Florida Music Director - April 2019

Capoeira Especial!

A New Approach to Teaching Special Education Music

Cultivating a Cooperative Learning Environment

June M. Hinckley Music Education Scholarship

Call for Applications

Take Care of Yourself

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2 F l o r i d a

Music Director

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

Hinckley Center for Fine Arts Education

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

Editor-in-Chief

Mark A. Belfast, Jr., PhD Southeastern University College of Arts & Media 1000 Longfellow Blvd.

Lakeland, FL 33801 (863) 667-5104 (office) (mabelfast@seu.edu)

Editorial Committee Terice Allen (850) 245-8700, Tallahassee (tallen1962@hotmail.com)

Contents April 2019

Volume 72

•

Number 7

F E AT U R E S

FMEA 2020: Call for Session Proposals & Performing Ensembles.. . . . . . . . 4 Cultivating a Cooperative Learning Environment. . . . . . . . . . . . . . . . . 6 Capoeira Especial!

A New Approach to Teaching Special Education Music. . . . . . . . . . . . . . .

10

Alice-Ann Darrow, PhD College of Music, FSU, Tallahassee (850) 645-1438; (aadarrow@fsu.edu)

2019 NAfME Collegiate Advocacy Summit Scholarship Opportunity . . . . . . . . . . . . . .

15

Jeanne Reynolds Pinellas County Schools, Largo (727) 588-6055; (reynoldsj@pcsb.org)

Take Care of Yourself. . . . . . . . . . . . . . . . .

18

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)

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

Advertising Sales Valeria Anderson (val@fmea.org)

Director of Finance and Client Relations

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

Official FMEA and FMD Photographers

Bob O’Lary

Debby Stubing

Art Director & Production Manager

Lori Danello Roberts, LDR Design Inc. (lori@flmusiced.org)

June M. Hinckley Music Education Scholarship Call for Applications. . . . . . . . . . . . . . . . . 34 D E PA R T M E N T S Advertiser Index. . . . . . . . . . . 2 Executive Director’s Notes. . . . . 5 2018-19 FMEA Donors. . . . 16-17 Component News.. . . . . . . . . 20

Circulation & Copy Manager

Research Puzzles. . . . . . . . . . 24

Copy Editor

Committee Reports. . . . . . . . 25

Valeria Anderson, (800) 301-3632 Susan Trainor

Academic Partners. . . . . . . . . 31 Corporate Partners. . . . . . . 32-33 Officers and Directors.. . . . . . 35

April 2019

3

2020 F M E A P RO F E SS I O N A L D E V E LO P M E N T CO N F E R E N CE

Call for Session Proposals & Performing Ensembles The Florida Music Education Association is seeking proposals for clinic sessions and performing ensembles for the 2020 Professional Development Conference to be held January 8-11.

The 2020 conference theme is Celebrating Musical Excellence: Past, Present & Future.

Each proposal will be submitted to the FMEA Conference Committee for consideration. Session proposals and ensemble performance applications must be submitted online by Apr. 30, 2019.

Notification of acceptance will be made by mid-June 2019.

NOTE: Only three (3) submissions per person.

CLICK HERE

to submit your session proposal or performance application.

4 F l o r i d a

Music Director

ExecutiveDirector’sNotes It’s Advocacy Season!

FMEA Executive Director

LEGISLATION & ADVOCACY

The 2019 Legislative Session began on March 4 and will continue until May 3. Numerous bills have been

Kathleen D. Sanz, PhD

put forward for legislative consideration. The FMEA Government Relations Committee, chaired by Jeanne Reynolds, will be looking carefully at each bill and will send out notifications and alerts to members. Please be sure you act when necessary on a bill. Know your legislators and meet with them so you can express the importance of music education for all students as part of their well-rounded education.

The mission

of The Florida Music

Legislative Platform

The advocacy committee has met and will continue to meet throughout the session. Along with the

«« Increase the value of arts education for Florida’s students «« Invest in Florida’s students and schools «« Student engagement «« Keep students and schools safe «« Early childhood education

Florida School Music Association, we are working on specific strategies for these areas:

Education

Association is to promote quality, comprehensive

music education for all Florida students as a part of their complete

Collegiate Advocacy Day

By the time you read this article, we will have had our fourth annual Collegiate Music Education Day at

education.

the Capitol, on March 27. This event provides an opportunity for our collegiate students to step up and

talk with their legislators. Be sure to see the next issue of the FMD for pictures and information about the success of this day.

