Page 1

CHAOS TO ORDER Repurposing the First 10 Minutes of the Ensemble Rehearsal


Moving Forward in Music Education PLUS: FVA & FEMEA Candidates 2021 Conference Reimagined Promoting Social and Emotional Learning Being Resilient During COVID-19

EVEN TEACHERS NEED TEACHERS As an educator, one of the most impactful ways to improve is by educating yourself. That’s why the Yamaha Educator Suite (YES) helps music teachers access professional development opportunities, music teacher resources, program health support, advocacy assistance and more. YES brings you a network of like-minded teachers, experts and professionals, who want to help you achieve your goals. Let us help you raise the bar. Go to Yamaha.io/educatorsFMD


Florida Music Director

Executive Director Florida Music Education Association Kathleen D. Sanz, PhD

Hinckley Center for Fine Arts Education

402 Office Plaza Tallahassee, FL 32301 (850) 878-6844 or (800) 301-3632 (kdsanz@fmea.org)


D. Gregory Springer, PhD Florida State University College of Music 122 N. Copeland Street Tallahassee, FL 32306 (850) 644-2925 (office) (dgspringer@fsu.edu)

Editorial Committee Terice Allen (850) 245-8700, Tallahassee (tallen1962@hotmail.com) Judy Arthur, PhD Florida State University, KMU 222 (850) 644-3005 (jrarthur@fsu.edu) William Bauer, PhD University of Florida, Gainesville (352) 273-3182; (wbauer@ufl.edu) Alice-Ann Darrow, PhD College of Music, FSU, Tallahassee (850) 645-1438; (aadarrow@fsu.edu) Jeanne Reynolds Pinellas County Schools, Largo (727) 588-6055; (reynoldsj@pcsb.org) John K. Southall, PhD Indian River State College, Fort Pierce (772) 462-7810; (johnsouthall@fmea.org)

Advertising Sales Valeria Anderson (val@fmea.org)

Director of Finance and Client Relations

Richard Brown , MBA, CAE, CMP (richard@fmea.org) 402 Office Plaza, Tallahassee, FL 32301 (850) 878-6844

Official FMEA and FMD Photographers

Contents November 2020

Volume 74 • Number 4


FVA President-Elect Candidates. . . . . . . . . . . 6 FVA Middle School Chair-Elect Candidates. . . 8 2021 Virtual Conference. . . . . . . . . . . . . . . . 9

Chaos to Order:

Repurposing the First 10 Minutes of the Ensemble Rehearsal. . . . . . .


Bringing Good From the Bad:

Moving Forward in Music Education. . . . . . . . . 20

FEMEA President-Elect Candidate.. . . . . . . . . . . . . 28 D E PA R T M E N T S

Bob O’Lary Debby Stubing

Advertiser Index. . . . . . . . . . . . . . . . . . . . . . 4

Art Director & Production Manager

President’s Message. . . . . . . . . . . . . . . . . . . . 5

Circulation & Copy Manager

Corporate & Academic Partners. . . . . . . . . . . 19

Copy Editor

Component News.. . . . . . . . . . . . . . . . . . . . 25

Lori Danello Roberts, LDR Design Inc. (lori@flmusiced.org) Valeria Anderson, (800) 301-3632 Susan Trainor

2020-21 FMEA Donors. . . . . . . . . . . . . . . 10-11

Research Puzzles. . . . . . . . . . . . . . . . . . . . . 30 Committee Reports. . . . . . . . . . . . . . . . . . . 31 Executive Director’s Notes. . . . . . . . . . . . . . . 38 Officers and Directors.. . . . . . . . . . . . . . . . . 39


Advertiser Index

The Florida Music Director is made possible by the participation of the following businesses whose advertisements appear in this issue. They make it possible to provide you with a high-quality publication, and we gratefully acknowledge their support of our mission. We hope you will take special notice of these advertisements and consider the products and services offered. It is another important way you can support your professional association and the enhancement of Florida music education. The publisher does not endorse any particular company, product, or service. The Florida Music Education Association (FMEA) is not responsible for the content of any advertisement and reserves the right to accept or refuse any advertisement submitted for publication. Information for advertisers (rate card, insertion orders, graphics requirements, etc.) can be found at FMEAMediaKit.org. ADVERTISERS Florida Gulf Coast University.............................................................................4 University of Florida...........................................................................................7 Yamaha Corporation of America................................................................... IFC The advertiser in bold provides additional support to FMEA members through membership in the Corporate and Academic Partners program. This Partner deserves your special recognition and attention.

Florida Music Director reserves the right to refuse any ad not prepared to the correct specifications OR to rework the ad as needed with fees applied. 2020-21 FMEA Membership: You are eligible for membership in the Florida Music Education Association if you are an individual engaged in the teaching, supervision, or administration of music in elementary and secondary schools, colleges, or universities within the state. Visit FMEA.org/membership to learn more about the benefits of active membership.

SUBSCRIPTIONS: Direct correspondence regarding subscriptions to: Hinckley Center for Fine Arts Education, 402 Office Plaza, Tallahassee, FL, 32301-2757. Subscription cost included in FMEA membership dues ($9); libraries, educational institutions, and all others within the United States: $27 plus 7.5% sales tax. CIRCULATION: 4,500 educators. Published eight times annually by The Florida Music Education Association, Hinckley Center for Fine Arts Education: 402 Office Plaza, Tallahassee, FL 32301-2757. FMEA reserves the right to approve any application for appearance and to edit all materials proposed for distribution. Permission is granted to all FMEA members to reprint articles from the Florida Music Director for non-commercial, educational purposes. Non-members may request permission from the FMEA office. SUBMISSIONS: Article and art submissions are always considered and should be submitted on or before the 1st of the month, one month prior to the publication issue to: D. Gregory Springer, PhD, dgspringer@fsu.edu.

All articles must be provided in digital format (e.g., Microsoft Word). All applicable fonts and images must be provided. Images must be at least 300 dpi resolution at 100% of the size. All submissions must be accompanied by a proof (color, if applicable). Ads may be submitted via email to val@fmea.org.



Performance • B.A. in Music Music Education • Music Therapy An All Steinway School

10501 FGCU Boulevard South Fort Myers, FL 33965-6565 (239) 590-7851



4    F l o r i d a

Music Director

Steven N. Kelly, PhD


President Florida Music Education Association

Celebrate Returning to Our Goals H ello, FMEA members. I hope this

issue of the Florida Music Director

finds you well. FMEA has been busy. I am returning to my theme of Celebrating

to Debbie Fahmie and the FMEA Awards

not have to choose from the many out-

spent on this special endeavor.


standing sessions occurring at a single

Committee for their hard work and time

Every component and committee

Congratulations to our all-state stu-

Music Excellence: Past, Present, and Future.

dents, both to those who auditioned and

will have sessions you will want to see.

reasons to celebrate success around our

to the teachers of these students. All-State

sions especially for them. There will be

Even with so many difficulties, there are state and throughout our organization.

I know many of you were able to join us

for our first Wellness Webinar hosted by

Dr. Alice-Ann Darrow. The success of this

webinar has led to the development of a

series of wellness webinars that FMEA will offer that will focus on our teachers’

mental health in coping with anxiety and

stress. Many thanks to Alice-Ann and to Josh Bula for putting together these

opportunities. I hope our members will

take time to join one or more of these webinars. They are only one hour long, and they are free to our members.

I cannot tell you how excited I was

to see the list of outstanding individ-

uals who received FMEA awards for their work during this challenging time.

Despite so many obstacles, there is so

much music occurring around our state, so many successes in our schools, and

so much being done for our students.

When you see the list of awardees, please

know that for every category there was at least one other incredible individual who was also deserving of an award.

Congratulations to everyone who was

nominated in addition to those selected to receive an award. So many thanks go

Our all-state students will have ses-

to those selected. Congratulations also go

“happy hour” opportunities to network

this year has been a challenge in so many

and reconnect with your colleagues and

ways. Auditioning in itself is an achieve-

friends around the state. We will still

ment to celebrate. These kinds of efforts

have our Preconference. There will even

go a long way toward keeping music in

be virtual exhibit rooms so you can keep

music education as we look to our future

up-to-date on current music materials.

beyond the pandemic.

You will be hearing so much more about

Finally, I am so happy to

our conference! Many, many thanks to

announce that we will indeed

our Conference Planning Committee led

have a virtual Professional

Development Conference in

by Dr. John Southall, to the FMEA com-

aware of Zoom fatigue, I

FMEA office staff for their work in

ponents and committees, and to the

January. While I am fully

making this opportunity to celebrate

promise this is an event you

will not want to miss. The dates of our

music excellence a reality.

Weekday sessions will go from 5 p.m. to

difficult time. Yet, there are reasons to

will not be necessary. The Saturday of the

and teachers to celebrate, and music to

Yes, our profession is facing a most

conference will be January 13-16, 2021.

celebrate, successes to celebrate, students

9 p.m. EST, so getting time off from school

celebrate. We are moving forward, and

conference will be a full day with so many

there will be better days ahead for us. No

opportunities for all of our members.

success is too small. So now, while you

A very special component of this virtu-

can, take a second, catch your breath, and

al conference is that every session will

pat yourself on the back for the terrific job

be recorded and made available beyond

you are doing.

the conference to members who register.

I hope you enjoy this issue of the FMD.

Registrants will be able to visit and revisit these sessions as many times as they like,

As always, FMEA is here to help you

This feature is indeed a silver lining to

you have any questions or if FMEA can

achieve your goals. Please let me know if

even after the official conference is over.

help you in any way.

having a virtual conference as you will

Steven N. Kelly, PhD, President

Florida Music Education Association

November 2020


FVA President-Elect Candidates Jeff Bogue

David Pletincks



Florida Native, Jeff Bogue graduated with a bachelor’s and a master’s degree in cho-

avid Pletincks is a music education graduate of Nyack College in Nyack, New York. He received the MM from the University

ral music education from the College of Music

of Tennessee. This year marks his 24th year as a middle school music

15th year of teaching chorus at Newsome High

Mr. Pletincks started his career as a middle school band director

at Florida State University. Mr. Bogue is in his

educator in the state of Florida.

School in Lithia, Florida.

in Fort Myers. He spent seven years teaching band, and an addition-

clinician in Pasco, Clay, and Manatee counties

Currently in his 19th year at Powell Middle

Mr. Bogue has been honored to be a guest

al four years teaching both band and choir.

and has served as a board-approved Florida

School Performing Arts Center in Spring Hill,

cator in many outstand-

years. His choirs at Powell have consistently

Vocal Association adjudiing districts throughout the state. Jeff has also

served as chairman of

he’s taught exclusively choir for the past 12

received superior ratings at district performance assessments for the past 15 years.

Mr. Pletincks has also served in church

FVA District 7 and as a

music ministry for over 25 years. Eight years

Youth Choirs.

es in Tennessee, Washington State, and

director with Lumina As a student musician

growing up in music pro-

grams in the state of Florida, he was inspired

were in a full-time capacity serving church-

Pennsylvania. He is now in his fourth year at SpringLife Church in Spring Hill as director of the chancel choir and traditional worship.

Mr. Pletincks has directed more than 15 elementary and middle

and enriched by the incredible experiences pro-

school honor choirs in Miami-Dade, Polk, Brevard, Hernando, Pasco,

growth opportunities continue to inspire him

Florida Vocal Association adjudicator and currently serves FVA as

vided by the Florida Vocal Association. These

as an educator. It is his belief that the influence and opportunities provided by FVA are vital to the students and teachers of Florida. It would

Citrus, Clay, Lee, and Marion counties. He is a board-approved the music committee chairman. He has previously served FVA as the middle school chairman and as chairman of District 5.

If he is given the honor of serving FVA as president, Mr. Pletincks

be his great honor to serve this organization

would continue to look for ways to embrace the incredible diversity

the organization exists to serve the musical

great young directors in leadership capacities and develop a more

and to continue working tirelessly to be sure needs of all students and teachers of the state.

of our association. He would also love to see FVA involve more of the extensive mentorship program.

Mr. Pletincks has been married to his wife Sandy for 32 years.

They have two adult children, Alexis (25) and Jonathan (21). Alexis is the choral director at Bayshore High School in Bradenton, and Jonathan is a senior at Florida State University.

6    F l o r i d a

Music Director

Bridging Music and Medicine



“Music is all about the communication of emotion. It’s all about recognizing other people’s feelings and what they’re trying to say without words. With medicine, you have to have that same compassion.”

