Florida Music Director - September 2023

Gen Z & Gen Alpha: Who are they and how do we teach them?

Jazz Comping Essentials

PLUS: 2023 FOA/ASTA Fall Professional Development Conference

PRELUDE TO THE 2024 CONFERENCE September 2023

1

PUT YOUR

PASSION INTO PRACTICE

Audition Dates 01.27.2024 02.02.2024 (Graduate Only)

2

02.03.2024 02.16.2024 (Graduate Voice & Piano only)

02.24.2024

Florida Music Director

APPLY TODAY

MUSIC.UNT.EDU UNIVERSITY OF NORTH TEXAS COLLEGE OF MUSIC Serving our diverse musical culture with excellence, integrity and imagination.

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

Hinckley Center for Fine Arts Education

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

Editor-in-Chief

Kelly Miller, DMA University of Central Florida 12488 Centaurus Blvd.

Orlando, FL 32816-8009 (407) 823-4545 (kelly.miller@ucf.edu)

Editorial Committee Terice Allen (850) 245-8700, Tallahassee (tallen1962@hotmail.com) Judy Arthur, PhD Florida State University, KMU 222 (850) 644-3005 (jrarthur@fsu.edu) William Bauer, PhD University of Florida, Gainesville (352) 273-3182; (wbauer@ufl.edu) Alice-Ann Darrow, PhD College of Music, FSU, Tallahassee (850) 645-1438; (aadarrow@fsu.edu)

Contents F E AT U R E S

September 2023 Volume 77 • Number 2

Fall FOA/ASTA Professional Development Conference. . . . . . . 7 Gen Z & Gen Alpha: Who are they and how do we teach them?. . . 26 Jazz Comping Essentials . . . . . . . . . . . . . . 34

Jeanne Reynolds (jeannewrey@gmail.com) John K. Southall, PhD Indian River State College, Fort Pierce (772) 462-7810; (johnsouthall@fmea.org)

MUSIC EDUCATION

Advertising Sales

Valeria Anderson (val@fmea.org) 402 Office Plaza Tallahassee, FL 32301 (850) 878-6844

Official FMEA and FMD Photographers

Bob O’Lary Amanda Crawford

Art Director & Production Manager Lori Danello Roberts LDR Design Inc. (lori@flmusiced.org)

Circulation & Copy Manager

Valeria Anderson, (800) 301-3632

Copy Editor

Susan Trainor

D E PA R T M E N T S President’s Message. . . . . . . . . . 4

2024 FMEA PROFESSIONAL DEVELOPMENT CONFERENCE

CONFERENCE Prelude. . . . . . . . . . . . . . . 10 Important Dates. . . . . . . . . 11 Registration.. . . . . . . . . . . 12 Policies. . . . . . . . . . . . . . . 15 All-State Concerts. . . . . . . . 16 Conference Hotels. . . . . . . . 18 Session Attendance Verification Report.. . . . . . . 21

Advertiser Index. . . . . . . . . . . . 5 Advocacy Report. . . . . . . . . . . . 8 2023-2024 FMEA Donors. . . 32-33 Research Puzzles. . . . . . . . . . . 38 Component News.. . . . . . . . . . 40 Academic & Corporate Partners .. 45 Committee Reports. . . . . . . . . 46 Executive Director’s Notes. . . . . 52 Officers and Directors.. . . . . . . 53

All-State Rehearsals. . . . . . . 22 Student Experiences. . . . . . . 25 September 2023

3

President’sMessage

Jason P. Locker President Florida Music Education Association

Music Education Begins with ME! MEntorship

T

his year, Florida has had the hot-

erly protect themselves in our climate and

index over 105 degrees leading to gov-

they head back to their home states. Some

test summer ever, with the heat

ernment-issued heat advisories for many

end up getting badly sunburned before folks are so scared of the extreme tem-

fun in the sun, as long as you attend to the

w Prepare and protect yourself by wear-

following important needs:

ing a hat and sunglasses and applying

the entire state: Tallahassee, Jacksonville, shielded from the heat by air condition- w Sustain yourself by eating and hydratTampa, Orlando, Daytona Beach, West ing, jealous and/or judgmental of those ing. w Palm Beach, Fort Lauderdale, Miami, and who are outdoors soaking up the sun.

Retreat from the sun at times so you consecutive days. And it has impacted

peratures that they choose to stay indoors,

sunblock.

everywhere in between!

And then there are those of us who have

don’t spend too many hours in the

extreme heat, and we have all had to

our entire lives) and know how to safely

In our profession, there are new teach-

No area has been spared from this

decide how to deal with it. We know that Florida is a major vacation destination, and the tourism industry has a huge eco-

nomic impact on our state. Tons of people flock to the Sunshine State over the summer, but many do not know how to prop-

lived here for a long time (or perhaps

heat.

enjoy the beaches, theme parks, outdoor

ers every year, and teaching music has

and everything else Florida has to offer.

rently in a time when the number of

concerts and sporting events, sightseeing,

I think we would all agree you can have

always been a challenge. We are curnew teachers in the classroom and the quantity of new state statutes impacting

the education profession are greater than ever before. This is in addition to the existing demands of delivering rigorous stan-

dards-based instruction on a daily basis,

rehearsing to prepare for a calendar full of performances and events (including

music performance assessments for our secondary colleagues), and communicat-

ing effectively with all stakeholders in the community, to name just a few. Talk about turning up the heat!

With so many new music educators

feeling the unprecedented heat of the classroom, MEntorship is more important than ever! We need seasoned profession-

als to step forward and volunteer to guide a new colleague through their first years

as an educator. By this point in the school year, new teachers have met their stu-

dents, administrators, and parents. They have begun to establish classroom procedures and are immersing their students in

4 F l o r i d a M u s i c D i r e c t o r

the study of music theory, performance,

2023-24 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

listening, and appreciation. It is also possible that they have begun to feel the heat

of discouragement. They have probably had students who misbehaved, parents

who questioned their policies or grading of assignments, a coach or teacher who

questioned the importance of a rehearsal

or concert date, or an administrator who did not approve a proposal or request.

Without MEntorship, it can be easy for

a new teacher either to burn out quickly

or to hide in their classroom (or on social media) and complain about the heat.

What is essential to our new colleagues are experienced MEntors who can share

Subscription cost included in FMEA membership dues ($9); libraries, educational institutions, and all others within the United States: $27 plus 7.5% sales tax.

CIRCULATION:

The circulation of the Florida Music Director is 4,500 educators.

Published eight times annually by The Florida Music Education Association, Hinckley Center for Fine Arts Education: 402 Office Plaza, Tallahassee, FL 32301-2757.

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

Non-members may request permission from the FMEA office.

SUBMISSIONS:

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

All articles must be provided in digital format (e.g., Microsoft Word). All applicable fonts and images must be provided. Images must be at least 300 dpi resolution at 100% of the size.

All submissions must be accompanied by a proof (color, if applicable).

Ads may be submitted via email to val@fmea.org.

strategies that will help them to find joy

w Prepare and protect yourself through and fulfillment in the midst of the heat:

advocacy and developing personal

w Sustain yourself through continuous relationships with all stakeholders.

professional learning within a caring

w Retreat from work in order to priorcommunity of colleagues.

itize your own health and wellness.

I remember what it was like to feel

the heat as a new music educator, and I am forever grateful to the MEntors who invested in me. If you are new, don’t hesi-

tate to ask for help. If you are experienced, please reach out to someone and offer a hand.

This is your heat advisory!

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

The publisher does not endorse any particular company, product, or service. The Florida Music Education Association (FMEA) is not responsible for the content of any advertisement and reserves the right to accept or refuse any advertisement submitted for publication.

Information for advertisers (rate card, insertion orders, graphics requirements, etc.) can be found at FMEAMediaKit.org. Florida Music Director reserves the right to refuse any ad not prepared to the correct specifications OR to rework the ad as needed with fees applied.

ADVERTISERS Music Is Elementary..................................................................................................................... 44 Stetson University........................................................................................................................ 20 University of Florida.................................................................................................................... 14 University of North Texas.........................................................................................................IFC Victory Musical Instruments....................................................................................................... 6

Jason P. Locker, President

Florida Music Education Association

The advertisers in BOLD provide additional support to FMEA members through membership in the Florida Corporate and Academic Partners (FCAP) program.

FCAP partners deserve your special recognition and attention.

September 2023

5

BACK 2 school

elevate your sound.

lead your band to victory!

visit our store!

www.victorymusical.com +1 (844) PLAY-VMI

6 F l o r i d a M u s i c D i r e c t o r

Fall Professional Development Conference Re-Energizing the Music Education Classroom and Teacher Presented by and October 12-13, 2023 • Hilton Orlando Thursday, October 12, 2023

Keynote Speaker Dr. Rebecca B. MacLeod

Friday, October 13, 2023

11:30am–12:30pm

Registration Open/Vendors Open

8:30am

Registration Open/Vendors Open

1:00pm–1:30pm

Keynote Address: “Re-Energizing the String Classroom” Keynote Speaker: Dr. Rebecca B. MacLeod

9:00am–9:40am

The Geometry of Intonation – Shaping the Approach to the Fingerboard – Dr. Marguerite Richardson

Session Coordinator – Cheri Sleeper

9:45am–10:25am

1:35pm–2:15pm

Successful Practices for Students on the Spectrum Tian Sanchez Session Coordinator – Cheri Sleeper

2:20pm–3:00pm

Session Coordinator – Vinny Conrod

Sound & Subdivisions – Back to the Basics of Tone and Bow Technique

Yoga for a Healthy Work Life Balance – Revae’ Ross Session Coordinator – Matt Davis

Session Coordinator – Vinny Conrod

Logistical, Cultural, and Student-Led Approaches to Recruiting and Retaining Students: Three Successful Models Marcey Sperr, Portia Bradby, Lauren Pardee Session Coordinator – Andrea Szarowicz

Creativity in the String Classroom Dr. Rebecca MacLeod

10:30am–11:30am

FOA & FLASTA General Business Meeting

Session Coordinator – Cheri Sleeper

11:35am–1:05pm

Lunch Break

3:05pm–3:20pm

Refreshments in the Exhibit Room

1:10pm–1:50pm

3:25pm–4:55pm

Reading Session – Excelcia Publishing Larry Clark BRING YOUR INSTRUMENT!

Chamber Music … It’s Not Music Boosters – What Can They Do for You! Just for Solo/Ensemble Cheri Sleeper Steven Bossert

Session Coordinator – Valerie Terry

5:15pm

EXHIBITS CLOSE

Hotel Information Hilton Orlando

1:55pm–2:35pm

Session Coordinator – Andrea Szarowicz

Session Coordinator – Lauren Pardee

That Will Do for Now: Quick Fixes for Common Instrument Issues Christopher Morgan

You Had Me at Cello!

Tian Sanchez Session Coordinator – Andrea Szarowicz

Session Coordinator – Marcey Sperr

2:40pm–3:20pm

6001 Destination Parkway Orlando FL, 32819

Increasing Creativity in the Strings Classroom Dr. Rebecca MacLeod BRING YOUR INSTRUMENT! Session Coordinator – Cheri Sleeper

$202/night – triple or quad occupancy

Reading Session – JW Pepper – BRING YOUR INSTRUMENT! Dr. Rebecca MacLeod

50% off self-parking

Session Coordinator – Laurie Bitters

$177/night – single or double occupancy

$13/night resort fee includes: • Basic Wi-Fi • Free local and toll-free calls • 15% discount on hotel restaurants and lounges (except Tropics Pool Bar & Grill) • 24-hour access to fitness center • 10% discount on spa treatments • 25% discount on pool cabanas • Two I-Ride Trolley tickets daily, see concierge

3:25pm–4:55pm

4:30pm

EXHIBITS CLOSE

CLICK HERE

To Reserve your hotel room https://book.passkey.com/go/FLAssociationConference

RESERVATION DEADLINE: September 25, 2023

September 2023

7

AdvocacyReport

Jeanne W. Reynolds

Chairperson Advocacy Committee

Important Work – Advocacy Updates

I

n these unprecedented political times advocacy can be tricky. And there has never been

a more important time talk about the power of

music to unite communities and the power of

music education to ensure a well-rounded rigorous education for ALL students.

If you are interested in learning more or

getting more involved with advocacy, please

do not hesitate to contact me at jeannewrey@ gmail.com.

We are known for our strong

grassroots efforts.

While advocacy may be a little tricky these

days, it remains a great pleasure and an honor to

advocate for strong music education. I can’t think of any more important work.

2023 Legislative Summary

FMEA has been hard at work on

your behalf. If you have not yet had time to review the 2023 Legislative

Summary (click here ) prepared by our lobbyists, I highly recommend

you do so. This is a comprehensive report. Too often we see partial

information on social media. We

don’t take the time to understand

the legislation that has passed and its impact on music education.

Take some time with this report.

The narrative about the budget at

Sincerely,

the front of the summary is very

Jeanne W. Reynolds

helpful.

Senator Perry – A Music Education Champion

While it was a most interesting and, at times, disheartening

session, there were bright spots. Senator Perry’s Early Childhood Bill Education Incentive Program

passed unanimously. This

is impressive in these polarizing times. Senator Perry has been championing this project since 2017. This legislation moves

this program from a pilot program to a permanent program administered by the Department of Education.

We are also thrilled and grateful to Senator Perry for

championing and securing $60,000 for Florida to participate in the Arts Education Data Project.

This project has been a

high priority for FMEA. Here is an example from Georgia

Unfortunately, Governor DeSantis vetoed this allocation.

We will continue to pursue other funding sources to bring

this invaluable resource to FMEA members, parents, families, and community members. This resource will be particularly helpful to parents as they choose music and arts education programs for their students.

8 F l o r i d a M u s i c D i r e c t o r

Senator Keith Perry watches as Governor Ron DeSantis signs Senate Bill (SB) 478.

Photo courtesy of Executive Office of Governor Ron DeSantis

2023 NAfME Hill Day

FMEA is also hard at work at the national level on your behalf. On June 23 more than 200 music education leaders and advocates from across the country participated in the annual Hill Day hosted by the National

Association for Music Education (NAfME).

(Click here ) for a video summary of the day.

I may be biased, but our Florida team

was truly exceptional! Many thanks to Dr.

Kathy Sanz, Dr. Steve Kelly, Jason Locker,

Videographer credit: © Powell Media Concepts

Scott Evans, Christopher Perez, Andrew Burk, and our outstanding collegiate mem-

conversations about the ways

for joining me for a successful day with our

programs and legislation ensur-

legislators can support federal

bers Colin Urbina and Megan Rodriguez

ing all students have access to

federal legislators. We were received warm-

a well-rounded education that

ly by all legislators and staff. While there

includes music.

are certainly differences of opinion, all deci-

NAfME had outlined many

sion makers listened respectfully and were receptive to our messages. You would be

legislative priorities

and staff members who were part of music

focused mainly on two issues.

