side!”

This quote from a senior describes

the amazing opportunity we had

impaired child come alive as she dent’s violin against her ear. Moments

like these help me appreciate the power of music education, especially

through the hands of our students.

Whether it’s celebrating a successful bow hold or finally entrusting oth-

ers with tasks to lighten your load, I hope you remain encouraged with the truth of our profession; impact-

ing lives through music daily. Enjoy your summer break.

FLORIDA COLLEGIATE NAFME

Michael A. Gabriel, President

I

am honored to have the opportunity to

often and as deeply as possible. The idea

that makes you fall back in love with

your component president. As we reflect

I love terrifies me. Whatever it is that

because this will make life completely

share this final reflection with you as

on our year together, I sincerely hope that we as an organization were able to offer

you something unique and beneficial to

your future career as a music educator.

this mission. Music allows people the opportunity to experience their human-

ity and to express themselves in a way that is simply not possible in any other

academic or artistic medium. We have all been touched by this phenomenon, and

it is my sincere hope that this beautifully

mysterious entity continues to drive us as artists.

To protect this phenomenon, I try to

exercise my sense of childlike wonder as

good days, bad days and neutral days,

I know that music is my driving force,

standing that nobody can take it away

all know, music is incredibly vital to

able to escape the bell curve: we have

every attempt in your life to nurture it.

rate our education system and energize and social capabilities. As I hope we

realistic. As human beings, we are not

place in your heart—I hope you make

and I have my own personal proof for

its students to maximize their cognitive

carefree and good ‌ that is simply not

drives you—that occupies that special

It is my hope for this profession that the new wave of young teachers will invigo-

our profession in the same way. It is not

of becoming desensitized to the art form

as well as extremes in both directions.

For me, music is not an attempt to escape

this. I also have my own personal under-

from this reality. It is my way of making

this emotional roller coaster much more

from me. Only I have the ability to do

significant. But above all, it allows me

that, and there have been several instanc-

an outlet to take a step back and look

es in my young life when I have sensed

at our human experience with the fresh

movement in that direction. Generally

wonder, curiosity and appreciation of

this happens when I get busy with tasks

a young child, eager to learn about his

outside of music. As all teachers know,

world.

this is a very real problem. I am lucky to

It is my hope for all of you that you

have detected these potential slips before they became consequential, and with

make the time in your lives to get in

has grown even stronger than before.

how seasoned or green you may be in our

touch with your inner child, regardless of

each correction, my love for my art form

profession. More than anything else,

This is my proof that I have chosen the

however, I wish you good health and sin-

right profession.

cere fulfillment in your path.

I challenge you to find that thing

2019 FMEA Professional Development Conference & All-State Concerts

ARTISTRY:

Teaching &Performing

January 9-12, 2019 Tampa Convention Center

May 2018

29

CommitteeReports S

elf-contained classrooms are specif-

ically designated for students with

disabilities. Some school districts in Florida have special schools made up

made in the best interest of the students.

Sometimes those placements are special schools.

In this and the next several editions

entirely of self-contained classrooms.

of Florida Music Director, I am profiling

students with significant disabilities who

special schools. These music educators

Such schools are usually indicated for may not be able to participate in general education programs. Students who attend

these special schools generally have disabilities such as autism spectrum disorder, emotional disturbances, severe intellectual disabilities, multiple disabilities or serious or fragile medical conditions.

DIVERSE LEARNERS COMMITTEE Alice-Ann Darrow, PhD Chairwoman

music educators in Florida who teach at have learned to adapt instruction for stu-

dents with the most severe disabilities.

They can serve as a valuable resource for music educators who have had little expe-

rience working with students who have significant disabilities.

Many of the students who attend special

CAMINITI EXCEPTIONAL

less restrictive environments, but failed to

Laura Meehan, Music Educator and

schools have previously been assigned to make academic progress.

Least Restrictive Environment (LRE) is

a legal concept found in the Individuals with Disabilities Education Act that

requires students with disabilities to be

placed in settings most like those of their peers. School districts are required to offer a full continuum of placements for students with disabilities, ranging

from the most restrictive (self-contained schools or classrooms) to the least restric-

tive (full inclusion). Placements are to be

STUDENT CENTER Music Therapist

Caminiti Exceptional Student Center

is a special school in Tampa, Florida

(Hillsborough County). The school has approximately 100 students, all with significant disabilities and support needs.