• Master of Arts in Arts in Medicine

Study music in combination with... • Master of Science in Management or Entrepreneurship • Pre-Health Professions • Second Bachelor’s Degree (engineering, psychology, journalism and more) • Minors & Certificates



Photo by Brianne Lehan / UF Photography


Transfer Students

January 16, 2021 January 23, 2021 January 24, 2021

March 20, 2021 Recorded auditions should be submitted by March 1, 2021

Recorded auditions should be submitted by December 31, 2020 for review and scholarship consideration.

UF Application Deadline: Nov. 1

MORE INFO: music@arts.ufl.edu or 352.392.0224

In addition to video submissions, virtual meetings with faculty and students will occur on one of the selected dates. A detailed schedule and links to meetings will be available two weeks prior to each pre-selected date.


November 2020


FVA Middle School Chair-Elect Candidates Michelle R. Tredway

Amber Turcott


education from Florida State University. During her 29-year


teaching career, she has served as collaborative pianist for

Southeastern Lyric Theater, Lakeland Imperial Symphony

choral music education and the

MM in vocal performance. While

ichelle Tredway earned the BM degree from the

University of West Florida and the MM in music

Orchestra, Okaloosa Chamber Singers, the Northwest Florida State College Symphony

Chorale, many Okaloosa all-coun-

ty chorus concerts, and six Florida all-state choirs. Orff certified and Kodály trained, Michelle has taught

elementary general music in both

mber Turcott is a graduate of the University of South

Florida, earning both the MA in

at USF, Ms. Turcott was a mem-

ber of the Opera Theatre program

and the USF Chamber Singers. She is a past member

of the Master Chorale of Tampa Bay, performs locally, and is a section leader at Trinity Presbyterian Church in Clearwater, Florida.

Ms. Turcott has served as choral director at Tarpon

Polk and Okaloosa counties, AP

Springs Middle School for the past 17 years. During her

School, chorus classes at Lewis

performed in community and civic events and have con-

Music Theory at Niceville High Middle School and Ruckel Middle

School (Okaloosa County), and

most recently changed schools in order to build a chorus program at Walton High School in Walton County. She

currently serves as pianist at Rocky Bayou Baptist Church in Niceville, playing for services and the church choir. Mrs. Tredway is an active member of ACDA and FMEA/FVA.

tenure at Tarpon Springs Middle School, her choirs have sistently earned superior ratings at music performance assessments. In 2016, her choir performed a mini-con-

cert at the FMEA Professional Development Conference. Choral students at Tarpon Springs Middle are active par-

ticipants of all-county and all-state honor choirs as well as district solo and ensemble MPA each year.

Ms. Turcott is an active member of NAfME, FMEA,

She is currently serving her second year as chairwoman of

and FVA and has served in leadership roles throughout

It is her goal to help Florida choral directors feel more

FVA district treasurer, Pinellas all-county middle school

FVA District 1.

successful as they participate in the all-state process.

Communication with directors throughout the summer and into the fall semester about timelines and content for

the three audition segments can create a less daunting pro-

cedure in a normal (non-COVID) school year. The state cho-

the district and state, including FVA district chairwoman,

choir coordinator, and PCMEA (Pinellas County Music Educators Association) board member. She is also a member of her School Advisory Committee, having served as both chair and treasurer in past years.

In addition, Ms. Turcott is an active FVA board-ap-

ral programs can only become stronger if more students

proved adjudicator and frequently serves as an adjudica-

in a Florida all-state choir! Mrs. Tredway would consider it

ensemble throughout the state.

strive to learn all they can to become the best-of-the-best

an honor and privilege to serve the members of the Florida Vocal Association as middle school chairwoman.

8    F l o r i d a

Music Director

tor for middle and high school MPAs as well as solo and

If elected, Ms. Turcott will continue to advocate for

middle school/junior high choirs and teachers and focus on ways to make FVA events more engaging and relevant.



2021 FMEA Professional Development Conference W

e are excited to announce that the FMEA Professional Development

Conference will be reimagined into a virtual online experience for

January 2021! This decision was based on many factors, with the health and

well-being of our teachers, students, parents, exhibitors, and all other attend-

ees being of the utmost importance.

We are committed to providing you the quality musical and professional

development experience that you expect from the FMEA Conference, adapted

into a flexible and easy to use online format you can experience in the comfort and safety of your own space.

Regarding All-State: The all-state and honors ensembles are an important

part of the FMEA Conference, and the audition process is a valuable educational experience for all of our students. Auditions for the All-State Bands,

Choruses, Orchestras, Guitar Ensemble, and the new Popular Music Collective will proceed as planned. Students accepted into these ensembles will be rec-

ognized for their achievement, and we are planning virtual opportunities

to provide a musical and educational experience and to encourage lifelong involvement in music.

More information will be available within the next several weeks, includ-

ing information about program offerings, dates, and costs, as well as all-state opportunities.

November 2020


FLORIDA MUSIC EDUCATION ASSOCIATION 2020-2021 DONORS Thank you to all of the donors who have shown their dedication to the improvement of music education in Florida by supporting our Mission through financial contributions. Our donors support specific causes by donating to the FMEA funds of their choice: FMEA Scholarship Fund

June M. Hinckley Scholarship

Music Education Advocacy

Professional Development for Members

General Fund

Mel & Sally Schiff Music Education Relief Fund

The following have graciously donated to FMEA from April 1, 2020, through October 6, 2020.

MAESTRO’S CIRCLE ($10,000 and up) No current donors at this time

ARTIST’S CIRCLE ($1,000 – $9,999)

Artie Almeida In Honor of June Audrey Holcombe Grace & Katie Grace Miller Clifford Madsen Russell Robinson

DONATE TODAY FOR A STRONGER TOMORROW. With your support, FMEA will continue to grow its programs for teachers and students, strengthen united advocacy efforts, and improve your professional development opportunities. Visit FMEA.org to learn more information about each fund and to make a donation.

10    F l o r i d a

Music Director

SUSTAINERS ($100 – $999)

Ann Adams-Valle In Dedication of Bobby L. Adams Lucinda Balistreri In Honor of June M. Hinckley Anthony Chiarito Dayna Cole In Memory of Linda Mann Alice-Ann Darrow In Honor of Mr. & Mrs. O. B. Darrow Virginia Densmore In Memory of Jeff Bradford, Byron & Bobbie Smith

Jason Dobson Florida Bandmasters Association In Memory of Bobbie & Byron Smith Patricia Flowers Stanley Hoch Dennis Holt Marsha Juday Steven Kelly Sheila King In Memory of John W. King Jason Locker In Memory of June M. Hinckley

Natalie Mallis Angel Marchese Carolyn Minear Ree Nathan John Nista Kimberly Oppermann On Behalf of the Board of Directors of HCEMEC, Inc. David Pletincks In Honor of Alexis & Jonathan Pletincks Mary Catherine Salo In Memory of Gary Rivenbark & Wes Rainer

Steven Salo In Honor of John “Buck” Jamison & Dr. Bill Prince Kathleen Sanz In Honor of June M. Hinckley & In Memory of A. Byron Smith J. Mark Scott In Honor of Dr. Judy Arthur & Dr. Judy Bowers D. Gregory Springer Harry Spyker In Honor of Fred & Marlene Miller

Gregory St. Jacques In Honor of Bobbie & Byron Smith Jeannine Stemmer In Memory of Barbara Kingman & Lauren Alonso Leiland Theriot In Memory of Clayton Krehbiel Robert Todd In Memory of Gary Rivenbark Richard Uhler David Williams Kenneth Williams

Robert McCormick Jeneve Medford Jarvis Katie Grace Miller In Honor of My Aunt Artie Ronald Miranda Amy Nickerson In Memory of Carola F. Nickerson Mary Palmer Galen Peters Edward Prasse Marie Radloff In Memory of Charles F. Ulrey C. William Renfroe In Memory of Herbert Beam, past FVA President & my high school choral director

Alicia Romero-Sardinas In Honor of John Rose Melissa Salek Ted Shistle Kyle Spence Missy Tanton Dobson In Memory of Bobbie & Byron Smith Valerie Terry Howard Weinstein In Memory of Barry Weinstein Julian White In Dedication of Kenneth Tolbert Marguerite Wilder In Memory of Bobbie & Byron Smith

Deborah Mar In Memory of Barbara Kingman Christopher Miller Kristy Pagan Hank Phillips Edgar Rubio Jack Salley

Thomas Stancampiano Phil Tempkins Michelle Tredway Gary Ulrich Lisa Wilson

PATRONS ($25 – $99)

Carlos Abril David Bayardelle In Memory of Matthew Jensen Mark Belfast In Memory of Dr. Mark A. Belfast, Sr. Karen Bradley In Memory of Harold Bradley Katarzyna (Kasia) Bugaj Alexander Busby Stanley Butts Tara Callahan In Memory of Kristin Y. Clark Audrey Carballo In Memory of Irwin Bernard

Greg Carswell Renee Cartee Carol Casey Shelby Chipman Dale Choate Zachary Chowning Debbie Cleveland Don Coffman David Cruz Matthew Davis In Memory of Robert Morrison Marc Decker Virginia Dickert In Memory of Lindsay Keller & Deborah Liles Debbie Fahmie Melanie Faulkner

Margaret Flood In Memory of Dr. Karen Kennedy Bradley Franks In Memory of Gary W. Rivenbark Tina Gill In Memory of Gary W. Rivenbark Cheryce Harris Julie Hebert John Henderson Michael Johnson Mary Keyloun Cruz In Memory of George & Laurice Keyloun Lu Anne Leone Joseph Luechauer Kevin Lusk

Anonymous (7)

FRIENDS (up to $24)

Shirley Andrews Gloria Berkowitz In Memory of Judy Berger Crystal Berner Antonio Borges Dan Brockman

Nicholas DeCarbo Beth Ann Delmar Dennis Demaree Jodie Donahoo Wanda Drozdovitch Ashley Espinal

Anna Marie Friars In Memory of Matthew McLaughlin Walter Halil Harold Hankerson Jason Jerald Patricia Losada

Anonymous (4)

November 2020


CHAOS TO OR Repurposing the First 10 Minutes of the Ensemble Rehearsal


by Brandon Meeks

In many public schools today, music education is achieved

for music teachers to show student growth or progress

band, chorus, or orchestra. This Lowell Mason model of

there is not enough time to address these objectives in the

through participation in large-ensemble courses such as

music education is often criticized for exposing students to only one style of music—typically Western art music—

to parents and administrators. A possible concern is that limited amount of rehearsal time.

A strategy that ensemble directors can use to fulfill this

and not giving students the opportunity for input and

standard and demonstrate student growth and mastery

To address this need, the National Association for Music

listening journals provides opportunities for students to

active participation on an individual basis (Kelly, 2011). Education (NAfME) released a new set of instructional

standards in 2014 tailored to give music teachers direction in developing curricula that are challenging yet

diverse for students. Although most of the standards are

pretty simple and unambiguous, Anchor Standard 11

offers more difficulty in documenting student growth. Specifically, Anchor Standard 11 addresses how stu-

is through the use of daily listening journals. Using daily experience different styles of music, allows them to apply

musical knowledge to various styles of music, provides tangible proof of student growth, allows instruction to take place during a time in class when there is usually no

instruction, and offers students an opportunity to simply have fun.

dents should be able to “relate musical ideas and works

Student/Teacher Materials

2014). A main objective as a part of that standard is that

rehearsal is inexpensive and requires minimal materials

with varied context to deepen understanding” (NCCAS,

students should “Demonstrate understanding of relationships between music and the other arts, other disciplines,

varied contexts, and daily life” (NCCAS, 2014). Although participation in music affords students this opportunity through basic connections with math, science, and lan-

guage skills, at times this standard may make it difficult

12    F l o r i d a

Music Director

Implementing a daily listening journal activity during

on the part of both students and teachers. Students will need a spiral or composition notebook. The students’ lis-

tening journal notebooks should remain in the classroom in a designated location so they are available every day and so they can be checked and graded periodically by Continued on page 14


November 2020


Chaos to Order Continued from page 12

the teacher. A crate or a cubby works best to house these notebooks, and students should place their name in large print on the front cover to aid in easy access

each day. Students will also need a pencil, which should also be used during

« President’s Day could be paired with be assigned to each day of the week: « Monday could be devoted to movie Hail to the Chief. (History) « First day of spring could be coupled soundtracks. « Tuesday could be famous ensemble with The Four Seasons by Vivaldi, or day with selections from famous ensembles such as “The Presidents

rehearsal time. So, in a sense, using daily listening journals also helps students

remember to have a pencil for class every day.

The teacher will need access to various

styles of music through programs such as iTunes, Spotify, or Pandora. Teachers

also will need a way to amplify the music

using a sound system or a speaker. A per-

sonal iPod/iPad connected to a speaker or a wireless speaker system works best.