The first was strong support

programs while in school. And of course,

for the funding for Titles I, II,

Congressman Maxwell Frost, pictured with

and IV-A of the Every Student

our team on this page, is one of our accom-

Succeeds Act (ESSA). These pro-

plished Florida music student graduates.

Not surprisingly, the congressman is a staunch supporter of music education!

for us

to discuss. Our Florida team

pleasantly surprised by the number of aides

Photo credit: © Ashlee Wilcox Photography, LLC

grams increase access to music education through funding for

As we always do whether in Tallahassee or Washington,

our most disadvantaged students; professional develop-

music education. There is nothing more powerful than your

upgrades, and other supplies and materials for the K-12

we shared our own personal stories about the power of own narrative. These stories and anecdotes led naturally to

ment for music educators; and musical instruments, facility music classroom. We asked legislators not only to fully fund these critically important programs, but also to include clarifying language so all school districts understand that these

funds can be used for music programs. Currently, this varies from district to district.

The second topic we focused on was the Loan Forgiveness

for Educators Act. In our conversations, we heard support for this program from both sides of the aisle.

Several legislative staff members seemed as eager to talk

to us as we were to talk with them. Specifically, some legislators were interested to hear how teachers were feeling about

and adapting to the legislation passed in Florida. Suffice it to say, many legislators have profound respect for the work Photo credit: © Ashlee Wilcox Photography, LLC

you do and want to support you.

September 2023

9

MUSIC EDUCATION

2024 FMEA PROFESSIONAL DEVELOPMENT CONFERENCE

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

The FMEA Professional Development Conference is one of the largest music

education professional development events in the United States. In addition to

approximately 250 clinic sessions and concerts, it is host to 23 all-state ensembles featuring Florida’s top band, orchestra, chorus, guitar, Orff, and popular music students conducted by world-class conductors and teachers.

It is attended by more than 10,000 people, including secondary music

directors, elementary music teachers, music supervisors, college students, college music teachers, school administrators, K-12 students performing in the all-

state ensembles, students and professional musicians performing with invited

performing ensembles, exhibitors, and parents and family members of performing students.

So many reasons to participate: An exhibit hall with world-class exhibitors providing products and services for music educators and students

More than 2,800 music teachers and 200 administrators

More than 120 sessions, covering a variety of topics for all music educators, with on-demand access to recordings after the conference

Performances and mini-concerts from some of Florida’s top music programs Networking opportunities, college fair, awards ceremony, and other special events

10 F l o r i d a M u s i c D i r e c t o r

Important Dates (subject to change)

September 15, 2023

Early registration opens.

Nominations are open for Student Conference Experience and Tri-M Experience.

September 30, 2023

Hotels begin taking reservations at 9:00 am.

October 1, 2023

Presenters’ deadline for editing session details and requesting A/V equipment October 1, 2023

Presenters’ deadline for editing session details and requesting A/V equipment November 11, 2023

Hotel room cancellation deadline 5:00 pm November 13, 2023

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

December 11, 2023

Early registration closes at midnight. You may continue to register online but at the higher regular registration price.

December 15, 2023

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

December 15, 2023

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

December 15, 2023

Postmark deadline for checks to be mailed for conference registration; all unpaid registrations must be paid by credit card after this date.

September 2023

11

R egistration

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

To take advantage of early discounted

rates, you must register and pay before the deadlines.

Note: If you are mailing a check

to the FMEA office to pay for your

registration, it must be postmarked

early enough so that it will ARRIVE in the FMEA office before the preregistration deadline.

12 F l o r i d a M u s i c D i r e c t o r

REGISTRATION FEES Description

September 8 -

After

December 15

December 15

Director/Member

$160

$205

Collegiate Member

$70

$100

Retired Member

$30

$30

Non-Teaching Spouse

$105

$155

Non-Teaching Spouse of Retired Member

$0

$0

Paid Chaperone

$75

$125

Free Chaperone

$0

$0

All-State Student

$75

$125

Tri-M Student

$50

$75

Pre-Conference Workshop

$80

$130

Pre-Conference Workshop (First-Year Teacher)

$80

$130

Student Experience – Student

$50

$75

Student Experience – Chaperone

$50

$75

Registration Policies

Refund Policies

1. All participants—directors, students, chaper-

1. Full registration refunds are available for cancellation

ones, and guests—must be registered for the conference.

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

3. All participating students must be chaper-

oned. As required by FMEA and FSMA, at

least one chaperone other than a director is required for every ten (10) students or fraction

thereof; however, FMEA policy allows for one free chaperone for every six (6) students or fraction thereof.

requests made through December 15, 2023.

2. No registration refunds will be made for cancellations made

after December 15, 2023, except for emergency situations.

These will be reviewed on a case-by-case basis.

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

4. All requests for refunds must be received no later than January 31, 2024. Requests received after that date will not be processed.

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

6. There are no refunds for concert tickets.

4. An additional paid chaperone may be regis-

tered for (a) each six (6) students registered

or (b) for each all-state rehearsal site where registered students are performing.

5. If a participating student is not accompanied

by the director from that student’s school, then the principal from that school must fur-

nish a letter designating the person from the school or school district who is to be in charge

of that student. The letter should be addressed to the FMEA executive director, must explain

the extenuating circumstances preventing the

director from attending, and must be submitted with registration materials. The school will be notified of approval.

6. Student observers are not allowed to attend

the conference. If any student observers are brought to the conference, the offending

school’s participation in the conference may be eliminated the following year. (Tri-M stu-

dents registered and participating in ses-

sions or working for the all-state concerts are exempt from this rule.)

7. All school music teachers must register for the

conference as FMEA directors and must be current members of the FMEA. This includes

Chaperone Registration

Chaperone registration is based on the following rules:

w For each elementary student registered, one free chaperone and one paid chaperone may be registered. w Any additional attendees must purchase a guest pass at Elementary Students

on-site registration for entry into the convention center.

w For every six students registered, one free chaperone and

Middle School and High School Students

one paid chaperone may be registered. No other chaper-

ones may be registered until the seventh student is regis-

w Any additional attendees (chaperones or guests) must purtered.

chase a guest pass at on-site registration for entry into the convention center.

w If you have students in more than one performing ensem-

* EXCEPTIONS

ble, you may pay for a chaperone for each performing

w If you have students from different schools, you may pay ensemble in which you have registered students.

for a chaperone for each school for which you have registered students.

directors of invited performing groups,

Chaperones are not allowed to bring other children who are not

state conductors from Florida schools, col-

teachers, and chaperones wearing a conference badge are

mini-concerts, and session presenters. Allleges, or universities must also be FMEA

members. No current music teacher may register as a chaperone.

participating in an all-state ensemble. Only registered students, allowed in and around the rehearsal areas. Directors are

asked to make sure their chaperones are aware of this policy before agreeing to serve as a chaperone.

September 2023

13

AUDITION DATES

(Freshman, Transfer, and Minor) Saturday, January 20, 2024 • Sunday, January 21, 2024 Saturday, January 27, 2024 • Sunday, January 28, 2024 UNIVERSITY OF FLORIDA APPLICATION DEADLINE: NOVEMBER 1

admissions.ufl.edu

SCHOOL OF MUSIC APPLICATION arts.ufl.edu/music

UNDERGRADUATE DEGREES

GRADUATE DEGREES

BACHELOR OF MUSIC • Performance • Music Composition • Music Theory • Combination with an Outside Field

MASTER OF MUSIC • Performance • Music Education (campus/online) • Conducting • Theory • Composition • History & Literature • Sacred Music

BACHELOR OF MUSIC IN MUSIC EDUCATION BACHELOR OF ARTS • Music • Entrepreneurship • Event Management • Music History and Literature • Music History and Literature: Ethnomusicology • Music Theory or Composition MINORS • Music Performance • Music Theory

• History/Ethnomusicology • Jazz Studies

CERTIFICATES • Music in Medicine

• Music Performance

14 F l o r i d a M u s i c D i r e c t o r

PH.D. IN MUSIC EDUCATION PH.D. IN MUSIC • Composition • Musicology/Ethnomusicology DOCTOR OF MUSICAL ARTS • Conducting • Composition • Performance

MORE INFO:

MUSIC@ARTS.UFL.EDU 352.392.0224 A RT S.U F L . E D U/ M U S I C

P olicies Photographic Release By attending the conference and/or associated activities, you grant permission for FMEA to use any and all pho-

tographic imagery and video footage taken of you and your students at this event and activities pertaining to

this event, without payment or any other consideration.

You understand that such materials may be published electronically or in print, or used in presentations or exhibitions.

Code of Conduct FMEA is dedicated to providing a positive environment of respect and civility for all attendees, including mem-

bers, students, parents, speakers, clinicians, exhibitors, sponsors, staff, volunteers, and guests. All attendees are asked to follow all applicable laws and conference policies and to refrain from physical and verbal harassment, bullying, disorderly conduct, or any actions

or behaviors that create unsafe conditions or interfere with presentations or performances. Harassment, bullying, and sexual language and imagery are not

appropriate for any conference venue, including clinics,

workshops, concerts, rehearsals, social events, online,

and social media. Violations should be reported to con-

Security Procedures The Florida Music Education Association is working with the Tampa Police Department and Allied

Security at the TCC (TCC) to enhance the conference

vention center security or conference staff in a timely manner. Violators and their registered students may be

expelled from the conference without a refund at the discretion of the FMEA Executive Committee.

experience for the students and attendees.

Indemnity Clause

In order to help keep attendees safe, there will be a

FMEA reserves the right to change the conference/

heightened security presence throughout the TCC

and at various hotels. All entrances to the TCC will be patrolled by uniformed officers of the Tampa

Police Department and uniformed Allied Security personnel. They will be patrolling the TCC as

well. The Tampa Police Department will be at the

crosswalks between Marriott Tampa Water Street

and the TCC, at concerts, and patrolling some of the downtown hotels during rehearsals.

All attendees (this includes members, exhibitors,

chaperones, and student participants) must wear their conference badge during the conference once the

authorized registrant obtains the conference packet.

workshop content, timing, speakers, or venue without

notice. The event may be postponed or cancelled due to acts of terrorism, war, extreme weather conditions, industrial action, fewer than expected delegates, pan-

demic, or any event beyond the control of FMEA. If such a situation arises, FMEA will endeavor to reschedule the event; however, FMEA cannot be held respon-

sible for any cost, damage, or expenses that may be

incurred by the registrant as a consequence of the event being postponed or cancelled. Some registrants consid-

er travel insurance to cover the cost of the registration,

travel, and expenses for these types of situations.

FMEA is not responsible for any registrant’s personal injury (i.e., physical, psychological, or emotional stress)

or property damages while attending an FMEA confer-

ence or event. Conference registrants assume all risks inherent in attending an FMEA conference for which

the registration covers, whether before, during, or after the conference.

Enjoy t he Conference Experience.

September 2023

15

A ll-State Concerts

NEW ON-L TICKEINE PROC T ESS All-State Concert Tickets

purchase tickets using their smartphones. A desk in the

other attendees who are not registered for the confer-

convention center will be selling paper tickets if you need

concert tickets for their students’ family members or

electronic tickets.

Tickets are now sold online for family, friends, and

conference registration area on the second floor of the

ence. Directors will no longer need to pre-order all-state

to purchase tickets with cash or if you do not want to use

friends who will be attending their concerts. Send them this link instead:

https://fmea.org/conference/tickets/.

Tickets will go on sale in September and can be

purchased anytime up until 30 minutes after the start

Concert Reentry Procedure

to the purchaser and can be printed or stored on their

Once a ticket’s barcode is scanned to gain entry, that tick-

validate a ticket’s authenticity and to gain entrance to

another entry into the concert. Attendees who need to exit

time of the concert. Tickets purchased will be emailed

phone. The barcode will be scanned at the door to the concert.

On site at the conference, the links and QR codes

will be posted on signs in the venue so attendees may

16 F l o r i d a M u s i c D i r e c t o r

et is marked as “used” and will no longer be eligible for and reenter the concert should be prepared to show their ticket and a photo ID to confirm they are the ticket owner to gain reentry.

All-State Concert Ticket Policy 1. Registered (BADGED) attendees do not require tickets

to attend any all-state concert. This includes directors/

members, directors’ non-teaching spouses, performing all-

F A Q

state students, registered chaperones, collegiate student

members, retired members, and VIP guests that you entered as part of your conference registration.

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

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

4. There is no longer a need for directors to pre-purchase any tickets for their students or their families. Instead, they

should direct the student and their family to the online ticket sales website:

https://fmea.org/conference/tickets/.

Any directors who still wish to purchase tickets should take care to correctly enter the names and email addresses of the people who will be using the tickets into the online sales

portal, or transfer the tickets to those who will be using the tickets using their correct name and email address in the online ticket sales portal.

5. Paper tickets will be on sale at the registration desk on site at the conference for attendees who would like to pay by cash

All-State Concert Tickets Do I get free tickets for my students’ family members to attend the concert?

No.

Can I get free tickets to any concerts?

No. Registered attendees (directors, chaperones, students) are allowed

admission to concerts with their name

badge so no ticket is necessary. Attendees that are not registered for the conference (parents, family, etc.) must purchase tickets.

or who do not want to use electronic tickets. Paper ticket

Can I buy extra tickets anytime?

and continue Friday and Saturday at the FMEA registration

Electronic tickets will go on sale in

registered attendee be the person purchasing these tickets.

minutes after each concert’s scheduled

electronic tickets will continue to be sold before that concert.

the FMEA registration desk during its

sales for all-state concerts will begin on Thursday morning

Anyone can purchase tickets online.

desk. There is no requirement that the director or any other

September and sales will close 30

If a concert starts after the registration desk is closed, only

start time. Paper tickets will be sold at

6. *All ticket sales are final.* There are no refunds for any

concert tickets. Tickets may be transferred or exchanged using the online ticket sales portal only.

7. For entrance, ticket, and concert purposes, a concert

is defined as the pair or group of ensembles that are

performing in the same venue in a common, defined block of

time. An example of a “concert” for purposes of entrance and ticketing would be the 8:30 a.m. concert that features both

the Treble Chorus and Mixed Chorus or the 1:30 p.m. concert that features the Middle, Concert, and Symphonic Bands.

regular open hours on Thursday through Saturday.

Does my young child need to buy a ticket?