Students’ functioning levels vary, though many are nonverbal and require alternative or augmentative methods of commu-

nication, such as the Picture Exchange Communication System (PECS). Due to

students’ functioning levels, medical

needs and/or aggressive behaviors, the students attend Caminiti rather than their neighborhood schools.

Instructional adaptations and modifi-

cations are essential for students’ success; this is especially true in the music class-

room. Many instruments are modified so students with limited mobility can

play along with their peers. Examples of modifications are using open tuning on

a guitar or enlarging handles on a mallet for better grasp. Music notation is adapted as well, generally through color cod-

ing or showing the melodic contour with visuals. Paraprofessionals are used in the

30 F l o r i d a

music classroom. They support students Music Director

by employing hand over hand assistance, tapping the beat on students’ shoulders or pointing to and following the musical notation, etc.

The Caminiti Rock Band performed

Don’t Stop Believing and Beyond the Sea at

the 2018 FMEA Professional Development

Conference. Each part was modified to address individual students’ needs and to ensure success. The students performed well, and it was a successful experience

for all of them. For some of the students, it was their first time in downtown Tampa.

For all of the students, being able to per-

form in front of an unfamiliar audience

in an unfamiliar venue was a tremendous accomplishment.

Music for the students at Caminiti is

essential. Music is one academic area

where they can, with appropriate adapta-

tions, perform as well as other students.

For many students, their school day is

dictated for them. In music, they develop a sense of autonomy and self-determi-

undergraduate degree in music educa-

tion from Texas Tech University and a master’s degree in music therapy from

Florida State University. She is a board certified music therapist and a certified

teacher in the areas of music and special

education. Her research interests include music for special learners, and she has presented at numerous state, national and

international conferences. If you have any

questions about the adaptations she uses with her students, you can contact her at laura.m.meehan@gmail.com.

nation. They are allowed to choose their

activity, song or instrument. Consistency

is also an important part of music education at Caminiti. Each music class starts

with a welcome activity, which is normal-

ly followed by rotating centers. Centers, or small groups, are effective because

they include brief activities that allow for creativity, individual work, review

and one-to-one instruction. Visual and audible timers are used so that the stu-

dents at Caminiti know what to expect

next. Music centers include activities such as music listening, working with musi-

cal manipulatives, worksheets, singing, improvising and instrument playing.

Laura Meehan leads the music pro-

gram at Caminiti. She is a gifted teacher who contributes greatly to her students’ feelings of confidence, pride and selfdetermination.

Laura

received

her

May 2018

31

CommitteeReports

AWARDS COMMITTEE

Debbie Fahmie, Chairwoman

A

nother year of celebrating fantastic

Florida State University. I consider

look forward to seeing what next year

life sharing music’s gifts with stu-

it a privilege to spend the rest of my

FMEA awardees is in the books. I

dents of all ages, just as it was shared

brings. As we reflect on the past and

with me.

think to the future, I’d like to share with

you some thoughts by this year’s win-

Carlton Kilpatrick teaches choir at Lake

ners. I know you will be as inspired as

Brantley High School in Seminole County.

I am by their dedication and passion to

He was nominated by Brett Karlin.

our profession. I wish you all a joyous

summer, and I urge you to get working on applications for the 2018-19 FMEA

Call for Nominations. Applications are completed online at https://flmusiced.

org/FLmusicApps/Awards/. You can also

find examples of successful applications

on the website to help guide you through the process.

Carlton

Kilpatrick,

2018

FMEA

Secondary Music Educator of the Year, writes …

It is truly an honor to be recognized as the Secondary Music Educator of the Year for the great state of Florida!

I was so incredibly touched to receive

this award and by the beautiful let-

ters written by my students, booster parents and colleagues in support of

my nomination. I would be remiss Grace Jordan, 2018 FMEA Elementary

if I did not thank my dear friend,

Music Educator of the Year, writes …

Brett Karlin, for his kind nomination

What a blessed person I am! I’ve

work as the awards committee chair.

spent the past 35 years of my life living my passion. Teaching music

has been the most rewarding, energizing, creative career that I could

imagine, and to be honored in this manner is beyond my wildest dream.

and Debbie Fahmie for her diligent Music has been a huge influence in my life, and I consider it an honor

and a blessing to share music’s many gifts with students every day. I was

fortunate to be surrounded by fan-

tastic music educators, both formal

Grace Jordan teaches elementary music

and informal, from birth—my sweet

County. She was nominated by Marie

teachers, fantastic church musicians

Directors.

at the University of Florida and the

at Arbor Ridge K-8 School in Orange

father, amazing public school music

Radloff on behalf of the FEMEA Board of

and world-class college professors

32 F l o r i d a

Music Director

Dr. Kamela Patton, 2018 FMEA

Superintendent of the Year, writes …

I was honored to receive the FMEA Superintendent of the Year award

and to attend the Awards Breakfast this January. The Awards Breakfast was a fantastic time to celebrate with

many great music educators and

administrators in our state. FMEA

has a rich history of supporting com-

prehensive, quality music education

for our Florida students, and I am humbled to be recognized in this

way. Collier County Public Schools stands with FMEA to ensure music

is an essential part of our curriculum!