Spring Performances

The majority of our schools are gearing up for their spring performances. Don’t forget to take this

opportunity to advocate for music education for all students. Review the CFAE website (https://cfaefl. org/advocacy

) for advocacy materials.

MEMBERSHIP RENEWAL TIME

Each year beginning April 1, we open the membership registration process. The membership year for FMEA is July 1 to June 30 of the following year. Joining is easy and online. If you need assistance, please call the FMEA

office. This year as you join, call a colleague and encourage him or her to join along with you to enjoy the many

«« FMEA represents K-20 music education through advocacy. «« FMEA provides professional development to members. «« FMEA provides scholarships to students. «« FMEA conducts and promotes research. «« FMEA submits and receives grants for projects. «« FMEA works with industry. benefits FMEA has to offer. For example:

These are just a few of the ways that FMEA supports music educators and students in Florida. So again, as

you renew, please ask a friend to join you in the association.

Please let the FMEA office or the FMEA Board of Directors know how we can continue to serve you and

the profession.

Thank you so very much for everything you do for Florida’s children.

Kathleen D. Sanz, PhD

April 2019

5

6 F l o r i d a

Music Director

Cultivating a Cooperative Learning Environment

I

by Marina McLerran

It is a widely held truth among educators

begin presenting children with opportu-

ability to self-assess and act will be more

working toward eventual autonomy. Leah

that students who are provided with the

nities to make decisions in order to begin

successful than those who are completely

Shafer of the Harvard Graduate School of

dependent on their teachers. To support a

Education believes that “the process of

child’s development, it is important that

becoming engaged as active partners can

directors view students as contributing

give young people a set of strategies they

members of the ensemble rather than as

can use to create positive change in future

merely empty vessels in need of educat-

classrooms or communities” (Shafer,

ing. Students should be actively involved

2016). She encourages developing positive

in decisions that directly affect them in

and authentic partnerships between stu-

order to develop critical thinking skills

dents and school administrators in order

and the ability to advocate for themselves

to teach children how to voice an opinion

as independent entities. By being open to

and improve the learning environment

feedback and making small concessions

(Shafer, 2016). Shafer concedes that “lis-

to student leadership, educators can fos-

tening to young people doesn’t mean uni-

ter a cooperative rehearsal experience

laterally” agreeing to their suggestions

and encourage the development of each

(which at times might be slightly off base),

student’s voice.

but instead asserts that students should

be viewed as “stakeholders in their own

learning” and be encouraged to provide

Viewing Students as

an educated perspective (Shafer, 2016).

Active Contributors

While it is true that the decision-making

This philosophy is also supported by

portion of the brain does not fully develop

medical research that shows a correlation Continued on page 8

until the mid-twenties, it is necessary to

April 2019

7

Cultivating a Cooperative Learning Environment Continued from page 7

between a child’s self-worth and his or her relationship with adults in positions of authority. Dr. Imelda Coyne, in her 2006

study Giving Children a Voice: Investigation

of children’s experiences of participation in consultation and decision-making in Irish

hospitals, concluded that children who

experienced a “lack of involvement in the

communication process” about their own

treatment resulted in the subjects “feel-

ing unimportant and uncertain” (Coyne,

2006, p. 34). The results of the study

indicated that allotting adequate time

to inform children enabled the patients to prepare themselves for procedures and encouraged cooperation, which in turn saved time (Coyne, 2006). Dr. Coyne

urges health professionals to treat young patients “as an active participant with

an important contribution to make to the communication process” in order to

minimize stress and build the children’s self-confidence (Coyne, 2006).