Everyone who will be taking up a seat

will need a ticket. Babies that are being

held by a parent or sitting on a parent’s lap for the duration of the concert are

welcome without a ticket, but children who are old enough to sit in their own seat will need a ticket.

September 2023

17

C onference Hotels

Contracted for 2024 FMEA Professional Development Conference

F A Q

Greetings! It’s the wonderful time of year

when we start planning our very special conference event. The Florida Music Education

Association has contracted the following

Why are the FMEA hotels so expensive?

Tampa hotels for the January 10-13, 2024,

The prices we contract with the hotels are much lower than their standard

telephone your hotel of choice directly or use

Why is it so hard to get a room?

Professional Development Conference. Please

room rates during the same dates (in many cases, less than half).

the reservation link at FMEA.org/Conference/

When the blocks first open, everyone tries to get as many rooms as they

Hotels beginning beginning September 30, 2023, at 9 am EDT. Guest rooms at the contracted rates are available until the room

block is full or until the cancellation deadline of November 11, 2023, at 5 pm. If your hotel

of choice is sold out, please continue to try to make a reservation until November 11, 2023,

as FMEA attendees will periodically release surplus guest rooms.

can in case they need them after the all-state auditions, so they fill up very fast. If you wait until after the all-state results come out, many people will

have cancelled their rooms and it will be much easier for everyone else to get a reservation.

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

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

A maximum of five (5) guest rooms may be

I tried calling but it was busy or they put me on hold forever.

rooms reserved on November 13, 2023, will

are released. Many people will cancel rooms they no longer need if their

reserved per teacher or parent. Each and all

We recommend trying again in early November after the all-state results

be charged a nonrefundable, one-night fee

students weren’t accepted.

to the responsible credit cardholder. (Invalid credit cards risk reservation cancellation.)

We urge any guest holding surplus reser-

vations/rooms to cancel excess reservation(s)

as soon as possible and no later than 5 pm

on November 11, 2023, and you must secure

a cancellation confirmation number. (This

Is there a cancellation fee?

No, as long as you have cancelled all the rooms you no longer need by the cancellation deadline listed, you will not be charged any type of cancellation fee. After the cancellation deadline, a deposit of one night

per room in your reservation will be charged to your credit card, and that deposit is nonrefundable.

mentary rehearsal and meeting space, you

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

are using for your group functions.

blocks that are cancelled will go back into the FMEA blocks and can be

courtesy will make surplus rooms available to other guests.) In order to receive complishould book guest rooms in the hotel you

NOTE: FMEA IS NOT offering a housing

bureau service. All participants MUST con-

tact the hotels directly beginning September 30, 2023, at 9 am EDT to request the “Florida Music Education Association” room block

rate and confirm the guest room rate posted below. We look forward to seeing you in Tampa!

18 F l o r i d a M u s i c D i r e c t o r

Only after December 16. Before that date, all the hotel rooms in the FMEA reserved by other FMEA members at the low FMEA rate.

Can we book hotels online?

We are implementing online booking for the 2024 conference. On

September 30, you can go to FMEA.org/Conference/Hotels to see if

a registration link is available for your hotel of choice. If a link is not available, you must call the hotel directly at the number provided.

FMEA has contracted with several Tampa hotels to provide you with the best rates possible.

We are piloting links to make reservations at select hotels.

They will be available at FMEA.org/Conference/Hotels on September 30.

HOTEL

ROOM RATES – Cutoff date: 11/11/23

Single Double

Triple

Quad

(813) 223-1351, #1 for rez Group Code: FMEA

$160

$160

$160

$160

(813) 229-1100, ext. 1 Group Code: FMEA

$174

$174

$174

$174

(800)362-2779 Group Code: FML

$264

$264

$274

$284

(813) 875-1555, #2 Group Code: FME or FMEA 2024

$206

$206

$216

$226

(813) 368-7764 Group Code: FMEA

$150

$150

$150

$150

(813) 525-9900, ext. 1 Group Code: F24

$202

$202

$202

$202

(800) 445-8667 Group Code: FMEA24

$234

$234

$234

$234

(888) 465-4329 Group Code: FLM

$179

$179

$179

$179

(813) 525-9900, ext. 2 Group Code: FM4

$227

$227

$227

$227

(813) 761-3201 Group Code: FMEA-AC

$235

$235

$255

$255

TAMPA MARRIOTT WATER STREET HOTEl (formerly Marriott Waterside) 505 Water Street, Tampa, FL 33602 Comp. internet for Bonvoy members; $40 valet overnight & $25 daytime valet

(800) 228-9290 Group Code: FMEA

$211

$211

$211

$211

WESTIN TAMPA WATERSIDE 725 South Harbour Island Blvd., Tampa, FL 33602

(800) 937-8461 Group Code: FMEA NOTE: The attendees will need to say associate

$223

$223

$223

$223

BARRYMORE HOTEL TAMPA RIVERWALK 111 West Fortune Street, Tampa, FL 33602 Includes comp. internet & self-parking

COURTYARD BY MARRIOTT DOWNTOWN TAMPA 102 East Cass Street, Tampa, FL 33602 Comp. internet; $35 valet only

EMBASSY SUITES DOWNTOWN 513 South Florida Avenue, Tampa, FL 33602 Valet only $25; comp. internet & breakfast

EMBASSY SUITES TAMPA AIRPORT WESTSHORE 555 North Westshore Blvd., Tampa, FL 33609 Comp. internet, self-parking, & breakfast

FOUR POINTS BY SHERATON SUITES TAMPA AIRPORT WESTSHORE 4400 West Cypress Street, Tampa, FL 33607 Includes comp. internet & $10 for one car, $18 for second car, & $100 for bus daily self-parking; comp. shuttle to Tampa airport

HAMPTON INN TAMPA DOWNTOWN CHANNEL DISTRICT 1155 East Kennedy Blvd., Tampa, FL 33602

(up to 5 in room)

(up to 6 in room)

Comp. internet & breakfast; $25 self-parking

HILTON TAMPA DOWNTOWN 211 North Tampa Street, Tampa, FL 33602 $9.99 internet (Comp. for HH); $37 valet

HOLIDAY INN TAMPA WESTSHORE AIRPORT 700 North Westshore Blvd., Tampa, FL 33609 $10 self-parking; $100 for bus parking, comp. internet

HOME 2 SUITES TAMPA DOWNTOWN CHANNEL DISTRICT 1155 East Kennedy Blvd., Tampa, FL 33602 Comp. internet & breakfast; $25 self-parking

HOTEL TAMPA RIVERWALK (formerly Sheraton Tampa Riverwalk) 200 North Ashley Drive, Tampa, FL 33602 Comp. internet; valet $20 day/$36 overnight

Includes comp. internet; $30 valet only parking

September 2023

19

20 F l o r i d a M u s i c D i r e c t o r

N E W

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

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

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

Make sure you can login to the FMEA website using the web browser on your phone. Use the username and password you chose when you renewed your

membership. If you are from outside of Florida, you should have chosen your username and password when you registered for the conference.

Learn how to scan a QR code with your phone. With iPhones and newer

Androids, you just need to open your camera, point it at the code, and a box will appear for you to click.

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

September 2023

21

A ll-State Rehearsals

Ballroom = BR Meeting Room = MR Tampa Convention Center = TCC Marriott Water Street = MWS

All-State Concert Band

All-State Concert Chorus

All-State Concert Orchestra

RESEATING AUDITIONS Hotel Tampa Riverwalk, Riverwalk BR Thursday..........................................9am-11am

REHEARSALS – MWS, Grand BR Thursday.....................................8am-11:30am Thursday.................................1:30pm-4:30pm Thursday...................................... 6:30pm-9pm Friday.....................................8:30am-11:30am Friday........................................... 1:30pm-4pm

RESEATING AUDITIONS MWS, Florida BR, Salons 5-6 Thursday.....................................8am-11:30am

REHEARSALS Hotel Tampa Riverwalk, Riverwalk BR Thursday........................................... 1pm-5pm Thursday...................................... 7pm-9:30pm Friday.....................................8:30am-11:30am Friday................................................ 1pm-5pm Saturday........................................9am-12noon CONCERT – TCC, BR A Saturday, January 13, 2024................ 2:30pm

CONCERT – TCC, BR A Saturday, January 13, 2024....................11am

REHEARSALS MWS, Florida BR, Salons 5-6 Thursday...................................... 7:30am-8am Thursday...................................... 9am-9:30am Thursday................................9:30am-11:30am Thursday........................................... 1pm-5pm Thursday........................................... 7pm-9pm Friday.....................................8:30am-11:30am Friday................................................ 1pm-5pm CONCERT – TCC, BR A Saturday, January 13, 2024................ 6:30pm

22 F l o r i d a M u s i c D i r e c t o r

All-State Elementary Chorus REHEARSALS – TCC, Room 114 Wednesday....................................12noon-1pm Wednesday........................................ 1pm-6pm Thursday................................7:45am-12:45pm CONCERT – TCC, BR A Thursday, January 11, 2024................ 1:30pm

All-State Elementary Orff Ensemble REHEARSALS – TCC Thursday.....................10am-11am, West Hall A Thursday.................11am-6:20pm, West Hall A Friday........................ 8am-11:30am, Room 114 CONCERT – TCC, BR A Friday, January 12, 2024.......................... 1pm

All-State Middle School Band RESEATING AUDITIONS Hilton Tampa Downtown, Palma Ceia BR Thursday............................................9am-1am

All-State Middle School Orchestra RESEATING AUDITIONS – MWS, MR 8 Thursday..................7:30am-8am, Registration Thursday.....................................8am-11:30am

REHEARSALS Hilton Tampa Downtown, Palma Ceia BR Thursday........................................... 1pm-5pm Thursday........................................... 7pm-9pm Friday.....................................8:30am-11:30am Friday........................................... 2pm-5:30pm Saturday...................................8:30am-12noon

REHEARSALS – MWS, MR 8 Thursday........................................... 1pm-5pm Thursday........................................... 7pm-9pm Friday.....................................8:30am-11:30am Friday............................................... 1pm-5pm Saturday......................................10am-12noon

CONCERT – TCC, BR A Saturday, January 13, 2024................ 2:30pm

CONCERT – TCC, BR A Saturday, January 13, 2024................ 6:30pm

CONCERT – TCC, Room 120 Thursday, January 11, 2024.............. 12:30pm

All-State Middle School Jazz Band

All-State Middle School Treble Chorus

All-State High School Jazz Band

REHEARSALS Westin Tampa Waterside, Conch Room Wednesday................................... 2pm-5:30pm Wednesday........................................ 7pm-9pm Thursday................................8:30am-11:30am Thursday........................................... 1pm-5pm Friday.......................................8:30am-12noon

REHEARSALS – Hilton Tampa Downtown, Bayshore BR 5-7 Thursday................................10:30am-1:15pm Thursday.................................2:45pm-4:45pm Thursday................................. 6:15pm-8:15pm Friday.....................................8:30am-11:15am Friday.................................... 12:45pm-3:15pm

CONCERT – MWS, Grand BR Friday, January 12, 2024.......................... 7pm

CONCERT – TCC, BR A Friday, January 12, 2024.......................... 7pm

CONCERT – MWS, Grand BR Friday, January 12, 2024.......................... 7pm

All-State Middle School Mixed Chorus

All-State Popular Music Collective

All-State Intercollegiate Band REHEARSALS – Barrymore Hotel Tampa Riverwalk, Crown BR Thursday........................................... 8am-5pm Thursday........................................... 6pm-9pm Friday............................................8am-12noon

REHEARSALS – Hilton Tampa Downtown, Bayshore BR 1-3 Thursday.....................................11am-1:30pm Thursday........................................... 3pm-5pm Thursday.................................6:30pm-8:30pm Friday....................................8:45 am-11:30am Friday................................................ 1pm-3pm

REHEARSAL – TCC, Room 403 Wednesday........................................ 8am-9pm

CONCERT – MWS, Grand BR Friday, January 12, 2024..................... 9:15pm

CONCERT – TCC, BR A Friday, January 12, 2024.......................... 7pm

All-State Guitar Ensemble REHEARSALS – MWS & TCC Tuesday (MWS, MR 8)........................ 6pm-9pm Wednesday (MWS, FL BR, Sal. 1-3).8am-12noon Wednesday (MWS, FL BR, Sal. 1-3).... 1pm-5pm Wednesday (MWS, FL BR, Sal. 1-3).... 6pm-9pm Thursday (TCC, Room 120).....8:30am-11:45am

REHEARSALS – TCC, Room 407 Wednesday................................... 2pm-5:30pm Wednesday........................................ 7pm-9pm Thursday................................8:30am-11:30am Thursday........................................... 1pm-5pm Thursday...................................... 7pm-9:30pm Friday.......................................8:30am-12noon

CONCERT – TCC, BR B Thursday, January 11, 2024................ 4:15pm

continued

September 2023

23

A ll-State Rehearsals

Ballroom = BR continued

Meeting Room = MR Tampa Convention Center = TCC Marriott Water Street = MWS

All-State Reading Chorus REHEARSALS – Embassy Suites Downtown, Gandy MR Thursday.....................................8am-11:30am Thursday.................................1:30pm-4:30pm Thursday...................................... 6:30pm-9pm Friday.....................................8:30am-11:30am Friday........................................... 1:30pm-4pm Friday......................................4:30pm-5:30pm CONCERT – TCC, BR A Saturday, January 13, 2024............... 8:45 am

All-State SSAA Chorus REHEARSALS – Westin Tampa Waterside, Oasis BR Thursday.....................................8am-11:30am Thursday.................................1:30pm-4:30pm Thursday...................................... 6:30pm-9pm Friday.....................................8:30am-11:30am Friday......................................1:30pm-4:30pm CONCERT – TCC, BR A Friday, January 12, 2024.......................... 9pm

All-State Symphonic Band RESEATING AUDITIONS – TCC, Room 122 Thursday................................8:30am-10:30am REHEARSALS – TCC, Room 122 Thursday...............................12:30pm-4:30pm Thursday...................................... 6:30pm-9pm Friday.....................................8:30am-11:30am Friday................................................ 1pm-5pm Saturday........................................9am-12noon CONCERT – TCC, BR A Saturday, January 13, 2024................ 2:30pm

24 F l o r i d a M u s i c D i r e c t o r

All-State Symphonic Orchestra RESEATING AUDITIONS – TCC Thursday, 8am-8:30am, Registration, Room 124 Thursday, 8:30am-11:30am, Rooms 103–107 REHEARSALS – TCC, Room 124 Thursday................................8:30am-11:30am Thursday........................................... 1pm-5pm Thursday........................................... 7pm-9pm Friday.....................................8:30am-11:30am Friday................................................ 1pm-5pm Saturday...........................................9am-11am CONCERT – TCC, BR A Saturday, January 13, 2024................ 6:30pm