Dr. Kamela Patton is superintendent

of Collier County Public Schools and was nominated by Skip Pardee.

PROFESSIONAL DEVELOPMENT COMMITTEE

Carolyn Minear, Chairwoman

C

ongratulations! As we celebrate our

months? How have your life experiences

Each of us has the privilege of choosing

demic year, remember to take the time to

do you want to continue to develop? What

cal artistry. Systemic changes in practice

students’ accomplishments this aca-

reflect on and celebrate your own accom-

plishments. How have you grown as a teacher in the last 12 months? How have

you grown as a musician in the last 12

our path toward pedagogical and musi-

informed your practice? What practices

are never a happy accident. New habits

practices do you want to leave behind?

are the result of purposeful, intentional

The FMEA theme for this year encapsu-

acts. Of course, no teacher plans to repeat

lates the lifelong goal of every music edu-

cator, ARTISTRY: Teaching & Performing.

year one more than 30 times, but without a personal professional growth plan, it is

possible to fall back on our already considerable skills and settle for what is rather than what could be. What is your goal?

MULTICULTURAL NETWORK Bernard Hendricks, Chairman

What is your plan to achieve that goal?

There will never be a better time to create a plan to enhance your artistry!

G

As we come to the close of the 2017-

reetings, fellow music educators, and happy spring concert season! The

end of yet another school year is quickly approaching, and these are the

18 academic year, it is time to act on

wish we were done” stage. I urge everyone to keep it interesting and really

Journey, 2018 Edition. What specif-

certs to be a celebration of everything good about your

choose? Your membership in FMEA/

ent cultures that are present in your program

workshops, component conventions and

is aware of and invited to attend your events.

mertime to catch up on previous issues of

public to be aware of the awesome things hap-

list myriad summer courses and grad-

times when students (and teachers) can very easily drift off into the “man, I

your Summer Professional Development

push to the very last day of school. Allow your spring con-

ic professional growth actions do you

music program. Consider highlighting the differ-

NAfME opens many doors to summer

and school. Also, make sure your community

online resources. Take advantage of sum-

Communication is very important. We want the

your professional journals, which often

pening in music education.

uate study opportunities. Read a book,

great time to plan for summer activities to keep both

colleagues, spend time with a mentor,

plenty of music summer camp/workshop opportunities for students. The kids

your resources, develop new curriculum

summer camp flyer that lists multiple summer activities that kids can attend.

family and friends and take care of your

Lastly, I want to encourage all of you to attend a summer professional

you choose, do allow time to reflect on

to enhance what we are already doing. The FMEA website has plenty of infor-

your journey toward ARTISTRY: Teaching

listen to music, study a score, visit with

With summer right around the corner, it’s also a

you and your students growing during the break. There are

attend a concert, take a lesson, organize

won’t know about them unless we tell them. I always try to put together a

or write new lessons. Travel, connect with

The flyer is an easy way to distribute information, either in person or via email.

physical and mental health. Whatever

development workshop. There is always more to be learned about new ways

how these experiences will contribute to

mation on various summer workshops, including the Multicultural Network

& Performing.

County. This one-day workshop is designed to offer best practices and concepts

your

guitar, orchestra, band and chorus; there is something for everyone. Please

Development Committee by emailing

One more request for action: Support

Summer Workshop on Thursday, June 14, at Ocoee High School in Orange

colleagues

by

sharing

your

to enhance all music programs. We’ll have sessions geared toward steel drums,

growth path story with the Professional

visit the FMEA website for more information on this and many other summer

CarolynMinear@FLMusicEd.org with the

Have a great spring and end of the school year, and enjoy your summer!

ment. We will choose models to share in

subject line FMEA Professional Develop-

opportunities.

future issues of Florida Music Director.