To develop critical thinking abilities,

students must have opportunities to evaluate situations without the teacher’s

input. In a 2016 study from the University of Illinois titled Improving Children’s

Competence as Decision Makers: Contrasting Effects of Collaborative Interaction and Direct

Instruction, researchers compared “the

efficacy of collaborative group work with conventional direct instruction at promoting students’ ability to make reasoned decisions” (Forrest, 2016). Nearly

800 fifth-grade students were selected to participate in the six-week study in

which they were presented with two

unrelated tasks; making a decision about a local wolf population and considering

consequences of their decisions (Forrest,

their own but instead were allowed to be

“The Pinewood Derby” (Forrest, 2016).

groups produced results similar to the

ronment. This study further reinforces

a moral dilemma based on the story

Researchers found that the children who worked on the wolf project in groups were more likely to recognize a variety of viewpoints and to evaluate the potential

8 F l o r i d a

Music Director

2016). In sharp contrast, the teacher-led control groups (Forrest, 2016). This is

likely because individuals in the dependent (teacher-led) group did not have the

opportunity to evaluate the situation on

passive learners in an unengaging envi-

the theory that students must be actively involved in the learning process in order

to develop critical thinking abilities and autonomous thought.

What Does This Look Like in

mined by the trained professionals, stu-

must be viewed as active participants in

Cultivating a participatory learning envi-

about everyday events like suggesting

with immediate feedback about the qual-

Rehearsals?

ronment is not something that can be

accomplished in a single rehearsal, but the students who will be most success-

ful in reaching this goal are those with the greatest number of opportunities

to practice. In the 2009 study Watching

Learners Learn, executed by Dr. Robert Duke and Janice J. Buckner of the Center

for Music Learning (University of Texas at Austin), the lessons of 20 experienced

piano teachers were observed in order to determine the pedagogical differenc-

es between successful and unsuccessful

educators (Duke, 2009). For the purposes

of this research, success was defined as reaching the target goals of the lesson.

Of the 20 educators, the five deemed

most successful were those whose students “performed approximately 38 percent more student performance trials per

rehearsal frame” than the students of the 15 remaining teachers (Duke, 2009, p. 22). Dr. Duke indicated that the most

successful educators in the sample identi-

fied target concepts and reinforced them before moving on with the lesson (Duke, 2009). The enormous disparity in the two

subgroups of educators illuminates the

importance of providing students with ample opportunities to attempt new concepts and to receive immediate feedback during rehearsals.

Educators can facilitate the creation of

dents can be involved in small decisions a piece for a (non-contest) concert, giv-

order to provide students with opportu-

nities to express their level of satisfaction with rehearsals (Shafer, 2016). While long-

term strategies and goals should be deter-

ment of problem-solving abilities and

to Gerison Lansdown in his UNICEF-

self-confidence.

sponsored study Every Child’s Right to Be

Heard, several countries have taken mea-

Marina McLerran

implementing a “complaints procedure”

Stephen F. Austin

is an alumna of the

sures to empower students with acts like

State

(Denmark, est. 1998) or allowing every

University

School of Music in

pupil to attend “a hearing before any

Nacogdoches, Texas,

disciplinary decision” is made (Germany,

and is an assistant

est. 1996) (Lansdown, 2011). Through

band

these small concessions of power, edu-

director

for

Center ISD. In addi-

cators can elevate students from depen-

tion to teaching, Ms.

dent recipients to valued members of the

McLerran is the editor for the McLerran

music program. To encourage students to

Journal and a member of the East Texas

express opinions on the quality of music

Chamber Winds.

being made in rehearsals, directors can

incorporate questioning into the lesson plan. Asking students whether they think

References

the articulation is the same across the

Coyne, I. (2006). Giving Children a Voice: Investigation of children’s experiences of participation in consultation and decision-making in Irish hospitals (pp. 34-40). School of Nursing. Dublin City University. Office of the Minister for Children. Dublin, Ireland.

Available at https://www.dcya.gov.ie/documents/research/Giving_Children_a_Voice. pdf

ensemble, if the volume is appropriate or if they hear a section that is not quite in

tune can inspire participation and aid in the development of aural skills. By imple-

menting a “variety of interactive learning

methodologies,” Lansdown believes that

Duke, R. A., & Buckner, J. J. (2009). Watching Learners Learn. MTNA e-Journal, 1, 17-28.