All-State TTBB Chorus REHEARSALS – Embassy Suites Downtown, Bayside BR Thursday.....................................8am-11:30am Thursday.................................1:30pm-4:30pm Thursday...................................... 6:30pm-9pm Friday.....................................8:30am-11:30am Friday........................................... 1:30pm-4pm CONCERT – TCC, BR A Saturday, January 13, 2024............... 8:45 am

High School Honors Band RESEATING AUDITIONS – Hotel Tampa Riverwalk, Bayshore BR Thursday..........................................9am-11am

High School Honors Orchestra REHEARSALS – Embassy Suites Downtown, Skyway Room Thursday..................8am-8:30am, Registration Thursday................................8:30am-11:30am Thursday........................................... 1pm-5pm Thursday........................................... 7pm-9pm Friday.....................................8:30am-11:30am Friday................................................ 1pm-5pm Saturday......................................9am-10:30am CONCERT – MWS, Grand BR Saturday, January 13, 2024................ 2:30pm

Middle School Honors Band RESEATING AUDITIONS – Hilton Tampa Downtown, Esplanade Suite Thursday..........................................9am-11am REHEARSALS – Hilton Tampa Downtown, Esplanade Suite Thursday........................................... 1pm-5pm Thursday...................................... 7pm-9:30pm Friday.....................................8:30am-11:30am Friday................................................ 1pm-5pm CONCERT – MWS, Grand BR Saturday, January 13, 2024....................11am

Middle School Honors Orchestra

REHEARSALS – Hotel Tampa Riverwalk, Bayshore BR Thursday........................................... 1pm-5pm Thursday...................................... 7pm-9:30pm Friday.................................... 8:30am-11:30am Friday................................................ 1pm-5pm

REHEARSALS – Hotel Tampa Riverwalk, Riverview Room Thursday..................8am-8:30am, Registration Thursday................................8:30am-11:30am Thursday........................................... 1pm-5pm Thursday........................................... 7pm-9pm Friday.....................................8:30am-11:30am Friday................................................ 1pm-5pm Saturday......................................9am-10:30am

CONCERT – MWS, Grand BR Saturday, January 13, 2024....................11am

CONCERT – MWS, Grand BR Saturday, January 13, 2024................ 2:30pm

S tudent Experiences Student Leadership Session Wednesday, January 10, 2024, 1pm-4:30pm

Presenter: Fran Kick

KICK IT IN and TAKE THE LEAD!

This workshop is designed for all high school student leaders who want to learn, thrive, and

become the best leader for their schools, peers, and themselves. Attendees will participate in

active conversations and team and relationship building activities while also discovering their personal strengths and needs to continue to grow on their leadership journeys. Everyone will be engaged in a culture of inclusivity to see and hear all students while revealing the unique strengths and knowledge of our combined voices and experiences.

FMEA now offers two experiences for high school students who are not participating in an all-state ensemble, the Student Conference Experience and the Tri-M Conference Experience. Read the comparison here.

Student Conference Experience Thursday, January 11, 2024, 3pm-4pm Presenter: Fran Kick The purpose of the Florida Music Education

Association Student Conference Experience

is to expand access to the annual conference to

students from throughout the state. Participating

students will interact with amazing clinicians and educators, college representatives, and incredible performing groups. These students will have

memorable experiences they can take back and

share with their high school music programs. The program will take place on Thursday and Friday of the 2024 FMEA Professional Development Conference.

Students will participate in

workshops, observe rehearsals, attend College Night,

Tri-M Conference Experience The purpose of the Florida Music

Education Association Tri-M Conference Experience is to provide students with

experiences that will build their leadership and advocacy skills, as well as expose

them to the experiences available at the

annual conference. Participating students will interact with amazing clinicians

and educators, college representatives,

and incredible performing groups. These

students will have memorable experiences they can take back and share with their high school music programs.

and engage in networking and social

activities with their peers.

September 2023

25

GEN Z & GEN ALP Who are they and how do we teac Introduction

Long gone are the days of millennials filling our classrooms. The generation of students who grew up in the

dot-com boom and who witnessed the evolution of flip phones to iPhones are all grown up and have joined the

workforce. Our more recent focus as educators has turned to Generation Z, often referred to as “Gen Z.” An even younger generation is quickly filling our K-12 classrooms

and will continue to do so until 2042. This generation is known as Generation Alpha, and elementary students are exclusively members of this group.

What are generations?

The term generation in this article does not refer to family

relationships, but rather references social generations.

The question is sometimes asked: “Why do we group

people into categories or generations?” Members of these

social generations share cultural history and life experiences, which they go through together at approximately

the same age. They have witnessed the same television shows, technology, and games. Thus, the term generation

in this context is a social idea that generalizes traits its members tend to possess based on their life experiences

(Washington, 2021). Every generation is shaped by events, technology, and trends that affect all areas of their life.

Although every student is different, it is important to be aware of the quirks and characteristics these recent generations bring to education.

continued on page 28

26 F l o r i d a M u s i c D i r e c t o r

PHA ch them?

by Melody Morrison

September 2023

27

GEN Z & GEN ALPHA continued from page 26

Who is Generation Z?

Who is Generation Alpha?

years 1995 and 2009, and the typical “Gen Zer” would

natives, Generation Alpha takes technology familiarity a

Members of Generation Z were born loosely between the

have grown up familiar with technological tools such as

computers, laptops, and smartphones (McCrindle, 2023a).

This generation is the first to be considered true “digital natives” and are sometimes referred to as the “iGeneration” because they grew up in the age of the iPhone, which

was introduced in 2007 (Eldridge, 2023). Even the most

senior member of this generation is probably unable to recall a time without the Internet. Gen Z has always been connected digitally, and its members have spent much of

their childhood surrounded by technology. Events other than technological advances shaped this generation and the environment in which they were raised. September 11, 2001, the Great Recession of 2007-2009, the election of the

first Black president, and the COVID-19 pandemic were

major events that affected Generation Z’s surroundings

Although members of Generation Z are considered digital step further and is referred to as “part of an unintentional

global experiment where screens are placed in front of them from the youngest age” (Brown, 2020, para. 2). This

generation includes children who were and will be born between 2010 and 2024 (McCrindle, 2023a). Children born

in this age range have been nicknamed “iPad kids” not only because some were born the year this technology

was introduced, but because they often appear glued to their tablets (Hagar & Beensaadt, 2020). The “global experiment” and “iPad kid” titles fit Generation Alpha considering the statistics of their digital usage. A study reported

that between 2011 and 2013, the number of children under eight years old who used digital media increased from 38% to 72% (Espiritu, 2016).

In addition to living in a 24/7 digital world, Generation

and perspectives. Generation Z also witnessed many

Alpha is experiencing other factors that will affect their

shape their views and propelled political opinions from

other generations. Due to increased lifespan, Gen Alpha

social changes and political unrest, which continued to an early age.

perspectives and increase their distinctiveness among continues to be in constant contact with other generations

(sometimes four or more). This multigenerational exposure gives these young minds experience with varying

opinions and outlooks, which will continue to broaden their perspectives and pass on knowledge beyond their years. Gen Alpha is also predicted to continue to live in smaller and less traditional families. In fact, it has been

stated that “only-child families are a given and rapidly becoming the New Traditional Family” (Newman, 2011, p. 6). Generation Alpha in North America is also the most

diverse generation in the country’s history, and they are

exposed to many ethnicities, which are represented in games, books, and TV shows (Washington, 2021).

Generation Z Characteristics

Generation Z is ambitious and educationally focused, and they understand the value of hard work. Unlike the

millennial generation, which some have called the gen-

eration of “participation trophies,” Gen Z understands competitiveness and has a respect for justice and fair play.

This generation is also open to change and nontraditional

measures, and its members are constantly looking ahead to improve society and integrate positive changes wherever they can. Due to Gen Z’s familiarity with technology,

28 F l o r i d a M u s i c D i r e c t o r

their brains are wired to take in visually complex and

sophisticated information (Rothman, 2016). Gen Z already

Generation Alpha Characteristics

but other defining features have appeared in recent years.

to their younger age and preexisting relationship with

had its unique characteristics that appeared before 2020,

Along with the rest of the world, Generation Z experi-

enced the all-encompassing effects of COVID-19, and this

heavily affected their social and educational lives. As a result of online learning and the chaos of the early days of Zoom education, Gen Z students became increasingly

self-reliant and resourceful, and technology played an

even larger role in their lives. University to elementary school students took it upon themselves to learn topics

that were lost in the whirlwind of online classes, discussion boards, and email threads. YouTube and other online

resources (even TikTok) became widely used during this

time as a means of learning. Due to a suffocating number of prerecorded or live lectures delivered via their comput-

er screen, students would “zone out” as more and more

Most of Generation Alpha experienced COVID-19 but due technology were not shaped by the pandemic as were

Generation Z students. As mentioned earlier, Gen Alpha is digitally adept, and discovering information via technology is second nature to children born in this highly digital age. Digital proficiency is a beneficial tool in many

scenarios. However, as this generation grows, studies are continuing to report concerns about detriments attributed to Gen Alpha’s technological preoccupation. Social inter-

actions are limited due to increased screentime, attention span has been reduced, imagination and critical thinking are reported to appear lower, and hand-eye coordination

as well as hand strength are weaker (Iberdrola, 2023; Mons, 2020).

Characteristics of Gen Alpha driven by digital connect-

information was provided to them in this manner. Thus,

edness are not all negative. Curiosity and flexibility are

format becomes repetitive or does not involve much class

(McCrindle, 2020; Winter, 2022). Generation Alpha is also

Gen Z brains still turn to autopilot mode when a teaching participation. The isolation during formative years in the lives of Gen Z students left them feeling socially deprived,

and eventually their apprehension of new situations and

people increased as they grew used to being alone. Added with the use of technology and social media, many Gen Z

teens and young adults were left feeling depressed and in

characteristics reported to be high in Gen Alpha children used to highly individualized environments because of

increased customization options in technology and other

areas of life. Thus, they know what they want early on and are familiar with their personal tastes while staying open to other options (Winter, 2022).

a constant state of anxious comparison with others. As a

Millennials, Generation Z, and Generation Alpha

during COVID isolation, many Gen Z young adults ini-

changed what typical childhood, teenage years, and

result of more opportunities for self-reflection and growth tiated a trend in mental health awareness and self-care (Annie E. Casey Foundation, 2023).

Changes on national and global levels have drastically

adulthood look like for different generations. These

continued on page 30

September 2023

29

GEN Z & GEN ALPHA continued from page 29

changes have affected how each generation communi-

Implications for Teaching Gen Z and Gen Alpha

average millennial may have readily accepted or even

Keeping each generation’s strengths and weaknesses as

the socialization required to carry out such a task, and

mind, teachers can determine strategies to educate Gen Z

cates, reacts, and digests new information. Although the

Students

enjoyed a group project in school, a Gen Zer may dread

well as communication and educational preferences in

for the Generation Alpha student, working in a team with others in person may be a completely unfamiliar experi-

and Gen Alpha students in relevant ways.

Gen Z students are appreciative of teaching styles that

ence. Additionally, millennials have typically been report-

vary from the traditional lecture-only method. Using dif-

itself on flipping traditions upside-down and questioning

students on their toes and prevent them from predicting

ed to remain “conventional” while Generation Z prides laws and behaviors. Millennials aside, there are many differences between even Generations Z and Alpha due

to different events and times in history. Both generations’ unique characteristics are summarized in Figure 1.

ferent teaching methods in every class or lesson will keep

what sessions will look like, promoting increased atten-

tion and attendance. Strategies such as gamification as

well as project-based and cooperative learning are ideas that can provide variety and excitement in students’ learn-

ing. Flipped instruction is also a tool to

Gen Alpha

use with Gen Z students. This entails giving students topics to study on their own

Born between 2010 and 2024

via YouTube or other online tools with

Characteristics of

Called iPad kids

after the pandemic. The students will

(Morrison, n.d.)

Contact with older generations

Figure 1

Generations Z and Alpha

Gen Z Born between 1995 and 2009 Born during the dot.com boom Diverse

which students are undoubtedly familiar

then present the topic to their classmates

and teacher, who will fill in any gaps the

Smaller and less traditional families

student may have missed. Introducing

Most diverse generation in U.S. history

er important element of teaching any age

diverse repertoire and materials is anothgroup. Generation Z students will appre-

Reduced attention span

ciate pieces written by underrepresented

Curious and flexible

composers, especially if time is taken to

Prefer individualized environments

the composer is not well known.

Educationally focused Ambitious Comfortable with asynchronous learning Resourceful

explain the history of the piece and why

If you are teaching in a studio or area

of a school where using a social media account is appropriate, consider making an account where you can post

recent news, share student accomplishments (with paren-

tal permission), and share other pieces of information you may want students to remember (such as the importance

of practicing slowly). Gen Z students are receptive to any

Prone to “zoning out” when learning structure becomes repetitive

content they see on social media, as they spend much of

Apprehensive of new situations and people

creating a TikTok account (although if you are feeling

Increased use of technology Mental health awareness

their time on these platforms. One of the prominent social

media platforms for Gen Z is TikTok. I am not suggesting brave, then go for it!). Gen Zers enjoy the camaraderie found on niche topics within social media platforms.

Teaching strategies that will work well for both

Generations Z and Alpha include using digital tools as supplemental resources. As many teachers have already

30 F l o r i d a M u s i c D i r e c t o r

discovered, technology can benefit music education in

numerous ways. Tools that can serve well inside and outside

Melody Morrison, NCTM, is a doctoral can-

naming apps such as Note Rush or rhythm-training apps such

State University. She teaches undergraduate

of class are mobile apps for smartphones and tablets. Noteas Rhythm Swing have received much praise from teachers,

parents, and students alike (Morin, 2016). YouTube is another excellent resource for videos that teachers can assign students to watch outside of class/lesson time (Morrison, 2022).

Generation Alpha will likely respond positively to any dig-

ital resource they are given. Although information presented

on a screen will grasp the attention of Gen Alpha students

and should be used when effective, these students should be prompted to grow in other areas that are lacking because of digital overstimulation. Physical aspects of playing an instrument such as gripping the strings on a guitar, holding a trumpet, or

maintaining proper hand position on the piano may prove more challenging for today’s young students because of undeveloped

didate in the piano pedagogy program at Florida

group piano as a graduate teaching assistant and serves as president of MTNA@FSU, the collegiate chapter of the Music Teachers National Association at Florida State University.