May 2018

33

CommitteeReports EMERGING LEADERS COMMITTEE

Mary Palmer, EdD, Chairwoman

I

n the final analysis, it’s all about PEOPLE. From your students and their parents/guardians to your school colleagues to your larger family of music educa-

tors to your community to your profession, it’s the people who surround us that make the difference in our lives. Following musicianship, teaching excellence and a few other key components, RELATIONSHIPS are a next critical success factor for teacher-leaders.

This year’s FMEA Emerging Leaders Drive-In to Leadership Summer

Conference—Get Connected: Build Capacity will focus on identifying and build-

ing relationships to enrich your life and your teaching—at any level or place in your career. Headlined by Dr. Alice-Ann Darrow, the Irvin Cooper professor

of music education and music therapy at Florida State University, the conference will share success stories as well as ways to identify and strategically

grow mutually rewarding relationships/partnerships. A spectrum of successful

music educators will share examples of relationships that have had positive and

Darrow

lasting impacts. Here are just a few highlights: District level fine arts directors Scott

Evans of Orange County, Debbie Fahmie of Osceola County and Cindy Johnson of Brevard County have literally changed

the landscape of arts education in their districts. Find out how that happened.

Andrew Bajorek, a doctoral student at the University of Florida, will take us inside

an impactful program and share next steps to building on that success. A community arts leader will put a spotlight on

how schools and local arts organizations

Evans

Fahmie

Johnson

can work together in transformative ways.

You’ll have the opportunity to plan your own pathway to getting connected.

Remember when Alice in Wonderland asked the Cheshire Cat for directions but

only wanted to “get someplace”? Unlike Alice, we’ll focus on “starting with the end in mind” (just like Steven Covey taught us to do!). Where do you want to go, and what helps will make the journey possible?

Plan now to be inspired at our fifth annual FMEA Emerging Leaders Drive-In

to Leadership Conference—Get Connected: Build Capacity on Saturday, June 9, at the University of Central Florida in Orlando (Performing Arts Complex: Music) from 9:30 am to 3:30 pm. See http://fmea.flmusiced.org/programs/emerging-leaders/ for further information and conference registration. We will welcome the new class of FMEA Emerging Leaders and all past Emerging Leaders.

Please register online by June 1.

34 F l o r i d a

Music Director

Bajorek

ResearchPuzzles for music teachers

Stephen F. Zdzinski, PhD University of Miami

M

any of you have asked your parents or grandparents, “What was it like when you were a kid?” Did

you know you were actually doing research by creating an oral history of your relative’s experiences?

Through an oral history, the memories of a person are systematically examined to find out about a different time and place that we cannot experience ourselves. Oral history is a useful and fascinating way to explore the history of music education, and something you can do.

If you listen to NPR, you may remember a feature called StoryCorps, in which everyday people tell sto-

ries about their lives. NPR recently presented stories of public school teachers from the National Teachers’

Initiative of StoryCorps, providing us insights into experiences that teachers face every day, recording more than 680 interviews with 20,970 minutes of audio recordings.

What is oral history research?

Oral history research is historical research in which the source of the information or data is not documents or newspapers, but an interview with a living person in order to find out about a time or a place through that person’s eyes. People doing oral histories find out as much as they can about the person they are inter-

RESEARCH COMMITTEE CHAIRMAN

viewing beforehand in order to focus their discussion on issues important to that person. In some cases, oral histories may be about a particular event, an entire life or a series of life events. An oral history can also examine multiple perspectives on an issue, or document events in the history of an organization.

The Oral History Manual (2009) provides a great introduction to oral history techniques. The process of

doing oral history includes identifying your informant, planning your interviews and gathering supporting

material, obtaining and using recording equipment (audio and/or video), conducting and transcribing your

interview and writing up your findings. A narrative is created, as well as artifacts and interview transcripts

Don D. Coffman, PhD University of Miami This on-going col-

that are placed in archival storage for other researchers.

umn seeks to stim-

Oral History in Music Education

research issues for

ulate awareness of

Charles Leonhard was the subject of an extensive oral history project conducted by Dr. Barbara Bennett at

FMEA teachers

Baylor University. Although well known for his books Basic Concepts in Music Education and Foundations and

and researchers.

a window into Leonhard’s memories about his impact on various events in music education.

have a contribu-

Principles of Music Education, what I found most interesting was how Bennett was able to provide the reader

Before I arrived at the University of Miami, I worked with a student of Leonard, Joseph Labuta, author of

This month we

tion from a mem-

the books Teaching Musicianship in the High School Band and Basic Conducting Techniques. I was able to conduct

ber of the Research

I have also been able to work with a number of students using oral history techniques on a wide variety

Stephen

an oral history project with Labuta, documenting his lifetime contributions to music education.

of topics, including multiple perspectives on belting pedagogy, oral histories of faculty members in jazz and

a current study on women’s career pathways in music ensemble direction. What makes oral history powerful as well is that many projects focus on ordinary people—the practicing music teacher or the members of a

Committee,

Zdzinski, from

the University of

musical community.