Available at https://cml.music.utexas.edu/ assets/pdf/DukeBuckner2009.pdf

educators can fulfill their role in facili-

tating “participatory learning” instead of

only transmitting knowledge (Lansdown,

Forrest, S. (2016). Group learning makes children better decision-makers, study finds. Illinois News Bureau. University of Illinois at UrbanaChampaign. Champaign, IL. Available at https://news.illinois.edu/view/6367/313225

2011, p. 102).

In addition to training future musi-

musicians be able to independently devel-

or forming a team of class officers in

and educators is critical to the develop-

for tardiness (Coyne, 2006). According

feedback or including student represen-

implementing periodic class discussions

culture of cooperation between students

deciding on the appropriate punishment

cians, educators are also grooming future

tation on leadership teams. Shafer advises

ity of their contributions. Developing a

ing feedback on the warm-up routine or

this cooperative learning environment with simple acts like soliciting students’

the learning process and be provided

citizens. It is imperative that student

Lansdown, G. (2011). Every Child’s Right to Be Heard: A Resource Guide on the UN Committee on the Rights of the Child General Comment No. 12 (pp. 100-102). Save the Children UK. UNICEF. London, England. Available at https://www. unicef.org/french/adolescence/files/Every_ Childs_Right_to_be_Heard.pdf

op a quality musical opinion and advocate for themselves by the time they

graduate. To facilitate this type of growth, directors must provide opportunities for

Shafer, L. (2016). Giving Students a Voice. Usable Knowledge. Harvard Graduate School of Education. Cambridge, MA. Available at https://www.gse.harvard.edu/news/ uk/16/08/giving-students-voice

regular student involvement in rehearsal procedures and minor leadership oppor-

tunities within the program. Students

April 2019

9

Capoeira Especial!

S

A New Approach to Teaching Special Education Music

by Edwin L. Anderson

Special education music is gaining more and more atten-

outside of the classroom and adapt them for these excep-

some teachers are afraid of it. Some teachers include ESE

Special education music has always been near and dear

tion in the general music classroom. Let’s be honest,

tional students.

students in the classroom just enough to satisfy their

to my heart. Earlier in my career, I created a program that

als available, to give these students an education they

my steel drum program at Space Coast Jr./Sr. High School

administrators. Others do their best, with the materi-

deserve. It is our solemn mandate as music educators to make sure that all students, especially our ESE kids,

have an enjoyable and memorable musical experience in our classrooms. While more resources are becoming

available, it is still a field that, in my opinion, is in its infant stages. This article will chronicle a new approach

to a special education music program that has begun at Triangle Elementary School in Mt. Dora, Florida, using

successfully integrated students with special needs into in Port St. John, Florida. This program was the subject

of a previously published article entitled “Hesitations and Realizations: A Journey of Inclusion” (Florida Music Director, November 2008). Later, it took on a very special

meaning to me when my eldest son was diagnosed with autism. I have always made sure students with special needs were included in my classroom.

At the beginning of my 21st year of teaching, I was

capoeira, a martial art created by slaves in Brazil.

blessed to join the staff of Triangle Elementary School.

I heard Dr. Omar Camenates, the associate professor

the musical opportunities in the steel band and gen-

Years ago, in a clinic at the Florida Day of Percussion,

of percussion at Furman University, use an expression

called “arrows in the quiver.” When I asked him what it meant, he said that the more resources (arrows) you

have available in your teaching repertoire (quiver), the

better success you will have in teaching your students.

Over the years, I have found this to be true; however, when it comes to teaching self-contained special education music, that quiver may not be as full as the one we

The principal, Marlene Straughan, was excited about eral music curriculum she had tasked me to create at the school. I discovered that I would be teaching two

self-contained ESE classes. When it came to inclusion in my classrooms, I was entirely comfortable. My “quiver,” however, was not as full when it came to teaching a

self-contained classroom. To be honest, this would be my first time.

I tried using some of the materials from my regular

use with our mainstream students. So, the question then

classroom repertoire. While I was having moderate suc-

you have to do the unexpected and unorthodox to fill the

could be done. Something special could be created that

becomes: What do you do? The answer is that sometimes

quiver! Sometimes we have to draw from our experiences

10 F l o r i d a

Music Director

cess with the students, it was clear that something more

Continued on page 12

April 2019

11

Capoeira Especial!