References Annie E. Casey Foundation. (2023, February 14). Generation Z and mental health. Annie E. Casey Foundation. https://www.aecf.org/blog/ generation-z-and-mental-health?gclid=Cj0KCQjwwtWgBhDhARIsAE McxeBHYDDusRSiY3YnUV6gUt6bpArgqrHI95DIH3eLdM5888ORAzli q1AaAufgEALw_wcB Brown, G. S. (2020, February 17). After Gen Z, meet Gen Alpha. What to know about the generation born 2010 to today. Good Morning America. https://goodmorningamerica.com/family/story/gen-meet-gen-alphageneration-born-2010-today-68971965

hand and finger strength. Tactile activities such as playing with

Eldridge, A. (2023, March 3). Generation Z. Encyclopedia Britannica. https://www.britannica.com/topic/Generation-Z

correlate with the proper playing of instruments and can be

Espiritu, M. (2016). Early childhood iPad use and effects on visual spatial attention span. [Senior thesis, Claremont Colleges]. http://scholarship. claremont.edu/scripps_theses/771

Play-Doh may seem like far-fetched ideas, but they directly

integrated into classrooms and studios and encouraged at home.

Teachers may also consider educational activities that involve hand-eye coordination. I have used buckets labeled with differ-

ent note values that students throw balls in and then add up the points based on the different note values they attained.

Activities that promote creativity, critical thinking, and imag-

Hagar, A. & Benssaadt, H. (2022, October 26). “iPad Kids” are shaping the future of education. The Spectator. https://seattlespectator. com/2022/10/26/ipad-kids-are-shaping-the-future-ofeducation/#:~:text=The%20term%20%E2%80%9CiPad%20 kid%E2%80%9D%20was,be%20seen%20constantly%20on%20devices Kearney, E. M. (2013). On becoming a teacher. SensePublishers. https://doi. org/10.1007/978-94-6209-392-8

ination are vital for the musical and overall development of

McCrindle Research (2020). Understanding Generation Alpha [infographic]. McCrindle. https://generationalpha.com/wp-content/ uploads/2020/02/Understanding-Generation-Alpha-McCrindle.pdf

include assigning more improvisational and compositional

McCrindle & Fell (2023a). Gen Z and Gen Alpha Infographic Update.

McCrindle. https://mccrindle.com.au/article/topic/generation-z/ gen-z-and-gen-alpha-infographic-update/#:~:text=Towards%20 2043-,Generation%20Z,They%20are%20Generation%20Z

our Gen Alpha students. Suggestions for nurturing these areas

assignments that require students to develop original ideas. The composing can be done with pen and paper or can involve digital tools such as GarageBand, BandLab, or Noteflight. An added

benefit for the Gen Alpha student would include assigning these

compositional activities in groups of two or more to encourage

McCrindle Research. (2023b). Understanding Generation Alpha. McCrindle. https://mccrindle.com.au/article/topic/generation-alpha/generationalpha-defined/

real-life collaboration and communication. These are only a few

Mons, J. L. (2020, June 22). Gen Alpha to create huge changes in sports. Sport Tomorrow. https://sporttomorrow.com/gen-alpha-to-create-hugechanges-in-sports/

teachers can implement into their teaching of Generations Z and

Morin, J. (2016, June 21). Reviews & giveaway: Note Rush app. Color in My Piano. https://colorinmypiano.com/2016/06/21/review-giveaway-noterush-app/

ideas. There are endless possibilities of pedagogical innovations Alpha students.

Conclusion

As our world changes, so will our students’ lifestyles, perspec-

tives, and learning preferences. Adjusting our teaching methods

for new generations does not mean abandoning our teaching style but enriching what we already have—increasing our pedagogical reach and influence on students. Kearney (2013) states,

Newman, S. (2011). The Case for Only Child: Your Essential Guide. Health Communications, Incorporated.

Rothman, D. (2016). A tsunami of learners called Generation Z. https://mdle. net/Journal/A_Tsunami_of_Learners_Called_Generation_Z.pdf Washington, V. (2021). Changing the game for Generation Alpha: Teaching and raising young children in the 21st century. Redleaf Press.

Winter, D. (2022, November 11). Generation Alpha: Everything brands need to know. Shopify. https://www.shopify.com/blog/gen-alpha

“staying current does not mean being untrue to who you are, to our own history … . Rather staying current involves staying open, open to the process of learning” (p. 98).

September 2023

31

FLORIDA MUSIC Thank you to all of the donors who have EDUCATION shown their dedication to the improvement ASSOCIATION of music education in Florida by supporting 2023-2024 DONORS our Mission through financial contributions.

Our donors support specific causes by donating to the FMEA funds of their choice: FMEA Scholarship Fund Music Education Advocacy General Fund

June M. Hinckley Scholarship Professional Development for Members Mel & Sally Schiff Music Education Relief Fund

The following have graciously donated to FMEA from April 1, 2023, through August 2, 2023.

MAESTRO’S CIRCLE $10,000 and up

No current donors at this time.

ARTIST’S CIRCLE $1,000 – $9,999

Clifford Madsen

SUSTAINERS $100 – $999

Carlos Abril In Honor of Dr. Joyce Jordan Lucinda Balistreri Virginia Densmore In Honor of Dr. Shelby Chipman Michael Dye In Honor of Mark & Brenda Scott for their lifetime dedication to Florida vocal music education Rita Hersom In Memory of Billy Bryant, Jr. Sheila King In Memory of John W. King Kevin Lusk Brenda McGlohon Mitchell In Memory of Dorothy Wells Skinner John Nista On Behalf of Stanley Dmitrenko David Pletincks In Honor of Alexis & Jonnie Pletincks Jeanne Reynolds In Honor of Pinellas County Performing Arts Teachers 32 F l o r i d a M u s i c D i r e c t o r

Mary Catherine Salo In Memory of Gary Rivenbark & Wes Rainer Steven Salo In Honor of Dr. William Prince & John “Buck” Jamison Kathleen Sanz In Memory of June Hinckley J. Mark Scott In Dedication to Dr. Andre Thomas, Dr. Judy Arthur, Dr. Judy Bowers, & Jason Locker D. Gregory Springer Harry Spyker In Honor of Fred & Marlene Miller Jeannine Stemmer In Memory of Barbara Kingman & Lauren Alonso Richard Uhler David Verdoni Howard Weinstein In Memory of Barry Weinstein Doris Elaine Wells In Memory of Dorothy Wells Skinner

PATRONS $25 – $99 Gale Baker In Memory of William Bryant, Jr. Garza Baldwin In Memory of Dorothy Wells Skinner Melanie Brown In Memory of Dorothy Skinner Jamie Bryan Jeff Cayer Dayna Cole In Memory of Linda Mann Bradley Franks In Memory of Gary W. Rivenbark Sandra Geres In Memory of Dorothy Wells Skinner

Martha Huntley In Memory of Dorothy Skinner, Safety Harbor, FL Joseph Luechauer Deborah Mar In Memory of Barbara Kingman Daniel Murphy In Memory of Billy Bryant Stephen Nelson Marie Radloff William Rose Mark Stevens In Honor of Dr. Clifford Madsen Valerie Terry

Kathleen Thompson Ellen Turko In Memory of Billy Bryant

Pauline Latorre John Marshall Mary Palmer Alexandra Rameau Ian Schwindt

Lindsey Williams

Anonymous (2) On Behalf of Derek Schaumann’s Birthday

FRIENDS up to $24 Crystal Berner Debbie Fahmie Tina Gill In Memory of Gary Rivenbark Marsha Kindall-Smith

Anonymous (1) In Memory of William Bryant, Jr.

MUSIC EDUCATION

2024 FMEA PROFESSIONAL DEVELOPMENT CONFERENCE

Now Accepting Booth Space Reservations for the 2024 Conference!

Please register and pay your deposit as soon as possible.

We are assigning booth space in the order deposits are paid.

fmea.org/

conference/exhibitor-information/ September 2023

33

Jazz Comping

J

by Jeffrey Benatar, DMA

Jazz conductors direct whole

instruments including the piano, guitar, or vibraphone. Depending on the style

groove, and notation interpreta-

role. Others should play extremely simply (padding) or tacit entirely; this avoids

ensembles by teaching phrasing,

tion. To encourage more interac-

tive and authentic experiences for

rhythm section players and all soloists, this article will demysti-

fy harmonic, rhythmic, textural,

of the piece, one of your comping instruments should take on a more rhythmic too much distracting material from the melody, soloist’s improvisation, or tutti sections. In other words, if the comping is covering up something else, it is no

longer complementary. One simple way to achieve this balance is to trade off who’s comping at each major section or for each chorus in a selected piece.

Now for the four areas to consider when actually comping: harmony, rhythm,

and articulation-based comping

texture, and articulation. The essential notes for harmony are always the third

examples will be provided.

through chord changes. The root is also important but is almost always covered

techniques. Several notational

First, we must recall that comp-

ing is short for complementing or accompanying. This role is

frequently played by chordal

34 F l o r i d a M u s i c D i r e c t o r

and seventh (or sixth) of the chord, indicated in either the written notation or

by the bass player. As a result, comping instruments can usually omit the root.

An advantage to focusing on these two notes, in addition to defining the harmony at its most basic level, is that the orientation of the third and seventh (or sixth) can be flipped as needed for ideal voice-leading. See below:

Essentials When building harmonic voicings for your students, always reference the

After ensuring the right notes

root and ask them to determine the third and the seventh (or sixth). Those two

that define the necessary harmo-

that core set of two voices. Further, try to keep those core voices in the middle

play it in the time span—rhyth-

notes often fit well in the bottom of one’s voicing. Add additional voices above register of the piano (approximately between C3 and C5). If it goes too low, it

becomes muddy. If it goes too high, it will interfere with material going on in other instruments. Have your students listen to recordings specifically for the comping. One or two listens will always help you to judge if the written chord

changes and/or written notation in your ensemble’s chart seems redundant, too difficult, or unrelated to a specific section of the piece. Other notes that can be

added are fifths, ninths, and (on occasion) the root in a higher octave. For more

advanced chordal voicings, feel free to add notes or more extensions. Consider using 11ths and 13ths, depending on the chord quality and style or genre of the piece, and alter them as needed. Several examples are shown below.

ny are covered, deciding where to mically—is the next set of choic-

es for compers to make. Again refer to the written style or genre

and/or do some listening to see

what is appropriate. In swing

pieces, a common suggestion is the “Charleston rhythm” from James P. Johnson’s famous stride

piece; this is a dotted quarter note continued on page 36

September 2023

35

Jazz Comping Essentials continued from page 35

followed by an eighth note. While this is a good starting point, be careful not to over use it on beat 1 and the “and”

of 2 as that overemphasizes the downbeat in standard 4/4 time. Instead use the Charleston rhythm as a very simple rhythmic cell and encourage your compers to use it

starting on any eighth note of the 4/4 measure. Be careful when crossing the bar line and/or playing on the “and” of 2 or the “and” of 4 because conventional styles require

that harmonies should be anticipated by half a beat. This

may take some preplanning on the part of your compers.

Below are some examples in the first six measures of a C blues.

Now that the essential notes and rhythms are indicat-

way to achieve a busier texture is to add more compers

times, texture is an important element that can be used

overtones and timbre combinations) rather than having

ing the harmony and accentuating it at the appropriate to add variety and interest to different sections of the piece or to differentiate between soloists (much like a

drummer will change cymbals for a different soloist or section). Texture, most simply interpreted, can be based on the number of notes a comper plays. This is easiest

on the piano. For guitar, you’ll fall out of the suggested range if adding too many notes on lower strings, and for

vibes adding more notes can mean more mallets. Another

36 F l o r i d a M u s i c D i r e c t o r

playing the same notes at the same time (creating more

some tacit or pad as suggested earlier. The other option is

to give all compers a different set of notes while making sure the essential harmonic notes are covered. As a piano player, you can play anywhere from two to six notes in a

condensed (one octave closed) or spread (multiple octaves with intervals of thirds or bigger) position to create different textures. Some examples of larger voicings are listed below for pianists.

Finally, that leads us to articulation. While style and

genre again should inform your decisions, this is an easy way to play the same notes and rhythms you were using before but effecting changes in the sound. Think about playing all long legato or tenuto versions of the rhythms

you selected. Or perhaps playing them all staccato is the

way to go. Maybe long-short or short-long would better complement the soloist. Maybe an accent to mark each four measure section will help the improviser stay on

track. Planning the articulations, accents, and/or interpretations gives the comper a lot of choices and allows for each soloist and each chorus to sound unique. Below are recommended syllables for specific articulations.

In summary, make sure you have the third and the sev-

enth (or sixth) in your voicing. Use simple rhythmic cells

like the Charleston rhythm in a variety of ways. Employ an increased or decreased number of notes in your voicings to play with different textures for each section. Select

purposeful articulations to make the comping unique for

each soloist. Encourage comping instruments to listen to

heralded compers like Wynton Kelly, Bill Evans, or Red

Garland (on the piano). Suggest that students preplan (and even write out) their comping and check their work. This

will create more variety and more meaningful experi-

ences in rehearsal for your rhythm section. Finally, allow student compers to experiment and improvise using these suggestions when solos happen. Happy comping!

Jeffrey Benatar, DMA, is jazz pianist with a passion for teaching. He is assistant professor

of music, director of jazz studies, and coordina-

tor of music management at Florida Southern College. Dr. Benatar directs jazz ensembles, leads the Jazz Piano Studio, teaches, and pub-

lishes in Florida Music Director and the Jazz Education Network journal.

September 2023

37

ResearchPuzzles FOR MUSIC TEACHERS

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

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

Creativity, Music, and Quality of Later Life

T

he music education profession values the role of creativity

The other key aspect of this study was quality of life (QoL).

es (along with Performing and Responding) that compose the

and spiritual components, which have been studied in a vari-

in music learning. Creating is one of three artistic process-

National Music Standards (National Association for Music

Education, 2023). While our professional music education

associations tend to focus on music teaching and learning in PK-12 schools and colleges/universities, music can play an important role throughout a person’s lifespan. Andrea Creech,

Keven Larouche, Mariane Generale, and David Fortier (2023)

wondered if there were direct links between participation in creative musical experiences and quality of later life.