Miami.

Email your questions and feedback to d.coffman1@miami.edu with a subject heading Research Puzzles.

Your questions, if selected for publication, will remain anonymous.

May 2018

35

FMEA ExecutiveDirector’sNotes Kathleen D. Sanz, PhD

The Year in Reflection

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.

R

eflecting on the events of the past year is import-

A&M University, Florida State University and

on the many wonderful opportunities you provided

thank you to Dr. Shelby Chipman, Jennifer

ant for all of us to do because it helps us to focus

for your students. As the 2017-18 school year comes to a close, it is a good time to think about the numerous

accomplishments that your students, and you personally, made in your programs.

Here are a few of the things FMEA accomplished

«« The FMEA Professional Development Conference during the 2017-18 school year:

was again a huge success. More than 11,000 people

attended. It was the second year for the Student Experience at the conference, which provides non-

«« The Florida Corporate and Academic Partner all-state students the opportunity to attend.

Program continues to provide collaborative partnerships with the colleges, universities and corporations.

• Corporate Partners

– 13 Gold Corporate Partners – 2 Silver Corporate Partners

– 14 Bronze Corporate Partners

• Academic Partners

– 3 Gold Academic Partners

– 3 Silver Academic Partners

– 13 Bronze Academic Partners

We appreciate the partnerships we have with our

«« FMEA College Night held during the conference 48 partners and thank them for their support.

provided an opportunity for our high school students to meet with approximately 50 represen-

«« The

tatives from colleges and universities.

third annual NAfME Collegiate Music

Advocacy Day at the Capitol was held on February 6. Collegiate members from Florida

36 F l o r i d a

Music Director

Southeastern University attended. A great big Luechauer and Justin Fitzpatrick for their hard

work in providing this opportunity for our col-

legiate members. A special shout out to Jeanne Reynolds for her devotion to FMEA and our advo-

«« The FMEA Donors Program continues to increase cacy efforts.

through generous donations from the membership. Thank you so much, members, for supporting the efforts of FMEA. During the 2018-19 year,

we will recognize donors based on giving level.

Please see pages 14-16 for a list of our spectacular

«« The third annual Crossover: Multi-Genre Music donors.

Festival took place in two locations this year, at the University of South Florida in Tampa and Leon High School in Tallahassee. Special thank

you to Dr. David Williams for providing this

«« Another successful Guitar Festival was held on opportunity for Florida students.

February 24. Thank you to Ed Prasse for organiz-

«« The Steel Band Festival held in Orlando provided ing this event.

opportunities for students from several schools to learn more about steel band and to hear other steel

band ensembles. Thank you to Jared Allen for his

«« The June Hinckley Scholarship was awarded to leadership.

two students planning to major in music educa-

tion. In addition, plans are underway to provide a scholarship for two college students to attend the National Advocacy Summit in Washington, D.C., in June.

Advocacy/Government Relations

Marjory Stoneman Douglas Public Safety Act,

education and education in general at the national

The bill was passed in response to the shooting in

We continue to see relatively little support for music and state levels.

On the national level, while FMEA continued

to send language and information on ESSA, the

Department of Education continues not to include music and the arts in the Florida plan for the Every Student Succeeds Act.

The 2018 Florida Legislative Session began on

January 9 and ended on March 11. The following bills on education passed this year:

K-12 Public Education Omnibus Bill, HB 495/SB 1056

The bill revises time limits for certain public employ-

ees who qualify to participate in the Deferred Retirement Option Program (DROP); modifies edu-

cator certification requirements and district school board duties relating to school safety, and prohibits

SB 7026

Parkland, Florida, authorizing the awarding of grants through the Crime Stoppers Trust Fund for student

crime watch programs; establishing the Office of Safe Schools within the Department of Education; providing that each sheriff may establish a Coach

Aaron Feis Guardian Program and appoint certain volunteer school employees as school guardians; pro-

hibiting a person who has been adjudicated mentally

defective or been committed to a mental institution from owning or possessing a firearm until certain relief is obtained; prohibiting a person younger than

a certain age from purchasing a firearm; prohibiting

specified acts relating to the sale and possession of bump-fire stocks; creating the Marjory Stoneman Douglas High School Public Safety Commission within the Department of Law Enforcement, etc.

misconduct by authority figures against students;

Hope Scholarship Program, HB 7055

school students to learn computer science taught by

programs and streamlines accountability for partici-

promotes opportunities for public middle and high qualified teachers; and modifies end-of-course statewide assessment requirements for certain students.