The last resource should be some type of board, whether it is an active board, a

white board, a traditional chalkboard, or even a poster board with prewritten journal questions to display each day.

Own” Marine Band, the Mormon

Tabernacle Choir, Chicago Symphony

« Wednesday

Orchestra, etc.

world music so different cultures are

When selecting a piece of music, the

important thing is for students to listen to different styles each day. Below is an

« Pi Day (March 14) could be coupled Korsakov. (Science)

with Sugar Pie Honey Bunch by The

« Halloween

Temptations. (Math)

could be paired with

Thriller by Michael Jackson (Social

« Thursday could be throwback day « The anniversary of the Titanic disaster explored each week.

where pieces from the Medieval, Baroque, Classical, and Romantic

« Friday could be popular music day. periods are played.

Teachers have the flexibility of choos-

ing how they wish to structure the listen-

ing activities. Unique interdisciplinary

connections can also be made by playing certain songs on certain days of the school year. Here are some examples:

Musical Selections

« Anniversary of the attack on Pearl

example of how musical selections could

14    F l o r i d a

could be devoted to

Flight of the Bumblebee by Rimsky-

Music Director

Harbor (December 7) could be cou-

pled with The Star-Spangled Banner. (History)


(April 12) could be paired with a song

« Significant annual anniversaries of from the Titanic soundtrack. (History)

great literature such as The Divine

Comedy or Romeo and Juliet could be

paired with music that represents these texts. (Literature)

These examples are not meant to be

standards that must be played. They are simply recommendations to stimulate

thinking and to offer ideas about how to select pieces for each day. A suggested list

of music sorted by month of the school year is listed in Table 1. Continued on page 17

Table 1

Suggested Song Titles for Each Month of the School Year Month










Artist(s)/Composer(s) Earth, Wind, and Fire Beethoven The Jackson 5 Joplin, Scott Weber, Andrew Lloyd Adele Whitacre, Eric Jackson, Michael Jackson, Michael Destiny’s Child Horner, James Marquez, Arturo Jager, Robert Gould, Morton Houston, Whitney Barber, Samuel Shostakovich, Dimitri Menzel, Idina

Title September Symphony No. 5 ABC The Entertainer Phantom of the Opera (Overture) Hello October Thriller Beat It Survivor Coming Home From the Sea Danzon No. 2 Esprit de Corps American Salute The Star-Spangled Banner Adagio for Strings Symphony No. 5 (Movement 4) Let It Go (from Frozen)

Pentatonix Williams, John Five for Fighting Various Cultures Kloser, Harold Black Eyed Peas Sanderson, James Vivaldi Pasek, Benj and Paul, Justin Camphouse, Mark Ellington, Duke Beyoncé Larson, Jonathan Dilloworth, Rollo Ticheli, Frank Temptations Vivaldi Holsinger, David Grainger, Percy Horner, James Broughton, Bruce Coldplay Puccini, Giacomo Ticheli, Frank Joplin, Scott Perry, Katie Kool and the Gang Journey Rascal Flats Menken, Alan and Rice, Tim *NSYNC

Carol of the Bells Setting the Trap (from Home Alone) 100 Years Holiday Songs White House Down Opening Where Is the Love? Hail to the Chief (for President’s Day or the Inauguration) The Four Seasons (Winter) This Is Me (from The Greatest Showman) A Movement for Rosa Take the A Train Love on Top Seasons of Love (from Rent) Walk in Jerusalem Vesuvius Sugar Pie Honey Bunch The Four Seasons (Spring) On an American Spiritual (for Easter) Children’s March Hard to Starboard (from Titanic) Silverado Viva la Vida Nessun Dorma An American Elegy (for Columbine High School) The Entertainer Firework Celebration Don’t Stop Believin’ Life Is a Highway A Whole New World (from Aladdin) Bye, Bye, Bye

November 2020


Rating: Rate this piece on a scale from 1-5.

1 means you hate it, and 5 means you love it.

Music Journal






Date:_________________________________ Title:__________________________________________________________________________________________________ 1. What is the tempo of this piece?________________________________________________________________________ 2. What is the mood of this piece? (transfer to tonality major vs. minor as the year progresses)___________________ ______________________________________________________________________________________________________ ______________________________________________________________________________________________________ 3. What images come to mind when listening to this piece?__________________________________________________ ______________________________________________________________________________________________________ ______________________________________________________________________________________________________ ______________________________________________________________________________________________________ 4. An interdisciplinary question (e.g., for Hail to the Chief): Who is usually present when this song is played? ______________________________________________________________________________________________________ ______________________________________________________________________________________________________ ______________________________________________________________________________________________________ Other questions could include: (1) Have you heard the piece before?



(2) Do you think your parents/guardians would enjoy this music?



(3) When do you think this piece was written?_____________________________________________________________ OTHER THOUGHTS:__________________________________________________________________________________ ______________________________________________________________________________________________________ ______________________________________________________________________________________________________ ______________________________________________________________________________________________________ ______________________________________________________________________________________________________

16    F l o r i d a

Music Director

Chaos to Order Continued from page 14

Journal Entries

When writing the journal entry on the

board, the questions listed in the example form on the previous page could be used.

Along with the interdisciplinary ques-

tions in each entry, the complexity of the

questions should increase as the school

year progresses. Using the tempo ques-

tion as an example, during the first couple of months of school, give students answer choices for this question, such as fast or

slow. As students learn to identify different tempos, add more choices, such as

slow, medium slow, medium fast, or fast.

As students learn the actual musical terminology, transfer these choices to those

musical terms (e.g., largo, moderato, allegro, presto). Once students gain an understanding of the musical terms, remove the

choices and have them identify the tempo they think works best. You will find that

students will have different interpretations. That is O.K., and it transfers to the

concept that we each experience music differently. This concept of scaffolding

toward more complex concepts can be transferred to the other questions as well .

The Process

Each day the teacher writes the date, the word title (the students will learn the title

of the piece after they listen to it), and three or four questions on the board for

students to copy and answer. As students

should not be talking, the teacher now has

gather materials, music stands, music fold-

logistics and announcements, the teacher

enter the room for rehearsal, they should

the full attention of students. After the

ers, and journals, and then have a seat and

should take no more than three min-

begin writing the journal entry for the

utes to review the journal entry for the

day in their journals. When the bell rings,

day. This process involves answering the

or whenever it is time for class to begin,

questions and asking students what they

the teacher begins to play the “Song of

thought about the piece. The last step

the Day.� While the piece is playing, stu-

should be to give the students the title

dents are listening, gathering materials

of the piece, which they need to write in

needed for rehearsal, thinking about the

their journals. The entire process should

answers to the journal questions, turn-

take no more than the first 10 minutes

ing in any logistical information such

of class. It is important to remember that

as forms, money, etc., or just asking the

listening journals do not take away 10

teacher individual logistical questions.

minutes of rehearsal time. The listening

It is essential that teachers maintain the

journals actually repurpose 10 minutes

expectation that students should not be

that are usually wasted while students

talking while the music is playing unless

complete the logistics that are needed for

they are in direct communication with the

a music class to function effectively.

teacher. Instead of students wasting the

first 10 minutes of class while completing


listening journal focuses the first 10 min-

the music classroom, some are confused

mundane and routine tasks, the use of the

When administrators come to observe in

utes on something instructional that can

as to how students are evaluated on an

prepare students for rehearsal and shows

individual basis in a large-ensemble set-

administrators that learning is occurring

ting. Daily listening journals are a sim-

from bell to bell.

ple yet effective way to evaluate student

At the conclusion of the piece, or

mastery of basic music vocabulary. One

after a few minutes, rehearsal should be

way journals can be graded every week

ready to begin. Rehearsal can begin with

concerns vocabulary usage. For example,

announcements or whatever logistical

as students learn different tempo mark-

procedures the teacher has established.

ings, do they continue to answer tempo Continued on page 18

Since there is an expectation that students

November 2020


Chaos to Order Continued from page 17

questions in their journals using fast, medium, or slow, or have they made the

transfer to replacing those basic terms

with words such as presto, moderato, or

Daily class discussions that accompany

the listening journals are an excellent way

also important to note that listening jour-

Once listening journals are implement-

chronous online classes. Students who are

to reach students on an individual basis.

adagio? Furthermore, listening journals

ed into rehearsals, they can also be used

and accuracy. The goal is for students to

sections achieve at a high level, they can

can also be evaluated based on neatness write neatly in their journals, all while

achieving the academic content. This important social skill, one that is prob-

ably introduced and addressed in other classrooms, can be reinforced in the music classroom to show students how this life

skill is essential across all disciplines. It is

as a form of reward. When individuals or be granted the opportunity to select or

bring in a song to share with the class. If this process is going to be implemented, it

is essential that the teacher listen to and

approve the song selection prior to using it in the classroom.

evaluate the journal entries is left to the teacher.

days, fire drills, state testing days, and

As discussed earlier, music education in

ensemble classes is often criticized for attempting to meet the needs of students

by extending the process and listening of a three-to-five-minute excerpt. Also, a full class discussion can occur instead of a quick rundown of the questions.

Substitute teachers who are able to

is absent. This can be especially helpful

expanding their musical palate.

18    F l o r i d a

can be a great addition to the online music class.

Listening journals can be an effective

dents’ exposure to music, and the best day!

and is pursuing the PhD in

this issue by allowing students to indi-

variety of music selections in addition to

online will find that listening journals

nals can be used to fill this awkward time

rehearsals from occurring. Listening jour-

facilitate a class discussion can use the

vidually express their thoughts about a

to do with their students when teaching

Brandon Meeks is from

only through Western art music. Listening

journals offer educators a way to combat

are looking for new learning activities

field trip days can prevent full ensemble

to an entire movement of a work instead


they were in the classroom. Teachers who

part is they only require 10 minutes a

time for a full rehearsal. Early dismissal

answers are correct. The choice of how to

in the activity the same as they would if

needs to take place, but there is not enough

grade, based only on participation. As they receive full credit, whether or not the

participating from home can participate

Listening journals can be used as class-

room fillers for times when instruction

long as students answer all the questions,

nals can work well when teaching syn-

tool to aid in widening the scope of stu-

also important to note that listening journals can be graded as a simple completion

Finally, as we are in the year 2020, it is

listening journals when the music teacher when the music teacher has an emergency

situation and doesn’t have time to create substitute lesson plans.

Music Director

Charlotte, North Carolina, music education at Florida State University. Prior to

studying at FSU, Mr. Meeks

was the director of bands at East Lincoln

Middle School in Iron Station, North Carolina. References Kelly, S. N. (2011). Teaching music in American society (2nd ed.). Routledge. National Coalition for Core Arts Standards. (2014). National Core Arts Standards: Music, Grades Pre-K to 12. National Coalition for Core Arts Standards. Retrieved from https://www.nationalartsstandards.org/

Please take time to thank and support our 2020-2021 Corporate & Academic Partners.


SILVER PARTNERS The Horn Section Jacksonville University

BRONZE PARTNERS Cadence Music Excelcia Music Publishing Florida College

Neil A. Kjos Music Company University of Florida

Partners as of October 6, 2020.

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

November 2020



Moving Forward in Music Education by Tina Beveridge


Unprecedented. Uncertain. Trying. Difficult. Challenging. Extraordinary. Unusual. These accurate words, used often in the past few

Racism in the Music Classroom

upheaval we are experiencing in the United States.

there are still educators in denial that it exists at all

months, do not seem to convey the magnitude of

Racism can be hard to identify in music education when

“Challenging” does not begin to describe the scramble

(Ryan, 2003). Bias will always be present even among

teachers went through to create meaningful online

curriculum. “Difficult” does not cover the heartbreak of teachers, parents, and students who were looking for-

ward to their final performances, awards, graduation, and promotion ceremonies.

Then as educators, students, and parents across the

country began to heave a well-earned sigh of relief near

the end of the school year and the survival of emergency

online instruction, the tragic deaths of Ahmaud Arbery,

Breonna Taylor, George Floyd, and others were brought to public attention. The revelations of these deaths happened in such quick succession that there was no

emotional recovery time, and an already weary and frustrated public turned to mass protest. The protests,

in turn, exposed festering wounds of racism in every

aspect of American society, and music education has been no exception. In this article, I hope to give some

suggestions on how the profession may use these truly

extraordinary circumstances to rethink and reshape how music education can best serve all students.