To examine this issue, Creech et al. (2023) chose to conduct a

systematic review of the research literature. A systematic review

The researchers stated QoL comprises physical, psychological, ety of ways with diverse participants, using quantitative and qualitative methodologies. From an initial bibliographic database search that yielded 1,205 articles, the researchers worked

through their study protocol to eliminate papers that did not meet the established guidelines for inclusion (e.g., not empirical

research; didn’t link creative music activities and QoL), eventually retaining 23 articles for analysis. In this systematic review,

only studies with participants who were 60 years of age and older were included.

of the literature is more rigorous than a standard review of

Results and Discussion

carefully defined purpose and follows a detailed process that

ative musical activities positively influenced QoL, including

the literature. Among other things, a systematic review has a is documented so it can be replicated by other researchers.

Alexander (2020) stated:

the process of conducting a review systematically entails an orchestrated search of literature intended to address a particular question or issue of importance to the field.

The identified literature is then analyzed and synthesized in a methodical, logical, and transparent manner, and the

conclusions and implications that arise from this process are, thus, well-grounded in that examined literature. (p. 2)

To guide their study, Creech et al. had two research ques-

tions:

1. What is the significance of musical creativity for the quality of life (QoL) of older adults?

2. What are the ways in which musical creativity can be fostered among older adults?

In conducting any type of research, it is important to define

terms that are related to the study. There is no consensus on a definition of creativity, but Creech et al. (2023) endorsed

Schmid’s (2005) description. Schmid stated that creativity is “the innate capacity to think and act in original ways, to be inventive, to be imaginative and to find new and original

solutions to needs, problems, and forms of expression” (p. 29).

38 F l o r i d a M u s i c D i r e c t o r

The researchers found that several types of participatory, cre-

(a) songwriting, (b) improvisation and composition, and (c) singing or playing composed music. A few examples follow.

Group songwriting encouraged “a life of happiness, meaningfulness, and engagement” (Creech et al., 2023, p. 1088). A

connection between creativity and flow when writing songs was also noted. Engaging in participatory music activities that

included improvisation and composition positively impacted dimensions of the PERMA model of well-being, which includes

(a) positive emotions, (b) engagement, (c) relationships, (d) meaning, and (e) accomplishment (Seligman, 2010). Creech et al. determined that “QoL may be strengthened when the

creative process is collaborative, meaningful in the sense that individual identity is both expressed and explored, self-directed, and embodied” (p. 1094). While some might not consider

singing and playing composed music as creative, Creech et al. found that older adults often identified those experiences as creative and beneficial to their QoL. Interestingly, Creech et al. reported on a study by Engelbrecht and Shoemark (2015) where

participants used iPads as musical instruments. Engelbrecht and Shoemark found that playing “an iPad was associated with greater creativity and freedom as compared with the tradition-

al instruments, although iPads and traditional instruments

both contributed toward facets of QoL, including a sense of

group identity, increased confidence, mastery, and a sense of achievement” (Creech et al., p. 1093).

Summary

While likely not surprising to music teachers, it appears that

engagement in participatory, creative musical activities can positively impact the quality of later life. Given this, it seems

important that music educators help students develop their creative musicianship so they will be able to utilize it throughout

their lives. Including various forms of improvisation, compo-

sition, creative performance of composed music, and creative music listening in the music curriculum is important. Music teachers may also want to help organize and/or facilitate cre-

ative musical experiences for older adults in the communities where they live and work, contributing in a tangible way to these individuals’ quality of life. Music is for a lifetime.

References Alexander, P. A. (2020). Methodological guidance paper: The art and science of quality systematic reviews. Review of Educational Research, 90(1), 6–23. https://doi.org/10.3102/0034654319854352 Creech, A., Larouche, K., Generale, M., & Fortier, D. (2023). Creativity, music, and quality of later life: A systematic review. Psychology of Music, 51(4), 1080–1100. https://doi.org/10.1177/0305735620948114 Engelbrecht, R., & Shoemark, H. (2015). The acceptability and efficacy of using iPads in music therapy to support wellbeing with older adults: A pilot study. Australian Journal of Music Therapy, 26, 52–73.

National Association for Music Education. (2023, August 1). Standards. https://nafme.org/publications-resources/standards/ Schmid, T. (Ed.). (2005). Promoting health through creativity. Whurr.

Seligman, M. E. P. (2010). Flourish: Positive psychology and positive interventions. In The Tanner lectures on human values (pp. 1–243). Ann Arbor: University of Michigan.

Endnote 1

bit.ly/fmea-flow

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

September 2023

39

ComponentNews T

FLORIDA MUSIC SUPERVISION ASSOCIATION

Christopher Burns, PhD President

he rhythm of life seems to be con-

is essential. Our beloved Sunshine State

the same high-quality music education.

sometimes with an abruptness that can

medley of cultures, landscapes, and his-

districts and for yourselves throughout

stantly changing, sometimes slowly,

be jarring. Here in Florida, we’re feeling that tempo shift acutely as our arts pro-

grams—the heart and soul of so many

schools—navigate a challenging political environment.

Every day you breathe life into melo-

dies and motifs that transcend barriers,

bringing joy, solace, and understanding to students of all backgrounds. Especially now, in these times of flux, your work

has always been known for its vibrancy, a tories. But as with any evolving piece of music, there are moments of tension that

demand resolution. Today we face the challenge of advocating for the impor-

tance of arts education amidst budget constraints, policy shifts, and a distress-

Here are some ideas to advocate for your the year:

1. Mentorship programs: Pairing experienced educators with newcomers

can bridge the generational gap, providing new teachers with guidance, resources, and a helping hand.

ing teacher shortage. As many of our

2. Open dialogues with school and dis-

we’re faced with the task of ensuring

key. If you do not let your leadership

seasoned educators approach retirement, the next generation of students receive

trict leadership: Communication is know your needs, they will not be

FLORIDA VOCAL ASSOCIATION

David Pletincks President

I

nspiration is a word that gets used often in our profession.

er by their first name and still didn’t feel comfortable, but

music. We strive to inspire them to be better versions of them-

Bert was a jazz musician who played in several big bands

We seek daily to inspire our students to develop a love for

quickly found out that everyone did.

selves when they leave our programs than they were when

in New York City. By everyone’s description he was a “cool

inspired you to be where you are, sharing your love of music

students. He would bring us charts to play in jazz band

they first came in. Take a moment today to think about who in the classroom.

At the FVA Executive Board in July, I had the board mem-

bers go around the table introducing them-

cat,” a term he frequently used talking to or describing his

that he had borrowed from his bands in the city. The significance of this was not lost on any of us.

One Friday night at a football game, I

selves and sharing who inspired them to be a

was watching Bert have the time of his life

that the overwhelming response was their own

the cheerleaders, laughing and carrying on.

music educator. It certainly wasn’t a surprise secondary school music teacher. There were also a few who were inspired to pursue this

career by family, friends, or elementary music

teachers. What was consistent from the 29 people sitting around the table was the joy that showed on their faces when they reflected on

those individuals and the inspiration they gave.

My inspiration was my high school band Bert Hughes

director, Bert Hughes, at Nyack High School in

playing a trumpet, yelling and cheering with I distinctly remember thinking to myself, “If

I can have that much fun for the rest of my life, I want to be a band director.” Whether

we realize it or not, we have that level of

impact on many of our students. It’s not the reason we teach, but it’s a natural by-product of the caring relationships we build and the memories we create with our students. Take

a moment this week, look at your students,

Nyack, New York. I had moved to New York my sophomore

and dream of what might be. You may have a student

fifth grade. I was excited to meet Mr. Hughes and shocked to

orchestra, or elementary music teacher, and YOU may

year and had loved band since I started playing trumpet in hear him tell me to call him “Bert.” I had never called a teach-

40 F l o r i d a M u s i c D i r e c t o r

in front of you who will become a fantastic choir, band, have been their biggest inspiration.

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Ashley Peek President

met. FMSA is actively working on making sure each district has a voice for the arts, as many of our 67 school

districts do not have an arts super-

visor. You can assist with this effort by contacting either your closest arts

supervisor, or contact me directly at christopher.burns@osceolaschools. net

area.

for advocacy efforts in your

3. Choose the hill: While we want to ensure our students are receiving a

holistic music education within our

classrooms, we are no good to them if we are not there. You know your

schools, you know your community, you know your content. While I would never tell anyone else how to teach their students, I will suggest you

follow all laws and regulations within your district and your state to ensure your license and job are safe!

4. Reframe the teacher shortage: The

amazing Dr. Dre Graham (emerging

leaders chairperson) recently spoke to me about changing the way we approach our current situation, not as

a teacher shortage but as a shortage of teachers willing to work in the

current educational environment. We

as a profession must change the focus of music education positions from a place of need to a place of want.

Lastly, how can we address the some-

times rocky relationship between arts education and the current political envi-

ronment? By leaning into our strengths.

As music educators, we’re adept at listening, collaborating, and adapting. Let’s harness these skills to advocate for our

programs. Engage with local representatives, write op-eds, organize communi-

ty events showcasing the talents of our

students, and continue to be vocal about the essential role of the arts in a holistic education.

A

s we ring in a new school year, how are you going to prepare yourself and your students for a magnificent journey? To give our students the best year

possible, we should first take a look at ourselves. What is our mindset for teach-

ing? Our purpose? Our goals? We’ve all created a philosophy of teaching. Maybe

you first wrote down your philosophy for a class in college, but how much have you reflected on your philosophy since then?

I challenge you to think of a word that you want to describe your classroom,

and then put your focus on that word for the school year. For me and my students, I choose joy. As I reflect on the word joy for myself, my students, and the game

plan for my classroom, I begin to think of the familiar saying, “Who? What?

When? Where? Why?”

Who? Who are you as a teacher and who inspired you to be a teacher? Thinking

back to who inspired me as an elementary teacher, I come back to my chosen word

for the year, joy. I clearly remember this person having true joy in teaching, and it was truly evident when observing the students in her classroom. To conclude

on the who, take the time to spend time on YOU. Who are you outside of your classroom? The term self care has been a hot topic lately, rightfully so. To give our

best to our students, we need to be at our best. Coming in refreshed and joyous will transfer directly to your students and your classroom’s climate.

What? What are my goals for the school year? What kind of experience do I

want my students to have? What do I need to do for myself this year to help me meet my goals?

When? Once you set up your game plan for NOW, you’ll see the influences of

that plan branching out for years to come. For me, I hope to see that sparking joy

now will give students a love and appreciation for music for the rest of their lives.

Where? Physically, your where is your school, the place your magic will hap-

pen. Your where is also your direction for your school year. Where are you trying to lead your students this year? Where are you trying to lead your personal development?

Why? Why did you choose the specific word you chose for your year? My

word, joy, will always be strongly tied to my philosophy of music education and

my why for teaching. Teachers and students often get bogged down in testing,

to-do lists, trainings, and the many logistics of school, so we need to remember the pure joy in music and how it can lift us up in all areas of our lives.

Take some time to choose your word for the year and devise your plan for a

prosperous journey for you and your students. I wish you all the best and the most joyful year of teaching yet!

September 2023

41

ComponentNews

FLORIDA NAfME COLLEGIATE

Mark A. Belfast, Jr., PhD Advisor

Gear Up for the Get Down!

I

hope you all had an amazing summer! I know many of you

were working, traveling abroad, or (ahem) taking classes,

but I hope you were also able to find time to rest, binge watch a few shows, and spend quality time with your family before

returning to campus. Last month, we discussed ways you might consider a fresh start this school year, by making attainable per-

Hispanic Heritage Month

On September 15, we begin celebrating Hispanic Heritage

Month. Consider making some goals related to educating your-

self and others about the histories, cultures, and contributions

of the many Hispanic Americans who have helped shape our country. Check out hispanicheritagemonth.gov

for LOTS

sonal, professional, and community service goals to help guide

of resources, including links to government-run social media

month of September:

Hispanic music and the music of Hispanic people, audio and

your actions. Here are a couple things to consider during the

accounts related to Hispanic Heritage Month, articles about

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

Sandra Sanchez Adorno, PhD President

A

s the new school year begins, you

I could collaborate with my higher edu-

a social art, and we will only become

and in-service teacher counterparts.

fulfilled with what we do by working

will likely be reminded of how

cation colleagues, former classmates,

have to go in recovering from the last-

These collaborations quickly transcend-

far we have come and yet how far we ing effects of the COVID pandemic.

On the outside, our universities have

gone back to a sense of normalcy with regularly scheduled courses, full con-

cert seasons, and student events. But on the inside, many of our colleagues and students may still be recovering

emotionally and struggling to manage time and responsibilities effectively in this post-pandemic world. One of the

most important things I learned while navigating teaching and researching

from home with a toddler in tow was how to lean on my social networks for professional and personal support.

Needing a creative and social outlet

during a time when I felt like I was liv-

ing in a vacuum, I sought projects where

42 F l o r i d a M u s i c D i r e c t o r

ed beyond project goals, becoming

better, be more creative, and feel more with and learning from others.

In the spirit of connection and collab-

invaluable sources of inspiration, moti-

oration, I hope you take advantage of

in my life. Some weeks we were very

create via our mentorship program that

vation, friendship, and accountability focused and productive; other weeks we spent most of our communications

completely off-topic, discussing recent

life events and exchanging advice on

other projects. Some weeks I gave more to my teammates; other weeks I took

more when I needed to. Collaborative spaces such as these not only fuel our profession but feed our souls. This year

I encourage you to connect with colleagues who share your interests, colleagues at and across your universities,

and colleagues in and outside the field

of music education. Music teaching is

the social spaces FCMEA is striving to launches September 1, general business meetings (October 1, January 11),

and “The Collaborative Connections in Higher Education Meeting,” an interactive think tank event geared toward

higher education faculty and administrators during the state conference.

Please check our website FCMEA.org for more information. I look forward to getting to know and working more

closely with all of you this year as I settle into my presidency of FCMEA. After all, the most valuable resource we have is each other. Have a great semester!

FLORIDA NAfME COLLEGIATE

Colin Urbina President

H

ello, collegiates! I hope you all had a wonderful summer and these first few weeks of school have started

off well. As we dive headfirst back into school, I think it is

video samples, beautiful images, and even resources designed

important to keep a few things in mind to help us all suc-

for teachers! Everything is provided, free, by the Library of

cessfully navigate this year.

significant government agencies. Just be sure to give proper

mental health. It is no secret that the music education degree

Heritage Month personal, professional, or community service

you are or what stage of your program you are in, there

Congress, National Archives, Smithsonian Institute, and other

First, always remember to take care of you and your

attribution if you use the materials. What will your Hispanic

is a difficult journey to get through. No matter what year

goal be this year?

are always new obstacles to overcome and objectives to

University of Central Florida School of Performing Arts

accomplish. Remembering to take time to do something you

enjoy and is fulfilling to you is vitally important amidst all

of the assignments, practicing, and coursework we take on.