Apprenticeship Programs, HB 577/SB 856

The bill authorizes students to use apprenticeship

program credit to meet specified credit require-

The bill expands state school choice scholarship pating private schools; provides flexibilities to school districts; modifies charter school requirements;

specifies assessment, instructional and curriculum requirements; modifies other education provisions; and provides appropriations.

ments for high school graduation. Specifically, the

Did NOT Pass: Financial Literacy,

completion of an apprenticeship registered with the

The bill required an additional ½ credit in financial

bill authorizes a student who earns credit upon

Department of Education to use such credit to meet

the high school graduation credit requirements for electives, speech and debate, practical arts, or fine or performing arts.

School District Accountability, HB 1279/SB 1804

The bill is designed to increase fiscal accountability

and to expand fiscal transparency requirements for district school boards.

HB 323/SB 88

literacy for graduation. The impact would have been a reduction in the number of elective credits. We did

have an amendment passed by both the House and the Senate, but this bill did not reach final passage this year. The amendment provided an “opportunity

to learn financial literacy” without taking the course.

For additional information on the bills noted,

please go to cfaefl.org and click on Advocacy.

The Florida Senate and House of Representatives Continued on page 38

May 2018

37

Executive Director’s Notes Continued from page 37

Florida Music Education Association Division of Cultural Affairs Grant 2012-13

2013-14

2014-15

2015-16

2016-17

2017-18

2018-19

$11,806

$18,158

$120,000

$66,631

$83,503

$45,396

$9,712

websites also allow the public to down-

Cultural Affairs grants for the 2018-19

and summary analyses: myflorida-

culture and the arts in Florida went from

load bills, amendments, fiscal analyses house.gov and flsenate.gov.

The support for appropriations for the

arts was quite disappointing. The Early Childhood Music Pilot Program passed,

but the governor vetoed $300,000 in state funding for implementation of the program.

The

Governor’s

Office

and

the

Legislature granted minimal support to the Department of State: Division of

year (see chart above). The support for being ranked #10 to #48 in the United

States. During the 2014-15 year, the grants were fully funded. It was a very

disappointing year for the arts, as the

governor and state legislators provided

Summer Professional Development

«« Component Summer Conferences

Opportunities

• Florida Bandmasters Association Summer Conference, July 9-11, St. Petersburg Hilton

• Florida Vocal Association

Summer Conference, July 27-28, Altamonte Springs/Orlando

limited support for our arts associations.

As constituents and voters, we need to

talk with our legislators and communi-

cate the importance of arts education for the students of Florida.

VOTE! VOTE! VOTE! 2018 Elections

It is critical for all of us to vote and let our voices be heard. A high voter turn-

out among music educators, parents and students will help our legislators know that we count as citizens and constituents.

Hilton

• FVA Head’s House of Music

Choral Panorama, July 26-27, Altamonte Springs/Orlando

«« Emerging Leaders Drive-In Hilton

Conference, June 9, University of

«« Summer Institute, June 18-20, a leadCentral Florida, Orlando

ership conference for invited members, University of South Florida,

«« Multicultural Network Summer Tampa

Workshop, June 14, Ocoee High School, Orlando area

2018 Voter Election Dates July 30.............................................................................Deadline to register to vote or to change political party

August 18-25.............................................. Early Voting, state mandatory period* August 28......................................................................................... Primary Election October 9........................................................................Deadline to register to vote October 27-November 3........................... Early Voting, state mandatory period* November 6...................................................................................... General Election

*Note: Check with your county supervisor of elections for additional days of early voting that may be offered in your county.

Dates may vary by county.

Please register and vote in the 2018 Primary and General Elections. Your vote makes a difference.

Thank you once again for another suc-

cessful school year! Reserve some time to

reflect on the many successes you have had throughout the year. Take time this summer to relax, refuel, travel, read a book and make music.

We look forward to having you join or

renew as a member for the 2018-19 school year.