Continued from page 10

would be perfect for these kids. It was

songs. Under Mestre George’s supervi-

recalled these experiences and memories

some “arrows” from another part of my

program for the Kabloom After-School

for the self-contained students I teach at

time to think outside the box and pull life: capoeira!

I began studying the martial art of

capoeira in 1997. Capoeira was created

by the slaves of Salvador, Bahia, Brazil, as a method of self-defense, which

they disguised as a dance. At first, my

sion, I taught an after-school capoeira

Arts Program in Celebration, Florida, with Cindy Bohn, a talented art teacher.

We graduated nine students from that program with their first and second cordels, or cords, in capoeira.

I remember a conversation with Mestre

involvement was more of a hobby, but in

George about his experiences teaching

ly, especially in regard to its cultural

He taught capoeira to students with vary-

2015, I began to study capoeira intensefoundations. In 2016, I joined Capoeira Angola Palmares and began studying with Mestre George “Palmares” Carneiro.

With Mestre George, I had the opportunity to delve into the rich musical tra-

dition of capoeira and intensely study the Brazilian percussion and corridos, or

capoeira to special education children.

as I began adding arrows to my quiver

Triangle Elementary School. In researching further, I discovered evidence of others using capoeira to teach students with special needs, but only in private classes

or capoeira academies. To my knowledge, it had never been used in a public school

music class. Could it be done? Would I be allowed to do it?

I approached my principal, Ms.

ing exceptionalities and with physical

Straughan, about the idea. She had

ing Contra-Mestre Renaldo “Cibolinha”

after-school capoeira program at Triangle

disabilities. I also had the honor of meetBorges, who operates the Brazilian

Cultural Center of Newark, New Jersey,

and teaches specialized capoeira class-

es for children with special needs. I

already supported the creation of an

Elementary School, and that program included 45 students. When I finished my pitch for the special education capoeira

program, she smiled and said only three

words: “Go for it!” I called every single parent of my self-contained ESE classes

and arranged for a meeting with them.

I showed them a video of Contra-Mestre Cibolinha teaching capoeira to his stu-

dents with special needs, as well as video of their own children, in an earlier class

I had experimented with, playing drums

and singing in Portuguese, the native

language of Brazil. The parents were very enthusiastic about the program, and we were set to begin.

I had been observing the videos of

Contra-Mestre Cibolinha’s special education classes on Facebook and had consult-

ed with Mestre George about techniques

and movements to concentrate on in the class. These movements would help to

fixate on musical concepts I wanted the students to experience and appreciate.

With this consultation, I settled on the

ginga, the main dance movement, esqui-

va (dodge), bênção (front kick), cocorinha (squatting guard), armada de frente (passing front kick), martelo (side kick), rolê (roll) and aú (cartwheel) movements.

These movements not only would focus

12 F l o r i d a

on the concept of tempo and steady beat Music Director

The traditional Angola toque is notated below: but would give the students a sense of spatial awareness as well. An added benefit would be that these movements

would help our ESE students with the development of their gross motor skills.

For the first class, I played a recording

of traditional Capoeira Angola music and demonstrated the ginga, moving to the

slow, steady beat of the music. The ESE students began to imitate my movement.

For those who were having difficulty, I

took their hands in mine and asked them to “dance” with me. The ESE teacher

assistants went around the room and supported the students as well. By the

school resource officer. We matched the

aques and four pandeiros. If another instru-

a fair amount of success while moving to

dynamic levels. To teach this concept, the

bells. Since the berimbau takes a little more

third class, they could do the ginga with the tempo of the music. It was so gratify-

ing to see these students’ smiles brighten

as they achieved more control of their ginga and began to move with the beat

of the music. We then began to practice the esquiva, which is a low-to-the-ground stretching move, and the cocorinha, a squatting guard position. Once again,

kicks with the concepts of loud and soft

ment was needed, we used the agogo

volume level of the music was altered in

fine-motor control to play, the students

class. When the music was loud, the stu-

used the stick to hit the string and did not

dents kicked with greater force through

use the coin.

the shapes or over the cones. When the

In the first step of the instrumental

music was soft, the students kicked with

process, I played simple four-beat rhythm

sense of the concept of dynamics.

dents echo the patterns. When they could

less force. This gave the students a tactile

patterns on my berimbau and had the stu-

Every third class, we concentrated on

perform this task with reasonable suc-

the kids imitated my movement and the

the instrumental and vocal traditions of

port. We constantly stressed and mod-

primarily on three instruments: 1) the ber-

education students,. Each of the instru-

is played with a stick and manipulated

note pattern of the atabaque and the pan-

teacher assistants offered additional sup-

eled the execution of each movement to the beat of the Capoeira Angola music throughout the class.