The habits you create around work-life balance today will impact how you choose to live your life as a teacher once you enter the field. Always do your best to avoid overwork-

ing yourself and fostering habits that could lead to burnout.

Second, find time to help programs around you. One of

the most valuable things you can do for the programs in

your area is to reach out and offer your help in any way, shape, or form. Whether it be teaching a sectional or helpFlorida NAfME Collegiate Fall Conference November 4-5, 2023

This year’s Fall Conference is shaping up to be a great event, and I hope you’ll make plans to join us on the beautiful campus

of the University of Central Florida! Take the time, now, to plan for your attendance at this incredible and unique annual event.

Your State Executive Board has listened to your feedback from

previous fall conferences and designed a weekend specifically for YOU! We hope the new two-day format will make the con-

ference more accessible, enjoyable, and educational for every-

one. In the coming weeks, you and your chapter’s Executive

Board will receive details regarding the conference schedule, registration deadlines, housing, and (perhaps most important) scholarship opportunities.

PLEASE don’t let finances be the reason you’re unable to

attend the conference. If you want to be there, we want to find a way to get you there! The state board has been working since

January to create an experience that will elevate Florida NAfME

Collegiate members to new heights. I have no doubt you’ll be able to meet any number of personal, professional, and commu-

nity service goals throughout that weekend, so you won’t want to miss this year’s event!

Have a great month!

ing build new choir risers, the effects of service learning on

both the program and your own education are numerous.

Not only will you gain valuable experience in a classroom,

but you’ll start networking with educators around you and

beginning relationships with people who will soon be your colleagues.

Finally, remember why you pursued this in the first

place. I know the phrase “remember your why” is something we have all heard often and can even be a bit cheesy at times. However, I have always found it important to put myself in situations that help me experience what drove me

to become a music educator in the first place. So often we

can get caught up in the day-to-day stress of school, and it

can become easy to lose sight of what we are aiming for. We

are not here to do theory assignments or to be able to name Beethoven’s fourth symphony at the drop of a needle. We

are here to inspire students and pass on the gift of music

among a myriad of other reasons. If you make an effort to put yourself in situations where you can experience your why, whether it be teaching or anything else, it will help you refocus your goals and remember why you took this path in the first place.

I can’t wait to see what this school year holds for every-

one, and I am looking forward to seeing many of you soon at Fall Conference and FMEA!

September 2023

43

ComponentNews T

he 2023-24 school year is under way!

directors/people, and visit string-specific

18-24, 2023. Be sure to check your district

reading sessions of new music. Bring your

state is quickly approaching, September

planning has already taken place with

calendar for your audition date and site.

your FOA Executive Board. During our district chairperson training in July, we welcomed five new district chairpersons:

Christopher Miller...................District 2/3 Lawton Chiles High School Abbey Duncan..............................District 9 Clearwater Fundamental Middle School

Norm Vagn...................................District 11 Riverview High School

Cheri A. Sleeper President

The all-state audition window for the

As you fine-tune your beginning-

of-the-year agenda and calendar, much

FLORIDA ORCHESTRA ASSOCIATION

Become part of the process by volunteering to assist with the event. Each district

vendors. There will also be two hands-on instrument and music stand to share in some musical moments!

will also be responsible to provide a cer-

tain number of volunteers to assist with

final all-state judging held on October 14, 2023, at the Hilton Orlando. Please con-

tact your district chairperson if you are interested in assisting. FOA would like to thank Brian Hellhake, our all-state audi-

Here is general information for the Fall

w DATE: October 12-13, 2023 w LOCATION: Hilton Orlando, Joseph Bigler...............................District 18 As you continue to make plans for the Palmetto Ridge High School 6001 Destination Parkway, Orlando year, consider an exceptional profession- w THEME: Re-Energizing the Music Thank you to all our district chair- al development opportunity by attendEducation Classroom and Teacher persons for setting the tone for the year, ing our 2023 FOA/FLASTA Professional w KEYNOTE SPEAKER: Dr. Rebecca one of innovation, transparency, and a Courtney Chrestensen..............District 17 Douglas Anderson School of the Arts

pioneering way of thinking. Remember

that your district chairperson is there to support you with any questions or recommendations you have throughout the year.

tion chairperson, and all those who will

Conference:

assist with this important process.

Development Conference. During the

conference there will be many beneficial sessions to enhance your orchestra

programs. This is also an opportunity to reconnect with colleagues, meet new

B. MacLeod, professor of music

education at the University of North

w CONFERENCE REGISTRATION Carolina Greensboro

& FULL SCHEDULE: FOA website (myfoa.org

)

A HUGE thank you to all district chair-

persons for their efforts, guidance, and desire to do what’s best for the Florida Orchestra Association. I would like to

encourage everyone to be involved with your district and never hesitate to share

ideas or reach out for assistance. Veteran

Music Is Elementary would like to wish all educators and administrators in the state of Florida a great 2023/2024 school year!

We look forward to serving you this coming season!

members are a wealth of knowledge and understanding, and are committed to

ensure our students have the best string education possible. All you need to do

is ask questions, offer constructive sug-

gestions, and be collegial. Your Florida

Orchestra Association is here to help and represent everyone.

As FOA directors, our jobs can be all

consuming. As you lead the progress of your district and students throughout the

www.MusicIsElementary.com 800-888-7502

44 F l o r i d a M u s i c D i r e c t o r

year, remember to take time for your fam-

ily and personal growth. I wish everyone the very best for this school year.

Please take time to thank and support our 2023-2024 Corporate & Academic Partners.

GOLD PARTNERS

BRONZE PARTNERS HeartSong AV Services Music & Arts Music is Elementary Romeo Music West Music Company

Partners as of August 2, 2023.

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

September 2023

45

CommitteeReports

MULTICULTURAL NETWORK

Arnekua Jackson, PhD Chairperson

Five Tips From Music Educators to Jump-Start Your Year

W

hen starting a new school year, it can be exciting yet over-

Our Multicultural Network (MCN) committee is offering

whelming. Especially when you are trying to establish

five tips to music educators to encourage and ease your mind

and community; not to mention if you have changed schools,

your year and remember that as challenging as the work may

relationships with students and get to know the parents, culture, you must adjust to a new leadership style from your administra-

tion team and their goals for your program. In addition, you still must plan the following: lesson plans, music literature, concerts, assessments, performances—the list can go on and on.

as you embark on a new year. Heed their advice as you start

be, the rewards are limitless, especially when you consider the long-lasting impact you will have on your music students. Each music educator will offer one tip you can implement this year.

Tip #1:

Tip #2:

Tip #3:

Tip #4:

Tip #5:

Every student that

empathy

We sometimes view

With the high demand

everyone around

Be patient

walks into your

classroom is going to have their own

story. For them to feel comfortable in your

room, you must create a safe environment

for them to express themselves. If they aren’t comfortable

with a certain activity, whether it be singing,

dancing, playing, and/

or improvising, remind them that it’s O.K. and

they can perform when they are comfortable in your classroom.

Irene Plaza Kaplan, General Music Teacher

Show kindness and For some students,

the kindness and care you show may be the only time they may

encounter it, especially when empathy is lacking at home.

Always be mindful of this, especially

when life is tough and challenging for many

students, the way you

treat them is critical to their growth.

Corey Curtis, Director of Bands

Bair Middle School, Sunrise

Rock Lake Elementary School, Orlando 46 F l o r i d a M u s i c D i r e c t o r

Give yourself grace ourselves in a much harsher light than

others. Take pride

in progress versus

perfection. Every day is an opportunity

to become a better educator.

Angela Polito, Director of Bands

Timber Springs Middle School, Orlando

Affirmation Time for performance,

sometimes students can become weary.

During these times

I have implemented

“Affirmation Time,”

which allows students to affirm one another.

After implementing this, I noticed an

immediate change

in my students. The

students are happy, feel loved, and accepted.

Naomi Nelson, Director of Bands

Jones High School, Orlando

Find value in you

We are constantly

receiving information from our colleagues

and students. Be sure to find value in the uniqueness, assets,

and variabilities that everyone brings to your educational

community. Most

importantly, provide opportunities for

EVERY student to see themselves in your curriculum.

Dre Graham, Director of Educational Equity & Outreach

Alachua County Public Schools, Gainesville

DIVERSE LEARNERS COMMITTEE

Christine Lapka, EdD Chairperson

Strategies for Teaching Diverse Learners:

Let’s Get Together B

ringing exceptional (ESE) and typical

bring students together. Here are a few

et al. (2016) looked at multiple studies

teacher leads a group of ESE students

for students with disabilities and with-

choir or grade level is singing. The

approaches when teaching music. Hehir w Choir director or elementary music students together is one of my favorite

about the benefits of inclusive education out disabilities. They found that when students with disabilities were present,

teachers implemented tactics that helped all students. Also, inclusion did not keep

typical students from learning, and students with disabilities benefited academically.

As we coordinate and create our pro-

grams, music teachers can also affect atti-

tudes. I studied an integrated high school band that expertly included an entire

special education class into the band. At

ways that have worked for other teachers:

to sing one or two songs that another

ESE class and typical students practice together a few times and then perform together on a concert.

were in favor of the integrated band.

Later in the year, that one student stated the many benefits of having the group

included in band. That student even took

extra steps to have their exact quote as part of the record. They said, “After you

are forced to spend time with someone,

and we raise disability awareness or

ability awareness, and we serve as

agents of change for our school, our community, and our world.” Watch

the video below to see and hear them in rehearsal and on stage.

I would love to share your experiences

and teach students how to play mod-

email and we can make plans to chat, or

Sometimes students read tradition-

Be the catalyst!

ified (simplified) instrumental parts. al notation, and some need adapt-

you can simply jot down some thoughts.

ed notation. The students perform

References

Sound has resources for teachers.

Baron, R., & Byrne, D. (1987). Social psychology: Understanding human interaction. Boston, MA: Allyn and Bacon.

together throughout the year. United CLICK TO GO TO UNITED SOUND

allowed all students to discuss their feel-

time, all but one of the typical students

“We build long-standing friendships,

w Band students join an afterschool club in the Florida Music Director! Send me an

the start of the year, the band director ings in group lessons or privately. At that

verbal. Their choral director states,

w High Five Choir, New Trier High School, is a place for all ability lev-

els. Some students can match pitch, others may not, and some are non-

Hehir, T., Grindal, T., Freeman, B., Lamoreau, R., Borquaye, Y., & Burke, S. (2016). A summary of the evidence on inclusive education.

Alana-Abt. https://alana.org.br/wp-content/ uploads/2016/12/A_Summary_of_the_ evidence_on_inclusive_education.pdf Lapka, C. M. (2005). A case study of the integration of students with disabilities in a secondary music ensemble (Order No. 3182301). Available from ProQuest Dissertations & Theses Global. (305001731). https://www.proquest. com/dissertations-theses/case-studyintegration-students-with-disabilities/ docview/305001731/se-2

WATCH VIDEO

you understand them.” The student went on to indicate gratitude for the experience

and the pro-inclusion attitude of their

band director. The actions and influence of teachers can be key in promoting inclusive practices. Students who see teachers

in the role of “influential others” will like-

ly model their behavior (Baron & Byrne, 1987). When a behavior is modeled, it can become a catalyst for attitudinal change.

Therefore, if we want to help our stu-

dents to grow musically or socially, we need to create classes and ensembles that

September 2023

47

CommitteeReports

HEALTH AND WELLNESS COMMITTEE

Aaron Kass Chairperson

Creating Space With the Breath

E

veryone can agree the breath is life

minutes in the morning, one minute

cians, we are connected to our breath in

ning. Get creative with the structure

at lunch, and two minutes in the eve-

and we need it to survive. As musi-

w Use meditation timers or apps if you of your time.

ways that allow us to be aware of and manipulate it efficiently and serve an

intended purpose, whether to sing, play

wish. (I’ll cover some recommenda-

w No need to validate your breath-

an instrument, or simply breathe the

tions in a future article.)

beat of prep before entering. We all use

the breath intentionally. What if your

ing—“Am I doing it right?” Just

purpose was peace and calm? Consider

tools and experience necessary to literally breathe life into a meditation practice. In

this article, I’ll share my perspective on how breathing mindfully helps me and

w Bringing the mind back to the breath is the practice (letting it go, gently). w Taking a few minutes a day to add breathe.

the possibility; you already possess the

different meditations. Keep it simple

in some mindful breathing practices will serve YOU, which will help those

w The goal of mindfully breathing is to The breath is necessary to gather our Taking five minutes a day to breathe energy and allow ourselves an opportujust breathe and observe. and ground myself brings about a calm w Find a rhythm that feels natural, not nity to reflect on what is/is not working center from which I can operate. This for us or to simply create a moment of forced. peaceful and calm moment becomes a w To breathe mindfully is to be fully space with a gentle heart and an open some thoughts on how I approach meditation.

fixed focal point in my day that I can thread through all the other moments in life.

As with all things, the quality of the

breath is most important. To make the most of a mindful breath, here are some

w Basic breathing—in and out through insights I have found helpful:

the nose as you are able. There are

other types of breath regulations for

48 F l o r i d a M u s i c D i r e c t o r

if this is new to you.

aware of the breath entering and leav-

ing the body and all sensations that

you SERVE.

mind. As we practice any skill, especially a new one, we are often faced with a fear

w Take note of thoughts, feelings, and mind to know you can’t fail at breathing; accompany it.

physical sensations that may come

up, but don’t cling to them. Just note

of doing it wrong. It may help ease your you are already doing it! Begin paying

attention to your breath, and if you need

w If five minutes seems like too much, 1,000 times you have practiced that skill. them.

break it up. Perhaps give yourself two

to begin again 1,000 times then that is How magnificent!

AWARDS COMMITTEE

Sondra A. W. Collins Chairperson

Y

our FMEA Awards Committee wants to recognize and empower the heroes

among us who have been the light this past year, as well as continue to be the light,

for their students and others. Your FMEA Awards Program offers several awards

in recognition of the efforts and accomplishments of those who have made out-

standing contributions to music education.

Please check over the award categories and take the opportunity to recognize those lights among us. It’s your turn to be their light, in recognizing them.

We are days away from the application

deadline for many of the FMEA award nominations. The deadline for all catego-

ries (except the Music Education Service and the Music Enrollment Awards) is

September 11, 2023. All applications are completed online.

Please check the FMEA website for

details about the awards and nomination process:

CLICK HERE In this column and in the coming

Dr. Peter Steenblik, director of choral activities at the University of West

Florida, and our 2023 FMEA College Music Educator of the Year, inspires through these words:

The past few years have undoubtedly been difficult for our profession.