Please let us know what is on your

mind and how FMEA can help you and your program.

Have a wonderful and musical sum-

mer!

Kathleen D. Sanz, PhD

38 F l o r i d a

Music Director

F L O R I D A M U S I C E D U C AT I O N A S S O C I AT I O N OFFICERS AND DIRECTORS EXECUTIVE BOARD President..............................Kenneth Williams, PhD 3610 Beauclerc Rd.; Jacksonville, FL 32257 (904) 521-7890; kenwms@flmusiced.org Past President........................John K. Southall, PhD Indian River State College 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810 johnsouthall@FloridaMusicEducation.org President-Elect....................... Steven N. Kelly, PhD College of Music, FSU 128 Housewright Bldg.; Tallahassee, FL 32306-1180 (850) 644-4069; Fax: (850) 644-2033 skelly@admin.fsu.edu FBA President.....................................Jason Duckett Bartram Trail High School 7399 Longleaf Pine Pkwy.; St. Johns, FL 32259 (904) 343-1999; bartramtrailbd1@aol.com FCMEA President..................... Stacie Rossow, DMA Florida Atlantic University 777 Glades Rd.; Boca Raton, FL 33431 (561) 297-4230; srossow@fau.edu Florida Collegiate NAfME President.........................Michael A. Gabriel Florida State University (561) 762-0016 mgmagabriel@gmail.com Florida Collegiate NAfME Advisor................. Shelby R. Chipman, PhD FEMEA President.......................Rosemary Pilonero The Villages Elementary of Lady Lake 695 Rolling Acres Rd.; Lady Lake, FL 32159 (352) 751-0111; rosemary@femea.flmusiced.org FMSA President......................................Scott Evans Orange County Public Schools 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; scott.evans@ocps.net FOA President........................................Jason Jerald Blake High School 1701 North Blvd.; Tampa, FL 33607 (813) 272-3422; jason.jerald@sdhc.k12.fl.us FVA President.................................Thomas Jomisko Manatee High School 902 33rd Street Ct. W.; Bradenton, FL 34205 (941) 714-7300; jomiskot@manateeschools.net Member-at-Large....................................Ted Shistle Douglas Anderson School of the Arts 2445 San Diego Rd.; Jacksonville, FL 32207 (904) 346-5620; shistlet@duvalschools.org EX-OFFICIO MEMBERS Historian/Parliamentarian 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@FloridaMusicEducation.org 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@FloridaMusicEducation.org

FMD Editor-in-Chief......... Mark A. Belfast, Jr., PhD Southeastern University 1000 Longfellow Blvd.; Lakeland, FL 33801 (863) 667-5104; mabelfast@seu.edu FSMA President.....................................Michael Dye Niceville High School 800 E. John Sims Pkwy.; Niceville, FL 32578-1210 dyem@mail.okaloosa.k12.fl.us FMEA COMMITTEE CHAIRPERSONS Awards............................................... Debbie Fahmie Fine and Performing Arts Resource Specialist Osceola District Schools (407) 870-4904; fahmied@yahoo.com Budget/Finance, Development........................Kenneth Williams, PhD 3610 Beauclerc Rd.; Jacksonville, FL 32257 (904) 521-7890; kenwms@flmusiced.org Committee Council............................................. TBA Conference Chairman...........John K. Southall, PhD Indian River State College 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810; johnsouthall@FloridaMusicEducation.org Contemporary Media...............David Williams, PhD University of South Florida 4202 E. Fowler Ave., MUS 101; Tampa, FL 33620 (813) 974-9166; davidw@usf.edu Diverse Learners.................Alice-Ann Darrow, PhD Florida State University Music Education and Music Therapy 123 N. Copeland; Tallahassee, FL 32306 (850) 645-1438; aadarrow@fsu.edu Emerging Leaders....................... Mary Palmer, EdD 11410 Swift Water Cir.; Orlando, FL 32817 (407) 382-1661; mpalmerassoc@aol.com FMEA Corporate & Academic Partners...Fred Schiff All County Music 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fredallcounty@aol.com Government Relations.............Jeanne W. Reynolds Pinellas County Schools, Administration Bldg.