20    F l o r i d a

Music Director

the most well-intentioned teachers because the majority of education professionals are White. Although students of color and students from racial and ethnic minority

groups are socioeconomically diverse, there is a wealth of research documenting minority overrepresentation in poverty or the lower middle class compared to the

White population (Shapiro et al., 2013). As such, there

are some class-related discrimination behaviors that exist in music classrooms that disproportionately affect Black and Hispanic students, but also affect low-income

White students (Howard, 1999; Noltemeyer, Ward, & McLoughlin, 2015). These same discrimination factors

particularly affect Black students, since those students are overrepresented in special education and in disci-

pline policies. That, in turn, affects their ability to access elective courses (Togut, 2011). Below are some of the ways discrimination can appear in classrooms:

1. Deficit mindset (Delpit, 2006). A deficit mindset

occurs when a teacher lowers expectations for a student based on stereotypes or preconceived

Continued on page 22

November 2020


BRINGING GOOD FROM THE BAD Continued from page 20

bias. Deficit mindset is most com-

monly seen in music when the teacher insists that the students need to learn

“quality” music or makes disparaging remarks about the “simplicity” of pop

or world music. What the teacher is really communicating is a value hierarchy to different genres of music,

and that students are expected to conform to the teacher’s value system

(Bauder, 2002). Deficit mindset can also be more insidious when teachers

or administrators assume parents or

students of color “don’t value” music or education in general.

2. Implicit bias/Color-blind racism (Bonilla-

Silva, 2013). All human beings have

bias; the denial that such bias exists with regard to race is called color-blind

racism. The teacher who is “color blind” is the opposite of the deficit

since the effect of such actions tends

reinforce a power dynamic or when it

educator holds all students to exact-

example, more accurately calls it racial

sion of the culture bearers. Rogers

mindset teacher in that the color-blind

to be cumulative. Ibram Kendi, for

ly the same standard with the same

abuse (2019, p. 47), given the cumula-

resources and attention, regardless of

tive effect of these types of actions. I

circumstance or context. This teacher

use the term microaggressions here

might say something to the effect of

to bring awareness to actions that

“When do the needs of all my [White

may not be entirely conscious but are

middle class] students outweigh the needs of the [Black] individual?”

3. Microaggressions



adjustable, and also so the overall idea is not dismissed because of a knee-jerk reaction to the word abuse.

is done without the explicit permiscalls these forms of appropriation

exploitation and dominance. Tokenism

in music is a form of appropriation where pieces of music are added to a

performance to draw attention away from an otherwise homogenous program, such as adding one Hanukkah

song to a program of sacred or secular

Solarzano, 2015). Racial microaggres-

4. Cultural appropriation and tokenism

[that] are not gross and crippling.

means to borrow. Cultural appro-

Progress That Has Been Made

be negative, but the author Richard

in secondary ensembles, though choirs

sions are defined as “offensive actions

They are subtle and stunning” (p. 299). In a classroom this can be seen in the teacher who gives up on trying

to correctly pronounce a name that is unfamiliar or who assumes that when

performing an African song, the Black students will have particular expertise or desire to play percussion. It is

also seen in “no excuses” behavior policies that are unequally applied. It

should be noted that microaggressions is not a universally accepted term,

22    F l o r i d a

Music Director

(Rogers, 2006). Appropriation simply

priation is commonly understood to Rogers explains that certain types of appropriation such as cultural exchange

or transculturation can be acceptable,

especially in an educational setting where the goal may be simply to

introduce students to an unfamiliar

culture, or where resources are not

sufficient for a more full and complete learning experience. Appropriation becomes negative when it is used to

Christmas music.

Minority students are underrepresented

appear to have made some progress in this area (Elpus & Abril, 2011). Elpus and

Abril (2011) reported that “music students

were 1.7 times more likely to be white than Hispanic” (p. 8). Also, the odds that

a music student would be from the highest socioeconomic status (SES) was “1.71 times more likely … than they were to be

in the lowest SES quartile” (p. 8). In a 2019 follow-up study, the same authors said:

Enrollment in choral music was not

ance, with the teacher holding power

be. Many teachers attempted to maintain

nicity, reflecting the reality for the

is exaggerated when the teacher is White

video projects, but for others, the resourc-

dents were not significantly different

cation envisioned by John Dewey turns

in terms of their racial and ethnic

modern version of this idea is called

were also statistically similar to the

tered approach, as the name suggests,

their native language. (Elpus & Abril,

of their own learning and decide their

associated with student race/eth-

over the students. This power structure

class of 2013 that choral music stu-

and the students are not. Democratic edu-

from the population of all students

this power structure on its head. The

composition. Choral music students

assumes that the students can be leaders

2019, p. 12)

own path for mastery. In this approach,

Other researchers have explored the

expert resource rather than a director

the recession on schools with high pover-

ty, which usually corresponds to schools with higher diversity, and those studies

show a negative effect on the ability of those students to access music instruc-

tion (Beveridge, 2010; Costa-Giomi &

Chappell, 2007). However, because the problem of access has been well iden-

tified, creative solutions have begun to

emerge. Nonprofit and foundation grants and partnerships have helped to reboot

neglected urban music programs, and even some suburban programs where

urban gentrification has pushed poverty outward. Although this movement

toward equality across schools is a posi-

tive step forward, it only addresses access

to physical and financial resources, and

does not address the cultural disconnect that may prevent students from enrolling or feeling welcome in the classroom (Yale School of Music Symposium, 2017).

Using Learner-Centered Pedagogy to Address Systemic Racism

The four categories of systemic educa-

tional racism discussed previously all stem from the concept of a power imbal-

ance. One group holds power; the other

does not. In the classroom, the traditional structure has an inherent power imbal-

es or time commitment made that option impossible. The proliferation of these

videos raised some questions: Are large ensembles the best way to teach playing or singing skills? Are large ensembles

learner-centered pedagogy. A learner-cen-

population of all students in terms of

effect of modern education reform and

their ensembles through virtual group

the only way to teach musicianship and

musical understanding? Are large ensembles the only way to build bonds and rela-

tionships? Of course, in many cases, the

videos were clearly intended to maintain

the teacher is more of a facilitator or an

some sense of normalcy, since individual recordings of students are no substitute

giving instructions. The best aspect of

for ensemble playing in person and pro-

this approach is that it negates almost

vided a way to grieve the loss of collective

all of the systemic problems listed above.

music making. Also, the amount of time

A teacher cannot easily or accidentally

teachers were given to prepare for online

commit acts of negative appropriation or

instruction was not sufficient to pivot

tokenism if the students choose the music.

into unfamiliar instructional methods.

If the students are in charge of their own

The danger moving forward, however, is

learning, the teacher must use a growth

continuing to use virtual ensembles as the

mindset rather than a deficit mindset, or

only type of musical instruction simply

assessment is not possible. Color-blind,

because it might be the most comfortable.

all-st udents-get-t he-same-treat ment

Learner-centered pedagogy is not the

approaches are not possible because indi-

vidual students work at their own pace

exclusive domain of general music or

learner-centered approach changes the

cepts and principles can be applied to

the online/quarantine setting. The con-

with their own ideas. In other words, the

ensemble settings as well. For example,

power structure. It has been my personal

University of Washington wind ensem-

experience that changing the power struc-

ble director Timothy Salzman adjusted

ture was helpful in building trust and

his spring 2020 curriculum to small-en-

relationships among students of ethnic

semble composition projects. This change

and racial minority groups who had no

put the responsibility for learning onto

initial reasons to trust me, a middle-class

the students, both to create the music

White woman.

and to figure out a way to perform it

as an ensemble using digital tools at

Using the Pandemic Experience to

hand (Joseph, 2020). Of course, the inde-

Rethink Power Structures

pendence of collegiate-level musicians is

During this past spring of 2020, schools

higher than middle or high school stu-

across the country shifted into emergen-

dents, but learner-centered teaching exists

cy online instruction. Online quarantine

on a continuum depending on the needs

teaching offered unique challenges to

of the students. Although this instance is

music instruction that forced a conversa-

another example of virtual ensembles, the Continued on page 24

tion about what the ultimate purpose/goal

of music education is and what it should

November 2020


BRINGING GOOD FROM THE BAD Continued from page 23

difference is who is in control of the learn-

room. Diversifying the ensemble curric-

why a similar project could not be given

appealing for students who did not take

ing and production. There is no reason to middle or high school students, with guidance from the teacher. In addition, these types of projects could be valuable

additions to ensemble instruction when it eventually resumes in person.

Whether an assignment or a project is

ulum could also make school music more

a traditional path and may not have felt welcome in the current paradigm. That

makes this approach something that cannot be abandoned once face-to-face teaching resumes in full.

teacher or learner centered can be judged

Tina Beveridge is a sec-

ers interact directly with one another and

the Frost School of Music at

using the following litmus test: (a) learnthe teacher throughout the process; (b)

learners engage directly with music; and (c) learners interact directly with authen-

tic processes of performing, listening, and

creating (Wiggins, 2016). This test could be applied to projects or assignments

involving any combination of voices or

other instruments. Learner-centered ped-

agogy is not mutually exclusive from ensemble work.

Using a learner-centered approach can

be an easy way to survive any additional online teaching that might be required

as the pandemic continues. It certainly can cost less than expensive micro-

phones and software, while allowing for a more reasonable teacher work schedule.

Allowing students to take more own-

ership of their own learning eliminates many of the power structures that con-

tribute to systemic racism in the class-

ond-year PhD student at

University of Miami. A choral specialist, she has also taught

elementary general, band, and

community college for over 17 years. Her research focuses on issues of education policy and access to music instruction. References Bauder, H. (2002). Neighbourhood effects and cultural exclusion. Urban studies, 39(1), 85-93. https://doi.org/10.1080/00420980220099087 Beveridge, T. (2010). No Child Left Behind and fine arts classes. Arts Education Policy Review, 111(1), 4-7. https://doi. org/10.1080/10632910903228090 Bonilla-Silva, E. (2013). “New racism,” colorblind racism, and the future of Whiteness in America. In Doane, A. & Bonilla-Silva, E. (Eds.). White out (pp. 268-281). Routledge. https://doi.org/10.4324/9780203412107 Costa-Giomi, E., & Chappell, E. (2007). Characteristics of band programs in a large urban school district: Diversity or inequality? Journal of Band Research, 42(2), 1-19. Delpit, L. (2006). Other people’s children: Cultural conflict in the classroom. The New Press.

For Further Reading on Learner-Centered Music Teaching Barrett, J. (2005). Planning for understanding: A reconceptualized view of the music curriculum. Music Educators Journal, 91(4), 21-25. https://doi.org/10.2307/3400154 Bartel, L. (2004). Music making for everyone. In L. Bartel (Ed.) Questioning the Music Education Paradigm (pp. 228-241). Canadian Music Educators’ Association. Green, L. (2017). Music, informal learning and the school: A new classroom pedagogy. Routledge. https://doi.org/10.1017/S0261143011000110 Kladder, J. (2019). Learner centered teaching: Alternatives to the established norm. In D. Williams & J. Kladder (Eds.) The Learner-centered music classroom: Models and possibilities (pp. 1-17). Routledge. https://doi.org/10.4324/9780429261510

24    F l o r i d a

Music Director

Elpus, K., & Abril, C. R. (2011). High school music ensemble students in the United States: A demographic profile. Journal of Research in Music Education, 59(2), 128-145. https://doi.org/10.1177/0022429411405207 Elpus, K., & Abril, C. R. (2019). Who enrolls in high school music? A national profile of US students, 2009-2013. Journal of Research in Music Education, 67(3), 323-338. https://doi. org/10.1177/0022429419862837 Howard, G. R. (2016). We can’t teach what we don’t know: White teachers, multiracial schools. Teachers College Press. Joseph, N. (2020). Making music, from a distance. Perspectives Newsletter, University of Washington College of Arts and Sciences. Retrieved from https://artsci.washington. edu/news/2020-05/making-music-distance Kendi, I. X. (2019). How to be an antiracist. One World. Noltemeyer, A. L., Ward, R. M., & Mcloughlin, C. (2015). Relationship between school suspension and student outcomes: A metaanalysis. School Psychology Review, 44(2), 224240. https://doi.org/10.17105/spr-14-0008.1 Pérez Huber, L., & Solorzano, D. G. (2015). Racial microaggressions as a tool for critical race research. Race Ethnicity and Education, 18(3), 297-320. https://doi.org/10.1080/136133 24.2014.994173 Rogers, R. (2006). From cultural exchange to transculturation: A review and reconceptualization of cultural appropriation. Communication Theory 16(4), 474-503. doi:10.111/j.1468-2885.2006.00277.x Ryan, J. (2003). Educational administrators’ perceptions of racism in diverse school contexts. Race, Ethnicity and Education, 6(2), 145-164. https://doi. org/10.1080/13613320308197 Shapiro, T., Meschede, T., & Osoro, S. (2013). The roots of the widening racial wealth gap: Explaining the black-white economic divide. Institute on Assets and Social Policy. Brandeis University, Feb. 2013, 1-8. Retrieved from https://drum.lib.umd.edu/bitstream/ handle/1903/24590/racialwealthgapbrief. pdf?sequenc Togut, T. D. (2011). The gestalt of the schoolto-prison pipeline: The duality of overrepresentation of minorities in special education and racial disparity in school discipline on minorities. American University Journal of Gender, Social Policy, & the Law, 20, 163-182. Wiggins, J. (2016). Teaching music with a social constructivist vision of learning. In C. R. Abril & B. M. Gault (Eds.) Teaching general music: Approaches, issues, and viewpoints (pp. 49-72). Oxford University Press. Yale School of Music Symposium. (2017). Declaration on equity in music for city students. Retrieved from https://www. declaration.yale.edu/declaration



Jason Locker, President


It is amazing how quickly time

llow me to be the first to congratulate all members of the

flies! Our association once again

will be announced during the first

tasked with choosing the leadership

finds itself in an election year,

2021 Florida All-State Choruses, who

that will determine the vision and

half of this month. FVA members

future direction of the Florida Vocal

and their students worked diligent-

Association. Check out pages 6 and

ly through a very different audi-

8 to read about our outstanding slate

tion process to achieve this honor.

of candidates: Michelle Tredway and

I appreciate both your patience and

Amber Turcott for middle school

resolve in keeping All-State alive in

chair-elect, and Jeff Bogue and

this most unusual school year.