Yet for me, personally, it’s given me time to develop a more profound appre-

ciation for the choral art form. What sets choir apart from our instrumental cousins is the inclusion of words. Within the reading chorus room at the

[2023 FMEA] Conference, students [were] engaged in singing the following empowering texts.

From James Weldon Johnson, best known as being author of “Lift Ev’ry

Voice and Sing,” we [sang] a sonnet of his, where he wrote: “Look up and

out beyond surrounding clouds, and do not in thine own gross darkness grope.”

From John Greenleaf Whittier, a 19th century abolitionist, we [sang]: “But

let me keep a heart that still can feel and eyes that still can weep.”

And finally, from a high school poet in Minnesota, whose words were

recently set to music: “A place we can call our own, make our own, a place to live, grow, and be.”

Every student, no, every person deserves a chance to study, repeat, feel,

months, I will continue to provide a

and voice empowering texts like this with their peers, in choral unison.

shared with us at our 2023 FMEA Awards

with the Choral Society of Pensacola to interact regularly with singers from

tion to give you the confidence to be the

witnessing each stage of musical development and watching each age of

glimpse of the brilliance our awardees Ceremony. I share these words of inspiralight to your own students, as well as the

drive to help shine a light on others during this nomination period.

I find myself in a unique position at the University of West Florida and

junior high age up to retired senior citizens, living their best lives. I enjoy singer connect differently with such empowering texts.

Thank you to the FMEA for this incredible award. This award, while

appreciated on a personal level, has helped to bring important administrative attention to the value of what we all do in our music classrooms.

September 2023

49

CommitteeReports

CONTEMPORARY MEDIA COMMITTEE

Clint Randles, PhD Chairperson

Introducing The Cutting Edge

N

ow is the most exciting time in the

in the 1970s because the music teacher

er! Band, choir, and orchestra are ubiq-

and so worked to bring it into being. The

wanted to be at the forefront of his field

history of music to be a music teach-

uitous. We have a plethora of different

Being Different

available that make use of movement and

people who are brave enough to be dif-

elementary general music methodologies sound in the classroom. One might think

we have reached our apex. However,

there is so much more work to be done to diversify our offerings and bring music

Major movements and innovations take ferent. Entrepreneur magazine cites three

qualities that make people entrepreneurs:

1. Bringing a unique take to a service to your arena

education more fully to the masses.

2. Being the first to bring an industry to

New Column: The Cutting Edge

3. Building a more sustainable future to

The Cutting Edge will focus on bringing songwriting, modern band, music pro-

your area of focus

your discipline

Being a music teacher on the cutting

duction, and contemporary media to the

edge puts you in a category of pioneering

the world of practicing teachers, profes-

work takes courage. I am here to help you.

classroom. I will bring inspiration from sional musicians, and music producers

work in the field of music education. This Music teachers in the 1920s in North

to inspire you to be on the cutting edge

America worked to create a place for

of the pioneering music educators who

Innovative music teachers in the 1950s

of your field. We will harness the spirit

brought band, choir, and orchestra to classrooms everywhere to fuel our innovations.

history of music education is full of simi-

lar stories. Music education has constantly worked toward being current.

It Starts With Curiosity

To champion these change initiatives,

music teachers had to be curious about

what might be just around the corner.

They had to understand what their com-

munities needed. They had to envision what might capture the imagination of the masses. In some cases, other people had already started to introduce new

ways of practicing. In other cases, teachers

had to be completely different and blaze new trails without any models to follow.

The rise of the wind band, the intro-

large instrumental music ensembles.

duction of marching band, and the cre-

engaged the public’s imagination around

music curriculum made space for musical

marching bands. The high school I attend-

ed in Central Illinois started a jazz band

ation and spread of jazz band in the creativities that did not exist before (Mark

& Gary, 2007). It allowed offerings within

the school day that did not exist before.

The musical creativities inherent to wind

Become A MEmber EDUCATORS & ADMINISTRATORS RETIREES • STUDENTS NON-TEACHING INDIVIDUALS FLORIDA CORPOR ATE & ACADEMIC PARTNERS (FCAP) Click to Join or Renew Your Membership

50 F l o r i d a M u s i c D i r e c t o r

band, marching band, and jazz band are well observable in practice. Many of us

in music education feel the spirit of the pioneer music teacher moving us to create

new spaces within the curriculum for

students to make the music they love in

authentic ways. Look for ideas on how to do that in The Cutting Edge!

References Christopher, E. (2021, March 10). What It Means to Be a Pioneer of Your Industry (and 3 Signs You Might Be One). Retrieved from Entrepreneur: https://www.entrepreneur. com/leadership/what-it-means-to-be-apioneer-of-your-industry-and-3-signs/366749 Mark, M. L. & Gary, C. L. (2007). A History of American Music Education. Lanham: Rowman & Littlefield Education.

STUDENT ENGAGEMENT COMMITTEE

Michael Antmann, EdD Chairperson

D

id you know that most Florida

Participating students will interact with

memorable experiences they can take

an all-state ensemble when they were

representatives, and incredible perform-

music programs.

music educators were not a part of

high school? In fact, according to a recent survey, two-thirds of our music teachers were not in an all-state group, yet most of the students at our state

conference are there to participate in an all-state ensemble. Now more than

ever, it is important to identify and pro-

vide opportunities for all our students

who might be interested in pursuing

music education as a career. How can we provide all our students incredible,

amazing clinicians and educators, college ing groups. These students will have

Experiences run concurrently with some

music programs. The program will take

in one of these experiences.

back and share with their high school place on Thursday and Friday of the

workshops, observe rehearsals, attend

Florida high school music students.

Conference. Students will participate in College Night, and engage in networking and social activities with their peers.

The Tri-M Experience provides stu-

well as expose them to the experienc-

The Student Conference Experience

expands access to the annual conference to students from throughout the state.

The Student Leadership Workshop

takes place on the Wednesday of the

Music Education Association’s Student al opportunities for our students?

overlap; schools can choose to participate

2024 FMEA Professional Development

dents with experiences that will build

Engagement Committee facilitates sever-

The Tri-M and Student Conference

memorable experiences they can take

life-changing opportunities?

Did you know that the Florida

back and share with their high school

their leadership and advocacy skills, as

FMEA conference. This is open to all Both the Tri-M and Student Conference Experience students can participate in the

Student

Leadership

Workshop.

Participants have the opportunity to learn from world-class leadership experts.

Please visit the FMEA website for

es available at the annual conference.

details about these events, as well as other

amazing clinicians and educators, college

please email Michael Antmann, commit-

Participating students will interact with representatives, and incredible performing groups. These students will have

Student Conference Experiences to Feature Sessions With

Fran Kick

opportunities. If you have any questions,

tee chairperson, at michaelantmann@ mac.com.

MUSIC EDUCATION

2024 FMEA PROFESSIONAL DEVELOPMENT CONFERENCE

Fran Kick is returning to this year’s FMEA Professional Development Conference to provide enriching sessions for students attending the Student Leadership Workshop, the Student Conference Experience, and the Tri-M Experience.

Fran is the educational resource to turn to when you want students, and anyone who works with students, to KICK IT IN and TAKE THE LEAD! His dynamic and exciting self-motivational personal leadership presentations have been shared across North America with thousands of university, high school, junior high, and middle school students, plus the many people who work with them.

September 2023

51

ExecutiveDirector’sNotes

FMEA Executive Director Kathleen D. Sanz, PhD

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

Energy and Excitement!

W

elcome to the 2023-24 school year. We hope the

All-State Auditions

beginning of the school year has started off with

Auditions will be taking place during September for the

there will be new opportunities and challenges. One

are actively working with teachers within the component

both energy and excitement! As the year begins, know

thing to be mindful of is your health and wellness as you progress throughout the year. We heard all summer long about the number of music educator openings in many

all-state performing ensembles. Component associations

districts to select the students. Encourage your students to audition for this musical opportunity.

schools. In addition, there will be many new teachers.

Legislative Session/Government Relations

belonging in your school.

and will end in March 2024. Please look for communica-

Please reach out to them to help them feel a sense of

The 2024 Legislative Session will begin January 9, 2024, tion from FMEA to assist us on reviewing the bills. If you

Music Teacher Workforce Development

FMEA is developing strategies for music teacher work-

force development. A teacher satisfaction survey developed by the National Federation of High Schools was sent

to members. The survey opened August 15 and will close

September 8, 2023. Please complete the survey so FMEA can further assist our members by analyzing specific

quantitative and qualitative data completed by Florida

have questions about the bills as they move through the process, please call Dr. Kathleen Sanz at the FMEA office.

If you typically vote by mail, a new law requires that

you request mail-in ballots every two years, so you will want to check on your status.

Professional Development Opportunities

for Members

teachers.

Florida Music Education Association

One of our strategies for “Grow Our Own” is to encourage

All-State.

We continue to experience the critical teacher shortage.

our young students to become more involved by performing, leading, and serving. The Florida NAfME Collegiate

chapters throughout the state provide opportunities for our university and college students to join together. In

addition, building Tri-M Music Honor Society chapters in our secondary schools will help us encourage our young

students to become more involved and make a connection

to their fellow students and music. For additional information, go to the nafme.org

Students.”

website and click on “For

Professional Development Conference and Registration opens September 16,

2023, for the 2024

FMEA Professional Development and

All-State being held January 10-13, 2024,

in Tampa. We’re looking forward to Jason Locker’s leadership for this conference.

Have a wonderful school year.

Kathleen D. Sanz, PhD

52 F l o r i d a M u s i c D i r e c t o r

F LO R I DA M U S I C E D U C AT I O N A SSO C I AT I O N

Officers and Directors

EXECUTIVE BOARD President

Jason P. Locker

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

Shelby R. Chipman, PhD

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

Scott Evans

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

Bernard (Bernie) Hendricks, Jr.

Ocoee High School 1925 Ocoee Crown Point Pkwy.; Ocoee, FL 34761 bernard.hendricks@ocps.net FCMEA President

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

Ashley Peek

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

Colin Urbina

University of Central Florida co006947@ucf.edu Florida NAfME Collegiate Advisor

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

Christopher Burns, PhD

School District of Osceola County (407) 870-4901; christopher.burns@ osceolaschools.net

EX-OFFICIO MEMBERS

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

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

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

Editor-in-Chief.................................................................Kelly Miller, DMA University of Central Florida; 12488 Centaurus Blvd.; Orlando, FL 32816-8009 (407) 823-4545; kelly.miller@ucf.edu Conference Planning Committee Chairperson........John K. Southall, PhD Indian River State College; 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 418-9133; johnsouthall@me.com FSMA President....................................................................Jane Goodwin Jwin555@gmail.com Hall of Fame Chairperson...............................................Mary Palmer, EdD (407) 252-5172; mpalmerassoc@aol.com

FMEA COMMITTEE CHAIRPERSONS Advocacy..................................................................... Jeanne W. Reynolds (727) 744-7252; jeannewrey@gmail.com Awards........................................................................Sondra A. W. Collins sondra.collins@marion.k12.fl.us Budget/Finance, Development...........................................Jason P. Locker Orange County Public Schools; 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jasonlocker@fmea.org

Past President......................................................................Joani Slawson Holy Trinity Episcopal Academy; 1720 Peachtree St.; Melbourne, FL 32901 joanislawson@gmail.com Executive Director............................................................Jennifer Sullivan 1750 Common Way Rd., Orlando, FL 32814 (321) 624-5433; slljenn@aol.com

FLORIDA MUSIC SUPERVISION ASSOCIATION

FLORIDA ORCHESTRA ASSOCIATION

Florida Corporate & Academic Partners...................................Fred Schiff All County Music; 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fred@allcountymusic.com Health & Wellness..................................................................... Aaron Kass Lake Nona High School; 12500 Narcoossee Rd.; Orlando, FL 32832-6922 (407) 956-8327; aaron.kass@ocps.net Multicultural Network............................................Arnekua Jackson, PhD Boynton Beach Community High School; 4975 Park Ridge Blvd.; Boynton Beach, FL 33426-8318 (561) 713-6851; arnekua.jackson@palmbeachschools.org

President........................................................................... Cheri A. Sleeper Strawberry Crest High School; 4691 Gallagher Dr.; Dover, FL 33527 (813) 363-4139; cheri.sleeper@hcps.net Past President...................................................................... Laurie Bitters Winter Park High School; 2100 Summerfield Rd.; Winter Park, FL 32792 (407) 622-3200; laurie.bitters@gmail.com Executive Director........................................................... Donald Langland 220 Parsons Woods Dr.; Seffner, FL 33594 (813) 502-5233; Fax: (813) 502-6832; exdirfoa@yahoo.com

FLORIDA VOCAL ASSOCIATION

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

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

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

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

Secondary General Music............................................................Ed Prasse Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net Student Engagement..............................................Michael Antmann, EdD Freedom High School; 2500 W. Taft-Vineland Rd.; Orlando, FL 32837 (407) 816-5600; michael.antmann@ocps.net

PROFESSIONAL DEVELOPMENT CONFERENCE

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

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

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

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

FVA President

Harry “Skip” Pardee

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Past President.................................................... Lindsey R. Williams, PhD Seminole County Public Schools (407) 320-0434; willialz2@scps.k12.fl.us

Strawberry Crest High School 4691 Gallagher Dr.; Dover, FL 33527 (813) 363-4139; cheri.sleeper@hcps.net

Member-at-Large

Past President.........................................................................Allison Yopp Southeastern University; ayopp@seu.edu

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

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

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

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

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

Exhibits Manager fmeaexhibits@fmea.org

David Pletincks

FLORIDA NAFME COLLEGIATE

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

FOA President

Cheri A. Sleeper

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

FLORIDA BANDMASTERS ASSOCIATION

Past President....................................................................... Ian Schwindt Titusville High School; 150 Terrier Trail S.; Titusville, FL 32780-4735 (321) 264-3108; schwindt.ian@brevardschools.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 Business Manager................................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; jo@barefootaccounting.com

Executive Director...................................................................Michael Dye 231 S. Bayshore Dr.; Valparaiso, FL 32580 (850) 217-7419; mike@fva.net Business Manager................................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; business@fva.net

CENTER FOR FINE ARTS EDUCATION 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 President................................... Kathleen D. Sanz, PhD (kdsanz@fmea.org) Director of Operations...................... Valeria Anderson, IOM (val@fmea.org) Technology Director....................................Josh Bula, PhD (josh@fmea.org) Marketing & Membership Coordinator.........................Jasmine VanWeelden (jasmine@fmea.org) Administrative Assistant..............................Siena Deaton (siena@fmea.org)

AFFILIATIONS

September 2023

53

54 F l o r i d a M u s i c D i r e c t o r