301 4th St., SW, P.O. Box 2942; Largo, FL 33779-2942 (727) 588-6055; reynoldsj@pcsb.org Multicultural Network..............Bernard Hendricks Ocoee High School 1925 Ocoee Crown Point Pkwy.; Orlando, FL 34761 (407) 905-3009; bernard.hendricks@ocps.net Professional Development............. Carolyn Minear CarolynMinear@FLMusicEd.org Research.................................Don D. Coffman, PhD University of Miami d.coffman1@miami.edu Retired Members................................Cynthia Berry 1341 Dunhill Dr.; Longwood, FL 32750 (407) 310-1254; cberry1314@gmail.com

PROFESSIONAL DEVELOPMENT CONFERENCE

FLORIDA MUSIC SUPERVISION ASSOCIATION

Exhibits Managers........... Byron and Bobbie Smith 4110 Tralee Rd.; Tallahassee, FL 32309 (850) 893-3606 fmeaexhibits@FloridaMusicEducation.org

President.................................................Scott Evans Orange County Public Schools 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; scott.evans@ocps.net

Local Co-Chairman.................................... Ted Hope Hillsborough County Public Schools School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4861; ted.hope@sdhc.k12.fl.us

Past President............................Angela Hartvigsen ja.hartvig@comcast.net

Local Co-Chairwoman.................Melanie Faulkner Hillsborough County Public Schools School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4461; melanie.faulkner@sdhc.k12.fl.us FLORIDA BANDMASTERS ASSOCIATION President.............................................Jason Duckett Bartram Trail High School 7399 Longleaf Pine Pkwy.; St. Johns, FL 32259 (904) 343-1999; bartramtrailbd1@aol.com Executive Director................................ Neil Jenkins Florida Bandmasters Association P.O. Box 840135; Pembroke Pines, FL 33084 (954) 432-4111; Fax: (954) 432-4909 fbaexecdirector@gmail.com FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION President.................................. Stacie Rossow, DMA Florida Atlantic University 777 Glades Rd.; Boca Raton, FL 33431 (561) 297-4230; srossow@fau.edu Past President........................Patricia Fleitas, PhD pfleitas@fau.edu President-Elect...........................................John Ash ashj@cf.edu FLORIDA COLLEGIATE NAfME President......................................Michael A. Gabriel Florida State University (561) 762-0016 mgmagabriel@gmail.com

Treasurer.................................................... Ted Hope Hillsborough County Public Schools School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4861; ted.hope@sdhc.k12.fl.us FLORIDA ORCHESTRA ASSOCIATION President................................................Jason Jerald Blake High School 1701 North Blvd.; Tampa, FL 33607 (813) 272-3422; jason.jerald@sdhc.k12.fl.us Past President......................................Valerie Terry vterrymusic@gmail.com Executive Director........................Donald Langland 220 Parsons Woods Dr.; Seffner, FL 33594 (813) 502-5233; Fax: (813) 502-6832 exdirfoa@yahoo.com FLORIDA VOCAL ASSOCIATION President.........................................Thomas Jomisko Manatee High School 902 33rd Street Ct. W.; Bradenton, FL 34205 (941) 714-7300; jomiskot@manateeschools.net Past President.............................Carlton Kilpatrick ckilpat444@gmail.com Executive Director.............................. J. Mark Scott 7122 Tarpon Ct.; Fleming Island, FL 32003 (904) 284-1551; fva.scott@gmail.com Financial Officer..........................................Jo Hagan 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260 business@fva.net CENTER FOR FINE ARTS EDUCATION STAFF 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Executive Director...............Kathleen D. Sanz, PhD kdsanz@FloridaMusicEducation.org

President....................................Rosemary Pilonero The Villages Elementary of Lady Lake 695 Rolling Acres Rd.; Lady Lake, FL 32159 (352) 751-0111; rosemary@femea.flmusiced.org

Director of Operations............................Valeria Anderson, IOM val@FloridaMusicEducation.org

Past President.................................... Marie Radloff marie.radloff@ocps.net Executive Director........................ Jennifer Sullivan 1750 Common Way Rd., Orlando, FL 32814 (321) 624-5433; slljenn@aol.com

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

Business Manager & Special Projects...................... Richard Brown, CAE richard@FloridaMusicEducation.org Technology Director.........................Josh Bula, PhD josh@FloridaMusicEducation.org Public Affairs & Communications Coordinator......Jenny Abdelnour jenny@FloridaMusicEducation.org Marketing & Membership Coordinator.....Jasmine Van Weelden jasmine@FloridaMusicEducation.org

Student Leadership............................. Ian Schwindt Titusville High School 150 Terrier Trail S.; Titusville, FL 32780-4735 (321) 264-3108; schwindt.ian@brevardschools.org

May 2018

39