We can’t forget to acknowledge

and thank the people who have done the

edge and resources available, I hope it is

track toward achieving this goal. David

this year’s virtual conference presents to

work behind the scenes to keep us on Verdoni, all-state chairman, has been

hard at work for over six months planning

obvious what an incredible opportunity


audition process. David Pletincks, music chairman, coordinated the adjudication

Matthew Davis, President

process again this year. And of course, out the adjudicators themselves, and we thank them for their dedicated service to their colleagues and the profession.

tions from FMEA.

each music educator.

(and continuously revising) this year’s

we could not have gotten it all done with-

David Pletincks for president-elect.

Keep an eye out for online voting instruc-


appy fall, everyone! I hope the cool temperatures and fall weather provide

a welcome break from the stress of the classroom. During these busy

weeks ahead, make sure to take time for yourself. Something as simple as a

As of this writing, your FVA leadership

walk around the neighborhood can do wonders to clear your mind and ease

State “Virtual Experience” for our accept-

one understands your frustrations and challenges better than your colleagues.

tions with conductors, masterclasses with

Committee. Remember: We are here to help and support YOU!

more. Stay tuned for more information

begin thinking of topics you would like to see for the 2021 conference and

I encourage all members to register for

all-state coordinators for the 7-8 Middle School Honors Orchestra and the 11-12

Conference in its new, reimagined vir-

serving in any of these capacities, please contact our executive director, Donald

sions, musical performances, and a virtu-

Again, congratulations to all those students who prepared and auditioned for

is hard at work designing the 2021 All-

stress. Connections to colleagues can also help you face difficult situations. No

ed students. We envision virtual interac-

Seek out string teachers in your district or contact FOA through the Mentoring

university vocal/choral faculty, and much

We are already looking ahead, planning for the 2021 Fall Conference. Please

about All-State as it becomes available.

share them with us so we can best serve you. We also need people to serve as

the 2021 FMEA Professional Development

Symphonic Orchestra, as well as for president-elect. If you are interested in

tual format. In addition to general ses-

Langland, at exdirfoa@yahoo.com.

al exhibit hall, there will be a number of

All-State, and thank you to the teachers who inspire these students daily. We

that will be available both in real time and

Conference in January. Many thanks to the hard work of the FMEA Conference

ees will continue to have access to watch

check the FMEA website for the most up-to-date information about the confer-

sessions specific to the choral classroom

are looking forward to our reimagined 2021 FMEA Professional Development

on demand. Registered conference attend-

Planning Committee in moving the conference online in record time! Please

recorded sessions at their convenience for

ence, schedule, and featured sessions. It will be an event not to be missed!

a period of time after the conclusion of the

Wishing you all the best as we continue to inspire our future.

conference. With such a wealth of knowl-

November 2020




Mark A. Belfast, Jr., PhD, Advisor

If we could change ourselves …


he world around us is rapidly chang-

ing. There’s no doubt about that. I’ve

often encouraged you to explore ways of adapting, without losing yourself, in

order to remain relevant and impactful in an evolving environment. Mahātmā Gandhi is often misquoted as saying, “Be

the change you wish to see in the world.” That is a wonderful sentiment, but there’s little evidence to support that Gandhi

ever said or wrote it. The closest refer-

ences attributed to Gandhi come from a 1913 publication in which Mohandas

Karamchand Gandhi (Mahātmā is an honorific similar to the term saint) provided a

piece about snake bites. Within the piece, he included the following passage:

We but mirror the world. All the ten-

dencies present in the outer world are

to be found in the world of our body. If we could change ourselves, the

tendencies in the world would also change. As a man changes his own

nature, so does the attitude of the world change towards him. This is

the divine mystery supreme. A wonderful thing it is and the source of our

happiness. We need not wait to see

what others do. (The Collected Works of Mahatma Gandhi, 1999, p. 241)

That’s deep. Gandhi was essentially

saying the world around us is a reflection

of our inner selves, and we are a reflection

of the world. He went on to explain he was writing at great length about “snakebite” with hopes the reader might “dis-

ately control or modify our behaviors.

your vote for their candidate. First, just

control the environment that in turn con-

list. Then, make sure you have done your

Dr. Clifford Madsen says it this way, “we trols us.”

Regardless of how you state it, the idea

is that we cannot reasonably expect to exist within the world — the social, polit-

ical, economic, religious, American, collegiate, minority, technological, spiritual, middle class … world — without both

directly affecting it and being affected by it. What you do and how you are matters, and both involve choice.

Indeed, life is a series of choices. This

cover a miraculous remedy with which

month, we find ourselves charged with

that statement as conflict. Considering the

for the next president of the United States

to face all such terrors.” Read terrors in aforementioned passage regarding the interconnected relationship of all things,

that desired miraculous remedy may be the ability to effectively and appropri-


the responsibility of voicing our choice

reply STOP to be removed from their

research and cast your ballot in favor of the folks who support issues you care

about. Remember Gandhi’s words? “We need not wait to see what others do.”

Don’t just vote for someone because your parents or friends are voting for that

individual. Take the time to ask yourself why you believe that candidate would be

the best person for the job. Why do you believe he or she will impact YOUR world

in a way that is consistent with your goals,

dreams, desires, or values? An uneducated vote may be worse than no vote at all!

For many years, the college-aged voter

(amongst other things). You have probably

turnout was terrible. In as recent as 2014,

from strangers, who know your name

in America was an abysmal 19% (Thomas,

been getting robocalls and text messages

(sketchy!), asking if they can count on

Florida Music Director

the voting rate at colleges and universities Gismondi, Gautam, & Binker, 2019).

Although there were a number of meth-

text. BallotReady.org

ods available to submit an absentee vote,

view candidates and ballot measures

many college students chose to ignore Election Day because they were away at

school and thus outside of their voting district. Others didn’t believe their single vote could make a difference. By 2018,

however, many attitudes (and behaviors) had changed. Many institutions developed unique initiatives to educate col-

lege students about voting options and to encourage them to vote. As a result, the

2018 midterm elections saw the voting rate at colleges and universities across the

country rise from 19% to 40% (Thomas,

Gismondi, Gautam, & Binker, 2019)! As wonderful as that was, there remained an astounding 60% of college students, who

were eligible voters, that failed to cast a ballot in 2018.

I encourage you to make a choice to be

heard. Now. Consider ways to make vot-

ing fun! During the 2018 midterms, many

universities developed voting challenges

either across their campus (i.e., College of

Arts & Sciences vs. College of Business,

football vs. baseball, choir vs. band, etc.) or with sister or rival institutions. What can you do to encourage your peers to vote

this month? I challenge you to get 100% of eligible voters within your chapter to

cast a ballot! Maybe have a socially dis-

tanced bonfire, roast marshmallows, and make s’mores if you pull it off! Or maybe challenge another group on campus.

Can ΦΜΑ achieve a higher percentage

of voter participation than ΚΚΨ? ΣΑΙ vs.

ΤΒΣ? Education majors vs. performance majors? A three-way challenge between the band, string, and choral departments? The possibilities are endless.

As you encourage your peers to partic-

ipate, here are some resources you might find useful:

enables you to

based on your address. It isn’t a bad

« How

place to start, but it certainly shouldn’t Americans



Through History: From Voices to Screens

 — This is a brief but inter-

esting history of the various methods

« How,

of voting in the United States.

Where, and When to Vote

 — USA.gov provides a great deal of

information regarding actually cast-

ing your vote. Follow the link to learn more about absentee and early vot-

ing, Election Day voting procedures,

required identification, and who

is allowed to vote in U.S. elections.

Remember, you must vote in your home district, which may or may not

be where you are attending school. If you live too far away your home district to


head home to vote, I



already requested

an absentee bal-

lot, because it’s too

late now! Deadlines

for requesting and returning absen-

tee ballots vary by state and county. Check with your district’s election

« Decide for whom you plan to vote office for details.

 — There are countless voter guides

available in print media and online.

Explore a few! Remember, everyone has a bias. It’s just a characteristic of the human condition. Furthermore,

an N of one does not good research

make! Find time to explore voter guides that provide links to their

sources so you can view candidate statements and voting records in con-

be the only place you look.

« October



Director Advocacy Report



Jeanne Reynolds wrote a wonderful

report in last month’s FMD. I believe

her directive to pay attention to down ballot races is especially important. The national races typically get all the

media attention, but it’s those state legislators, county commissioners,

and school board members who will have a more direct impact on your daily experience as a teacher.

According to the National Study of





(NSLVE), approximately 7.5 million students enrolled in colleges and universi-

ties voted in the 2018 midterm elections (Thomas, Gismondi, Gautam, & Binker,

2019). That means an estimated 10 mil-

lion eligible college students failed to

cast a ballot that year. What if we could change ourselves, our schools, or our environments this year? What if your world began to look a bit more like you,

rather than you resigning to mirror the world? You matter. Your voice matters. Your choice matters. Make it known. References Gandhi, M. K. (1999). The collected works of Mahatma Gandhi (Vol. 13). Publications Division Government of India. Retrieved from https://www.gandhiashramsevagram. org/gandhi-literature/collected-works-ofmahatma-gandhi-volume-1-to-98.php Thomas, N., Gismondi, A., Gautam, P., & Binker, D. (2019). National study of learning, voting, and engagement. Tufts University.

November 2020




Ernesta Chicklowski, President

FEMEA President-Elect Candidate

Ashley Peek


shley Peek is a native of Oxford,

General Music. Mrs. Peek

confidence. By giving my

Gulf Breeze, Florida. She is a graduate of

Florida Music Director and

opportunities and tools

Alabama, and currently resides in

Auburn University. She is in her ninth

year at Holley Navarre Intermediate

School in Navarre, Florida, where she

teaches third through fifth grade general music, fourth grade Orff club, fifth

grade chorus, and fifth grade percussion

for Teaching Music Magazine,

Association Music.


phy, I believe music is a medium that can

Music Educators Association, and she is

currently serving as the FEMEA member

engagement co-chairwoman. In addition

to her work with FEMEA, she has served two terms as southern division representative for the National Association

for Music Education Council for General Music. She is currently serving as a member at large for the NAfME Council for

leave with the ability to be successful in whatever


Teacher of the Year for Santa Rosa County. for District VI for the Florida Elementary

cians, I know they will

lished through the National


She has served two terms as chairwoman

to be successful musi-

as well as lesson plans pub-

ensemble and “Orff-estra.” For the 2014-15 school year, she was awarded Fine Arts

students the performing

has written articles for the

they may choose to do in life, even if they don’t

pursue music later on.

As part of my personal teaching philoso-

Within FMEA and FEMEA, I strongly

reach each and every person in the world

help them achieve this in their own class-

in some way, no matter how small or

big that may be. Through singing, danc-

believe in giving teachers the tools to rooms.

In alignment with my teaching phi-

ing, and performing on Orff instruments,

losophy, my vision for FEMEA is that

ukuleles, my students leave as true per-

needed to give their students that feeling

percussion instruments, recorders, and formers of music, with the teamwork and

critical thinking skills that each of those things require. Music teaches responsibility, adaptability, perseverance, and dedication. Through those things, it instills

we provide teachers with the resources of success and musicianship so that we

can reach all of our students in some way,

no matter how big or small. Professional

development is vital for teachers to

be able to strengthen their educational

NAfME All-National Honor Ensembles Due to the ongoing COVID-19 pandemic, the National Association for Music Education (NAfME) made the difficult decision to cancel the in-person All-National Honor Ensembles, originally scheduled to take place November 4-8 in Orlando. This virtual event will include several rehearsals with the 2020 ANHE conductors and workshops with renowned clinicians, and each ensemble will create a final recorded performance, which will be premiered online. Details regarding other exciting opportunities including merchandise pre-orders, mock auditions, and a College Fair will be shared in the coming weeks. For more information, CLICK HERE .

28    F l o r i d a

Music Director


All-National Honor Ensembles (ANHE)

program will take place on Thursday, January 7 – Saturday, January 9, 2021.


Marc Decker, DMA, President


ecently I had the opportunity to present a virtual session to a group of high school music students. Having only 10 minutes to talk with them toward the

end of a long afternoon, it was challenging to determine the subject. The last thing I

foundation and keep the joy of music alive

in their classrooms. I believe in the power

of our all-state and regional chorus and Orff ensembles and how these ensem-

bles give students a once-in-a-lifetime experience that will help them be suc-

wanted to do was a lecture on breath support, articulation, or some aspect of musi-

cianship. Ultimately, I decided to focus on their emotional well-being, with a short list of things I thought would encourage them.

Today I’ve been reflecting about that session and have come to realize that

although the reasoning is slightly different, what is true for the students is true for us teachers as well. I hope you enjoy:


cessful in many other areas of their lives.

5 Things Every Student Teacher Must Know

each year and continues to flourish. The

1. You are important. So many of us say we entered this profession because we felt

has thoroughly enhanced the conference

It’s the students! They called because they need you, trust you, and believe in you.

Our All-State Chorus program has grown addition of the All-State Orff Ensemble experience for both our teachers and stu-

called to do so. But have you ever thought about who it is that called us to teach? You’re important to them.


dents by adding another outlet for teach-

2. You can only avoid failure by not trying. The last few weeks I’ve been teaching

excited seeing the growth in our regional

challenging and frightful for us both! She doesn’t want to fall, and who can blame

ing and sharing music. I am even more

my daughter to ride her bike without training wheels. This process has been

ensembles in such a short time because of

her. Learning requires tremendous bravery and an acceptance that failure will

so many more lives. In my vision for

accomplish what they think is impossible, provide a learning environment where

development of these ensemble experi-

3. You are an inspiration to others. Teachers have a superpower, and that’s our

the ability for these ensembles to impact

happen before success can be achieved. As teachers we encourage students to

FEMEA, I would like to continue the

they can safely fail, and build them up afterward to try again.


ences to provide meaningful enrichment

ability to convince others to feel and act differently. Have you ever walked into

Finally, through professional develop-

expressions, energy, and emotions of a great conductor? All the members of

envision that we use these components to

4. We succeed by lifting each other up. In my first teaching position, the district

our members have incredible conference

cert MPA. They would sit in the audience through the concert performance, fol-

spark, they will be our very best advoca-

were amazing administrators who wanted to make the students feel important

to their classrooms and pass it along to

meaningful thing. It spreads throughout a community and allows us to reach

school districts, and community members

5. Don’t let what we can’t do interfere with what we can. This advice I’m borrow-

exuding from our students, it is the best

much more then one-way conduits by which to funnel musical knowledge to


engage, connect, and express themselves. It’s easy to focus on what we can’t do,

to serve as your District VI chair, and I

ties. Stay positive, try new things, learn what others in our profession are doing,

nity to serve and lead as your FEMEA

I hope this list made your day a little brighter. Stay safe and teach well!

for our young Florida musicians.

a teacher’s room and immediately felt a sense of joy, or seen the infectious facial

ment and our performing ensembles, I

FMEA inspire and give hope to so many. Continue to be a great inspiration!


strengthen music advocacy in our state. If

superintendent and high school principal made it a point to travel with us to con-

experiences and leave with a renewed

low us into the sight-reading room, and congratulate the group afterward. They

cy resources as they take that spark back

and to celebrate their accomplishments. Being supportive is such a simple and

their students. When our administrators,

even higher.


see this knowledge and love of music

ing from John Wooden, an inspirational basketball coach. Our classrooms are

proof of the importance of music in our

students. Our classrooms are desperately needed opportunities for students to

It has been a great privilege and honor

but virtual learning and hybrid teaching offer many new and exciting opportuni-

would be honored to have the opportu-

and you will continue to find success.


November 2020



Can middle school band students improve their practice strategies? “How do you get to Carnegie Hall? Practice, practice, practice!” We want students to practice at home, but how strategic are their decisions? Stephanie Prichard (2020) examined this using

a quasi-experimental pretest-posttest design. Students (N=105) who had been assigned to one


of two bands in a middle school by school counselors, based on skill level and academic sched-

uling needs, were randomly assigned to experimental (n=52) and control (n=53) groups. During

the three-week treatment phase of the study, the experimental group received instruction about

Don D. Coffman, PhD University of Miami

how to practice during a 10-minute warm-up at the start of rehearsal for three of the five weekly rehearsals (30 minutes per week). The control group warmed up with their usual routine of rhyth-

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

mic and melodic exercises. Following these separate warm-up sessions, the groups were joined together for the remainder of the 45-minute rehearsal.

For the pretest and posttest, students received an unfamiliar musical excerpt and were given

this prompt:

Look over the musical excerpt in front of you. If you were asked to go home and learn how to

play this excerpt by practicing it on your own, what kinds of things would you do in order to be able to play it? After you’ve taken a moment to look through the music, make a list of all of the strategies you would use to practice this excerpt.

For the experimental group students, the teacher modeled an applicable strategy by applying it

to a specific excerpt of music and then guided students through practicing the strategy as a group.

To measure the effectiveness of the instruction, Prichard used two forms of data: (a) students’

self-reported data (she had two experienced teachers code strategies from students’ written lists of strategies and then tallied the codes) and (b) observational data (she asked 10 randomly select-

ed students from each group to practice for 20 minutes while she video recorded them). Two experienced instrumental music teachers viewed the recordings and analyzed them for behavior strategies.

From the self-reported data, Prichard observed that “the most commonly listed pretest strat-

egies were repetition, play from beginning to end, and counting rhythms. Compared to pretest lists, MPI group participants’ [experimental group] posttest lists of practice strategies were much more varied,” but control group participants’ lists did not show increased variety. Furthermore, Posttest experimental group practice sessions also revealed a more mature approach to practicing, including more strategic behaviors, greater variety in musical objectives, and longer periods spent focused on short excerpts of music.

Details about the content of the instruction appear in the article, so I encourage you to give it a


Reference Prichard, S. (2020). The impact of music practice instruction on middle school band students’ independent practice behaviors. Journal of Research in Music Education. https://doi.org/10.1177/0022429420947132

Email your questions and feedback to d.coffman1@miami.edu

30    F l o r i d a

Music Director

Research Puzzles.

CommitteeReports I


Debbie Fahmie, Chairwoman

bet that right about now you could use

tions and the testimonies about the folks

for good news to share these days. The

The FMEA Awards Committee has select-

challenges stand in the way of providing

an FMEA award not only provides the

some good news. Well, I’ve got some.

ed some outstanding awardees in each of the major categories. The pandemic did

are able to select a winner for every single

districts and local communities putting

was so heartwarming to read the applica-

and praise, but it is also great advocacy

Since the winning individuals and

their nominators were informed of the

category, but this year was exceptional. It

awardee with well-deserved recognition

a quality music education for all.

not put a damper on the nominations of

worthy candidates. It’s not every year we

excitement about an individual winning

out there whose determination hasn’t let

for our mutual cause and creates awareness of the importance of quality music

awards, I have seen some of their school

education for all.

Thank you to everyone who took the

out press releases and media about the

time to submit a nomination packet or

recognition. I believe everyone is hungry

to write a letter of support for the 2021

FMEA Awards. It was obvious that the nominators put much time and effort


into the application process. The selection

committee was impressed by the evidence

Mary Palmer, EdD, Chairwoman

of quality music education happening


in a variety of demographic settings. We

am marveling at the heroic work of Florida’s music educators during these

certainly have many worthy individuals

very difficult times. Resilience, compassion, creativity, and commitment are

we will be celebrating this year. As with

on display as music teachers blaze new pathways to ensure their students have

the entire conference, our celebration will

meaningful experiences with music. Bravo to each of you! You make a difference

be reimagined in a virtual way. What this

in so many lives. People need music on this day … and every day. Thank you for

means is that family and friends from far

your leadership!

away can participate by viewing the pre-

With the 2021 FMEA Professional Development Conference going virtual, we

sentation and joining in the celebration

all are pivoting to new ways of being together to celebrate and renew practices

of our FMEA awardees this year. So, stay

and friendships. The Emerging Leaders will continue with our very popular

tuned and plan to join our 2021 Virtual

“Coffee Talk” with FMEA and NAfME leaders. With the magic of technology,

FMEA Awards Ceremony.

this event will still be interactive with time for questions and comments from

I also want to thank my very dedicat-

all. Our fast-paced, multifaceted Pecha Kucha presentation of what’s happening in

ed Awards Committee, which had the

the classrooms of 10 FMEA Emerging Leaders will be included in the conference

daunting job of selecting just one nom-

program. I can’t wait!

inee from each category. With so many

Elementary teachers, how about a change of pace? Join the Orlando

nominations in every category, this was

Philharmonic Orchestra for the 2020 Virtual Young People’s Concert: Where

no small task. The committee members

in the World Is the Orlando Philharmonic Orchestra? (The children will become

did due diligence in reviewing each and

spies to help with the quest!) Designed for children in grades 3-5, a well-con-

every list of achievements and letter of

structed Teachers’ Guide to the music (created with the assistance of several

support presented in each nomination

past FMEA Emerging Leaders) will provide specifics for in-class lessons.

packet. Ultimately, they had the tough

This year’s professionally produced virtual program will be available for

decision of selecting just one awardee

online viewing worldwide on November 18 and 19. While we all want chil-

per category. I certainly appreciate the

dren to have the experience of coming to a concert hall to hear live music,

time, thought, and effort they put into

this year that isn’t possible, so I hope you’ll consider joining the Orlando

this process.

Philharmonic’s offering. Please let me know if you are interested (mpalmerassoc@aol.com

Soon you will have the opportunity

), and I’ll provide more information.

to read about all of the 2021 awardees. I know you will be just as inspired by them

I’m looking forward to seeing you soon! In the meantime, stay strong, try out

as I am. Until then, best wishes for this

your new ideas, and know that your work is making a difference.

fall season.

November 2020



DIVERSE LEARNERS COMMITTEE Alice-Ann Darrow, PhD, Chairwoman

Promoting Social and Emotional Learning for Students With Disabilities, Their Classmates … and Their Teachers!


ize such an approach? The Collaborative

et’s just face it …

for Academic, Social, and Emotional

this year has been

Learning (CASEL), which defined social

difficult, most likely one

and emotional learning (SEL) more than

of the most difficult of our

two decades ago, devised a widely

lives. During this time of adver-

used framework that identifies five

sity and isolation, we can take

core competencies (CASEL, 2020,

advantage of opportunities for

para 2):

personal growth. What can


I learn about myself during this time? What can I

Self-awa reness —t he

ability to accurately rec-

ognize one’s emotions

do to improve my life


and those of others?


How can I shore up


and on

behavior. This abil-

my resilience during


this time? One friend is



rately assessing one’s

taking Spanish online so she can

eventually volunteer with immigrants,


strengths and limitations

and possessing a well-grounded

another is working as an online personal

What is social and emotional

technologies he can use in his teaching.

Social and emotional learning (SEL) is

2. Self-management—the ability to reg-

adults understand and manage emotions,

behaviors effectively in different sit-

trainer, and still another is learning new One group of friends is organizing virtual social hours with seniors at various

nursing homes. Cipriano and RappoltSchlichtmann (2020) suggest that “Social

and emotional learning (SEL) can provide us all with the basis for support and inclu-

sion during the pandemic and beyond. We can reframe this difficult time as an opportunity to connect, to care for each

other, to innovate and to move us all toward more inclusive practices where all

teachers and students can thrive” (para 9). By leaning in to SEL—the practice of cognitive, affective, and behavioral competencies that aid us in developing mutually

supportive relationships and sustaining physical and psychological health—we

can develop strategies that will benefit us

all when we return to in-person learning and living.

32    F l o r i d a


the process through which children and set and achieve positive goals, feel and show empathy for others, establish and

maintain positive relationships, and make responsible decisions (CASEL,

sense of confidence and optimism.

ulate one’s emotions, thoughts, and uations. This ability manages stress, controls impulses, motivates oneself, and sets and works toward achieving personal and academic goals.

2020). Indeed, we all can benefit from

3. Social-awareness—the ability to take

ever, learning requires more than a sin-

others from diverse backgrounds and

such social and emotional learning; how-

gle lesson. Learning requires time and practice. In addition, social and emotional learning requires an approach that

intentionally cultivates a caring, partic-

the perspective of and empathize with cultures, to understand social and ethical norms for behavior, and to recognize family, school, and community resources and supports.

ipatory, and equitable learning environ-

4. Relationship skills—the ability to

that actively involve all participants. The

rewarding relationships with diverse

ment, as well as evidence-based practices

approach to social and emotional learning must also be systemic, infusing social

and emotional learning into every part our daily lives. How do we conceptual-

Music Director

establish and maintain healthy and

individuals and groups. This ability includes communicating clearly, listening actively, cooperating, resisting inappropriate social pressure,

negotiating conflict constructively,

and seeking and offering help when needed.

5. Responsible


the ability to make constructive and

respectful choices about personal

behavior and social interactions based on consideration of ethical standards, safety concerns, social norms, the

realistic evaluation of consequences of various actions, and the well-being of self and others.





research and complex theories derived from the research. Typically, teachers

and researchers use the social-emotional learning (SEL) framework cited above to organize, define, and describe a com-

bination of competencies students must possess to be successful in school and life. Students need opportunities to practice

these competencies in school, at home, and in the community. Teachers and par-

relation to social

and emotional learn-

ing. Consequently, these fac-

tors must be taken into account in struc-

to the marginalization of students with

students’ differences is key to reaching

with disabilities develop competence in

turing SEL learning lessons. Adapting to students with disabilities, who are often

considered at risk for delays in social and emotional development.

ents can structure both natural and pur-

Students With Disabilities and SEL

tice these skills. Open discussion should

challenges as they progress through their

posefully contrived situations to pracaccompany skill practice, particularly in

the early stages of social and emotion-

al development. In addition, a process should be in place for assessing students’

acquisition of social and emotional competencies.

Numerous factors can affect SEL skill

development. These factors include cul-

ture, race, ethnicity, inequalities such as language differences and language competence, age, maturation, and lived expe-

riences such as personal adversity and trauma. While these factors may affect all learning, they are especially potent in

© 2020 CASEL. All rights reserved

Students with disabilities face various

disabilities. It is important that students

skills that will promote their social and

emotional success in school. Affective

education during their school years may improve the quality of life for students with disabilities as they transition into adulthood (Zins & Elias, 2007).

Researchers have found that children

school years. In addition to disability-re-

with disabilities often exhibit a variety

additional difficulties such as bullying

disabilities (Adamek & Darrow, 2018;

lated challenges, they may encounter

in school and lack of social acceptance by their peers (Darrow, 2014). These difficulties have the potential to affect their self-esteem and, consequently, their willingness to take social risks in school

and to apply for jobs in their adult lives. Disability is often seen as a negative con-

dition that is characterized by deficiency, dysfunction, or disorder (Darrow, 2015).

Such perspectives contribute to view-

ing disability as a social construct, often

of social characteristics related to their Darrow, 2014). Children with autism

spectrum disorder (ASD), for example,

are frequently less responsive to others’ social behaviors; in general, they produce

fewer positive responses and more nonresponses than children without disabil-

ities (Jackson, et al., 2003). Both children with autism and those with intellectual disabilities tend to respond more often

and positively to adults than to other Continued on page 34

November 2020


CommitteeReports Diverse Learners continued from page 33

children. Children with multiple disabili-

and never allowed to experience the

riences? Various lyric

and desires through smiles, eye move-

the student sits on the piano bench

can be found online;

joy of helping someone else. Even if

ties, meanwhile, may show their feelings

with the choir accompanist and turns

ments, breathing, and different types

pages when instructed to do so, he or

of crying (Wilder & Granlund, 2003). Additionally, when compared to children

without disabilities, children with disabilities have been found to exhibit fewer social initiations, more negative and less

adaptive interactive styles, and fewer pos-

she will have a role that is integral to

« One way to avoid cliques in a class the accomplishments of the group.

or an ensemble is to have students sit

next to different classmates each week

itive affect displays (Guralnick, et al.,

and to allow time for conversing.

2007; Wilson, 1999). One of the most pow-

Giving topics for discussion, such as

erful tools for teaching social and emo-

songs you both like, music artists you

tional skills to students with disabilities,

both like, and concerts you both want

and indeed all students, is music.

The Use of Music to Promote SEL

Music-making experiences can be motivating, flexible, and enjoyable while at

the same time provide opportunities to

to attend, is one way to initiate conver-

sations and to open up opportunities

« Structure repertoire choices so that for sharing interests and experiences.

students with and without disabilities

can perform together. The group can

practice important life skills that will

benefit students’ social and emotional

development. Croom (2012) maintained

that music engagement contributes to an individual’s well-being by influencing positive emotions, engagement with others, achievement, and self-awareness. These elements of music engagement are

engage in music-making experiences with

« Simple Music Teaching has provided productive and rewarding. an SEL YouTube song list

children. Many of the songs

for young

are appropriate for students with disabilities.

For secondary students, lessons must be

these experiences to the emotional devel-

terest themes and materials.

opment of their students. A number of

authors have provided suggestions and resources for infusing SEL into music

age appropriate and incorporate high-in-

« Music interventions such as lyric anal-

classrooms and curricula (Adamek & Darrow, 2018; Darrow, 2014; Doerr, 2020; Edgar, 2017; NAfME, 2020; Quaver, 2020;

« Use peer partners that include both TMEA, 2020).

students with and without disabil-

ities. Students with disabilities are


often relegated to the role of “helpee”

Florida Music Director

vide students an outlet for expression

and a nonthreatening forum for shar-

ing feelings. The songwriting product

can instill in students a sense of pride and productivity. Songs can also be

recorded to share with family and

friends to prompt communication and

« Teachrock.org

socialization with others.

has provided groups

of secondary lessons using popular music to address typical social and emotional issues faced by teens.

available to music educators wishing

their students every day; however, they may need additional knowledge to link

one is provided here.

learn the choreography? When all stutheir classmates, socialization will be

emotional intelligence. Music educators

« Songwriting activities can also pro-

Various professional organizations have

dents are invested in the success of

also fundamental to the development of


pose solutions for questions like this one: How will Susan who is blind

development—as well as their music


compiled resources and made them to incorporate SEL objectives in their

« National lessons.

Association for Music

Educators (NAfME)

has compiled

a list of music and SEL resources that includes pertinent reports, research,

« Texas Music Educators Association books, articles, webinars, and blogs.


has also compiled a list of

music and SEL resources that includes

pertinent research, books, articles, webinars, and podcasts.

ysis of popular (or classical) songs

Existing and specially designed curric-

ductively identify and express feel-

SEL in the music classroom.

can help students positively and proings about themselves, their relationships, and others. Prompt questions

like these can be used: What song describes how you feel today? What

song describes a life experience you’ve had? What are some productive ways

to manage such feelings and expe-

ula have addressed the incorporation of

« The new QuaverSELMusic lum now includes


many songs and activities directly

tied to the five core

CASEL competencies of self-management, self-awareness, social awareness,

responsible decision-making, and

health of many students and teachers.

Bell and Adrien Palmer are

health of our students, we often find our-

« Paige

relationship skills.

music teachers who create songs for social and emotional learning. Their SEL curriculum includes lyrics, chord charts, lesson plans, and


that correspond with each of the songs on their Simple SEL


The COVID-19 pan-

demic and the resulting economic reces-

sion have negatively affected the mental

References Adamek, M., Darrow, A. A. (2018). Music in special education (3rd ed.). Silver Spring, MD: American Music Therapy Association.

In attending to the social and emotional selves the beneficiary as well. The sugges-

CASEL. (2020). What is SEL? Retrieved from https://casel.org/what-is-sel/

tions, resources, and curricula above pro-

Cipriano, C., & Rappolt-Schlichtmann, G. (2020, June). Special ed students have lost many services: Here’s how SEL strategies can help. Retrieved from https://www.edsurge. com/news/2020-06-04-special-ed-studentshave-lost-many-services-here-s-how-selstrategies-can-help

vide ways of using music to address social

and emotional issues. Music is a valuable

resource, as is spending time with friends and family, which requires exercising our social and emotional skills. When we

Darrow, A. A. (2015). Ableism and social justice: Rethinking disability in music education. In C. Benedict, P. Schmidt, G. Spruce & P. Woodford (Eds.), The Oxford Handbook on Social Justice in Music Education: From Conception to Practice (pp. 204-200). Oxford: Oxford University Press.

are on the other side of this virus, may

we all find our lives improved in some

way, our relationships stronger, and our social and emotional skills heightened.

Darrow, A. A. (2014). Promoting social and emotional growth of students with disabilities. General Music Today, 28(1), 29-32. Doerr, E. (2020). 5 Ways to build social and emotional skills through music. Retrieved from https://apertureed.com/5-ways-buildsocial-emotional-skills-music/ Edgar, S. N. (2017). Music education and social emotional learning: The heart of teaching music. Chicago, IL: GIA Publication, Inc. Guralnick, M. J., Neville, B., Hammond, M. A., & Connor, R. T. (2007). Linkages between delayed children’s social interactions with mothers and peers. Child Development, 78, 459-473. Jackson, C. T., Fein, D., Wolf, J., Jones, G., Hauck, M., Waterhouse, L. & Feinstein, C. (2003). Responses and sustained interactions in children with mental retardation and autism. Journal of Autism and Developmental Disorders, 33(2), 115-21. NAfME. (2020). Music education and social emotional learning. Retrieved from https:// nafme.org/advocacy/quarterly-advocacywebinars/social-emotional-learning/ Quaver. (2020). Creating a culture of caring. Retrieved from https://www.quaversel.com/ info/ TMEA. (2020). SEL in music education. Retrieved from https://www.tmea.org/ teaching-resources/sel-in-music-education/ Wilder, J., & Granlund, M. (2003). Behavior style and interaction between seven children with multiple disabilities and their caregivers. Child: Care, Health and Development, 29, 559567. Wilson, B. J. (1999). Entry behavior and emotion regulation abilities of developmentally delayed boys. Developmental Psychology, 35, 214-222. Zins, J. E., & Elias, M. J. (2007). Social and emotional learning: Promoting the development of all students. Journal of Educational and Psychological Consultation, 17, 233-255.

November 2020




Being Resilient During COVID-19 by Jack A. Eaddy, Jr., DMA


usic is not only our expertise; it’s

to overcome, such as inequitable techno-

screen, but it’s our duty to try. We need to

parental involvement, student responsi-

conventional strategies. For example, we

our passion. We spend our careers

logical resources, food insecurity, lack of

sure their every need is met, musically

bilities as the primary caregiver for their

giving our all to our students, making

and otherwise. In mid-March our lives were turned upside down due to the COVID-19 virus, changing the course of

music education as we know it. Teachers

all over the country were thrust into what we have come to know as virtual teaching. Teaching virtually has its challenges, but the resilience of our teachers has been

remarkable. There have been and con-

siblings, and unstable home lives that may not allow complete participation in virtual instruction via online platforms. Through their challenges, we should still

is to be prepared. Being prepared does not happen by accident; the more pre-

pared you are for the different challenges, the better prepared you will be for your

students. By now, we’ve welcomed our students, distributed instruments, shared music, and checked on our kids who

haven’t attended class. Not having a band camp or concerts, interacting with stu-

dents or any other task we are used to doing in person can be daunting. Our resilience, however, will allow us to reach and teach all students.

“Doing our homework” is part of our

preparation. Pre-COVID-19 and now,

it’s integral to know our students and

should not derail their futures.

Many students will not be transparent

issues might be uncovered by their inabilon their camera), being abnormally defiant (I don’t want to play today), or not

being attentive. Sadly, some students feel

like the weight of the world is on their shoulders, while we ask them questions

like “Do you have enough rosin for your

bow?” In situations like these, I challenge you to first consider if your students’

most basic needs are being met. Do they feel safe? Are they hungry? Do they have

clean clothes to wear? Although we may not be able to address these needs our-

selves, we can help connect students with resources that can help. With that being said, educators need to continue this year

with sensitivity, understanding that students may have difficulty being present or completing tasks.

Our classrooms need to be our stu-

their individual situations. This includes

dents’ safe space. This begins with the

minority students endure on a day-to-day

them. Our students want to know we

understanding the unique circumstances basis. Once we are informed, we must plan accordingly. There are many barriers

that educators must help some students

36    F l o r i d a

hang session.

Finding ways to communicate effective-

the technology your district provides, or

ity to follow simple instructions (turning

The biggest key to continuing to cre-

movie together, or we can have a Zoom

home situations may create barriers, but

lence, but with compassion. Students’

positive musical experience despite the

ate positive experiences for our students

students (who have Netflix) to watch a

ly has been challenging during COVID-19.

about their situations at home, but their

obstacles we face.

can host a Netflix party, which allows

strive to maintain a standard of excel-

tinue to be challenges, but we must find

ways to make sure our students have a

challenge our thinking and move beyond

relationships we create and build with care about their well-being before we

care about their grades and musicianship.

It’s difficult to create relationships via a

Music Director

Open the lines of communication using use free applications to help you. Your learning management system (i.e., Canvas

or Blackboard) can be the primary hub for



to receive information. Mobile applica-

tions such as BAND, Remind, etc., can be

a secondary platform

for announcements or a different way to

reach your students. Social media groups are another way to share information. The more ways you communicate, the more

opportunities your students will have to

see your messages. Think of every possible way you can communicate with every student. If you are not technology savvy, get a colleague to help you or have your stu-

dents set it up (under your strict supervi-

sion). If you know

100% of your class is

on TikTok, create a class account and post announcements there. Your goal should

be to find any and all ways to reach your

students. Educators should strive to have

a plan and share as much detail of the

plan with students. The earlier you can

to see what you can use in your class-

Don’t get so bogged down with seeming-

ter teachers in FMEA to help guide you

and taking care of yourself. Follow all of

share the plan, the more comfortable it

room. Utilize the great wealth of mas-

Educators also need to find ways to

through any issues that may occur. Create

will make your students.

open individual lines of communication

(emails, calls, and online office hours) to build relationships. It’s easier to tell Johnny to turn on his screen and sing measures 1 through 4 if you know

Johnny’s favorite color and that he loves

Snickers. Genuine conversation will open those lines of communication.

Your colleagues are your biggest sup-

porters and have a ton of information to share with you. Talk with your peers in

the COVID-19 recommendations and stay

group chats with friends and people in

healthy. Your students and family need

similar situations and ask questions. The

the best version of you to make this the

more you ask, the more information you

most successful year yet.

will receive, and you can help others in

Jack A. Eaddy, Jr., earned the DMA from

the process. Our current climate also provides so many professional development

the University of North Texas, the MM from

our field, while also giving you opportu-

Florida State University. Dr. Eaddy taught for

the University of Georgia, and the BME from

opportunities with the top educators in

12 years in Orlando, where he developed a pro-

nities to network with educators across

gram that was recognized throughout the state

the country and world.

for maintaining high standards. Dr. Eaddy

Last but not least, use this time to take

and out of your district, and learn what is

care of yourself and your family. There

with your colleagues in other disciplines

to take care of the priorities in your life.

and isn’t working for their programs. Talk

ly infinite tasks that you aren’t resting

received the FMEA Tom Bishop Award and has presented at several conferences, including

is a lot being asked of you, and you need

the Midwest Clinic.

November 2020


ExecutiveDirector’sNotes 2021 FMEA Professional Development Conference and All-State Experience


FMEA Executive Director Kathleen D. Sanz, PhD


he Florida Music Education Association recently

The mission

of the Florida

Music Education Association is to promote quality,

comprehensive music education in all

Florida schools.


announced that the Professional Development

FMEA has been diligent in seeking information

State Experience) scheduled for January 13-16, 2021,

to determine the outlook for the future of education

Conference and All-State Concerts (now the Allwill be a virtual event. The FMEA leadership and

component leadership have been meeting weekly

from our lobbyists and administrator associations in Florida in light of COVID-19.

Florida remains far below the projections that

to develop an exciting experience for teachers and

were used to build the 2020-21 budget. Unless there

forward to seeing everyone virtually in January.

by state leaders, a special session to adjust the bud-

students, as well as our exhibitors. We are looking

In light of COVID-19, the FMEA Board of Directors

believes it is necessary to move from a face-to-face

event to a virtual format to meet the professional development needs of our teachers and to provide a safe and enriching experience for students.

The overriding concern of our board members is

the health and well-being of our teachers, students,

and conference participants. Echoing that concern, school districts across the state are restricting travel for both teachers and students.

Many students are looking forward to the All-

are additional federal funds or other decisions made get for the remainder of the fiscal year cannot be

ruled out. Unfortunately, we are also hearing that it may continue to be bleak for the next school year. The Florida Association of School Administrators

(FASA) states: “We would expect superintendents

and school boards to work hard to conserve cash until we move further into the fiscal year. School

and district leaders are advised to work cooperatively to help ensure the fiscal stability of the district in volatile and uncertain times.”

State Experience to help prepare them for college


experiences. The audition process has been com-

outcome could change the majority party of the

auditions, scholarship opportunities, and other

The elections are being held as we speak, and the

pleted for secondary students, which allowed stu-

Legislature, which in turn could impact the passage

dents to work toward perfection of their individual

performance skills and to be assessed by trained adjudicators.

We thank you for your support during the dif-

of arts-related legislation. More to come on this after the results of the election have been determined. 2021 Legislative Session

ficult times we all are facing in light of COVID-

The 2021 Session is scheduled to begin on March 2

move ahead with plans for the virtual All-State

mittees and committee chairs will be appointed.

19 and look forward to working with you as we Experience. There will be a lot more communication throughout November and December.

We continue to provide periodic updates from

the COVID-19 aerosol study being conducted by the

University of Colorado Boulder and the University of Maryland. Please visit FMEA.org

for current

information on the preliminary results of this study.

and end on April 30. Following the election, comThe FMEA leadership, along with the leadership

of FSMA and FAEA, will meet with lobbyists in late November-early December to determine strat-

egies for the 2021 session. We will be reaching out to everyone with our message that The Arts Are Essential in all Florida schools.

Stay safe and healthy!

38    F l o r i d a

Kathleen D. Sanz PhD Music Director


Officers and Directors


Steven N. Kelly, PhD

Florida State University; College of Music, KMU 330 Tallahassee, FL 32306 (850) 644-4069; skelly@admin.fsu.edu Past President

Kenneth Williams, PhD

Douglas Anderson School of the Arts 2445 San Diego Road; Jacksonville, FL 32207 (904) 346-5620; kenwms@flmusiced.org President-Elect

Shelby Chipman, PhD

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

Ian Schwindt

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

Marc Decker, DMA

Florida Atlantic University 777 Glades Rd.; Boca Raton, FL 33431 deckerm@fau.edu FEMEA President

Ernesta Chicklowski

Roosevelt Elementary School 3205 S. Ferdinand Ave.; Tampa, FL 33629 (813) 272-3090 ernesta.chicklowski@sdhc.k12.fl.us Florida NAfME Collegiate President

Julian Grubb

Florida Gulf Coast University 1519 Neptune Dr.; Lakeland, FL 33801 (863) 430-9466; grubb.julians@outlook.com

Historian/Parliamentarian & Executive Director....................................................Kathleen D. Sanz, PhD Hinckley Center for Fine Arts Education 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793; kdsanz@fmea.org

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION President......................................................................... Marc Decker, DMA Florida Atlantic University; 777 Glades Rd.; Boca Raton, FL 33431 deckerm@fau.edu

Editor-in-Chief.....................................................D. Gregory Springer, PhD FSU College of Music; 122 N. Copeland St.; Tallahassee, FL 32306 (850) 644-2925; dgspringer@fsu.edu


FSMA President ........................................................................Valerie Terry Carlos E. Haile Middle School 9501 SR 64 E.; Bradenton, FL 34212 vterrymusic@gmail.com

President....................................................................................Julian Grubb Florida Gulf Coast University, 1519 Neptune Dr.; Lakeland, FL 33801 (863) 430-9466; grubb.julians@outlook.com Past President................................................... Katherine Attong-Mendes University of Miami; kxa395@miami.edu



Awards.................................................................................... Debbie Fahmie fahmied@yahoo.com

President..................................................................... Ernesta Chicklowski Roosevelt Elementary School; 3205 S. Ferdinand Ave.; Tampa, FL 33629 (813) 272-3090; ernesta.chicklowski@sdhc.k12.fl.us

Budget/Finance, Development.................................. Steven N. Kelly, PhD Florida State University, College of Music, KMU 330 Tallahassee, FL 32306; (850) 644-4069; skelly@admin.fsu.edu

Past President...............................................................Rosemary Pilonero rosemary@femea.flmusiced.org

Committee Council............................................................... Debbie Fahmie fahmied@yahoo.com

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

Conference Planning Committee.............................John K. Southall, PhD Indian River State College; 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810; johnsouthall@me.com


Contemporary Media................................................... David Williams, PhD University of South Florida; 4202 E. Fowler Ave., MUS 101 Tampa, FL 33620; (813) 974-9166; davidw@usf.edu

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

Diverse Learners.....................................................Alice-Ann Darrow, PhD Florida State University, Music Education and Music Therapy 123 N. Copeland St.; Tallahassee, FL 32306 (850) 645-1438; aadarrow@fsu.edu

Past President............................................................................Scott Evans scott.evans@ocps.net Treasurer......................................................................................... Ted Hope Hillsborough County Public Schools, School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4861; ted.hope@sdhc.k12.fl.us

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

FLORIDA ORCHESTRA ASSOCIATION President................................................................................Matthew Davis Harrison School for the Arts; 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 499-2855; matthew.lawson.davis@gmail.com

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

Past President...........................................................................Jason Jerald jason.jerald@sdhc.k12.fl.us

Multicultural Network...........................................................Bruce J. Green (407) 927-3141; bruce.green@ocps.net

Executive Director............................................................. Donald Langland 220 Parsons Woods Dr.; Seffner, FL 33594 (813) 502-5233; Fax: (813) 502-6832; exdirfoa@yahoo.com

Professional Development........................................................Scott Evans Orange County Public Schools; 445 S. Amelia St.; Orlando, FL 32801 (407) 317-3200; scott.evans@ocps.net Research...................................................................... Don D. Coffman, PhD University of Miami; d.coffman1@miami.edu

Southeastern University 1000 Longfellow Blvd.; Lakeland, FL 33801 (863) 667-5104; mabelfast@seu.edu

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

Mark A. Belfast, Jr., PhD

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


Florida NAfME Collegiate Advisor

FLORIDA VOCAL ASSOCIATION President.................................................................................. Jason Locker Orange County Public Schools; 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jason@fva.net Past President.....................................................................Tommy Jomisko tommy@fva.net

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

Executive Director....................................................................J. Mark Scott 7122 Tarpon Ct.; Fleming Island, FL 32003 (904) 284-1551; exec@fva.net

Collier County Public Schools 5775 Osceola Trail; Naples, FL 34109 (239) 377-0087; pardeh@collierschools.com


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

FOA President

Local Co-Chairpersons Ted Hope—(813) 272-4861; ted.hope@sdhc.k12.fl.us Melanie Faulkner—(813) 272-4461; melanie.faulkner@sdhc.k12.fl.us Hillsborough County Public Schools, School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602



Director of Finance & Client Relations...............................Richard Brown, CAE (richard@fmea.org)

FMSA President

Harry “Skip” Pardee

Matthew Davis

Harrison School for the Arts 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 499-2855; matthew.lawson.davis@gmail.com FVA President

Jason Locker

Orange County Public Schools 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jason@fva.net Member-at-Large

Edgar Rubio

Silver Trail Middle School 18300 Sheridan St.; Pembroke Pines, FL 33331 (754) 323-4321; merenguesax@aol.com

Exhibits Managers fmeaexhibits@fmea.org

402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 Executive Director....................... Kathleen D. Sanz, PhD (kdsanz@fmea.org) Director of Operations........................Valeria Anderson, IOM (val@fmea.org)

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

Technology Director......................................Josh Bula, PhD (josh@fmea.org) Public Affairs & Communications Coordinator..................................... Jenny Abdelnour, CAE (jenny@fmea.org)

Past President..................................................................... Cathi Leibinger Ransom Everglades School; 2045 Bayshore Dr.; Miami, FL 33133 (305) 250-6868; pastpresident@fba.flmusiced.org

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

Executive Director......................................................................Neil Jenkins Florida Bandmasters Association P.O. Box 840135; Pembroke Pines, FL 33084 (954) 432-4111; Fax: (954) 432-4909; exec@fba.flmusiced.org

November 2020


Profile for Center for Fine Arts Education, Inc

Florida Music Director November 2020  

The official publication of the Florida Music Education Association, FMEA.org. Featured in this issue: Repurposing the First 10 Minutes of...

Florida Music Director November 2020  

The official publication of the Florida Music Education Association, FMEA.org. Featured in this issue: Repurposing the First 10 Minutes of...

Profile for cfaefl