Next, we moved on to the kicks. It

is important to note that capoeira is a

martial art that does not emphasize phys-

ical contact. It is more of a conversation

with movement, due to its African dance origins. The kicks in capoeira are some of the main movements and expression of the art. We strongly affirmed this

with the students before any instruction

legs over traffic cones provided by our

the string with the stick while I played

a tall hand drum; and 3) the pandeiro, a

the actual berimbau pattern. To help them

small frame drum similar to a tambou-

internalize the ostinato pattern, I had

rine. Capoeira music is perfect for an

them say An-GO-la while they played the

ESE music class because of its call-and-

three-beat quarter note pattern.

response nature and ostinato rhythmic

Teaching the corridos, or songs, was

patterns on the instruments. Thanks to a

surprisingly easier than anticipated. As

had enough berimbaus for the students to

primarily call-and-response. A typical

generous donation by Kabloom Arts, we

atabaques and pandeiros.

frente) by having the students pass their

diero. The berimbaus played the pattern on

pressing on the string; 2) the atabaque,

me by our pre-K class, and having the taught the passing side kick (armada de

mental groups played the three quarter

to change notes with a stone or a coin

use in class. We substituted conga drums

kids put their feet through the shapes. I

This toque was modified for the special

imbau, a single-string chordophone that

began. I taught the straight kick (bênção)

by using large shape cutouts, loaned to

cess, we moved on to the Angola toque.

capoeira. Capoeira music is performed

and tambourines for the We divided the students

into three equal groups, with

approximately

mentioned before, capoeira songs are capoeira corrido is shown below:

Sim Sim Sim Solo

Oi sim sim sim, Oi não não não

Response

Oi sim sim sim, Oi não não não

Pronunciation

Oh seem-seem-seem, Oh now-now-now Continued on page 14

four berimbaus, four atab

April 2019

13

Capoeira Especial!

Continued from page 13

I believed my primary challenge

other and create a visual conversation.

Portuguese. How they surprised me! By

kids began to play each other on their

would be getting my students to sing in

the third attempt, the kids were singing

the song like I had heard capoeiristas

sing it in the past! By the end of class, we

And you know what? They got it! The own, all while still observing the pulse of the music in their play.

One thing I have learned over the

were all smiling and singing and having

years is that you can’t always use the

In the final phase, I introduced the

Sometimes, it takes looking at your

the best time just enjoying the music.

students to the roda, or game. In the roda, the capoeiristas form a circle. Two

players go to the center of the circle and play each other using the moves

described earlier while paying attention to the music’s tempo and characteristics.

I chose simple moves for the game that would still acquaint the students with the musical concepts. At this time, I

also introduced the aú and rolê movement. While the kids formed a circle, I

played each one myself, modeling how

the movements are meant to be a conversation between participants and particularly stressing the fact that no contact is

made. Each move is meant to counter the

14 F l o r i d a

same playbook for all of your students. students and thinking outside the box.

Sometimes, it takes something that you

did not learn in college during methods class. I have had a wonderful time this

year watching these kids grow and expe-

rience music from a different perspective.

I am proud to say that the kids in the

As the great capoeira Mestre Acordeon once said:

The flame of this beautiful art is now in your hands. You can dampen it, you can burn yourself or your brothers

and sisters, or, afraid of its heat, you

can let go of it. I hope that you take good care of your capoeira and kindle this fire alive and powerful, enlightening your life.

I am hopeful that these children will

keep the fire alive and forever maintain the joy I see in their eyes and smiles.

Axé!

Triangle Elementary ESE Music Program

Ed “Professor” Anderson is the music

May. They are going to participate in the

Mt. Dora, Florida, and a member of Capoeira

will graduate with their first cordels in batizado, or graduation, of the Capoeira Angola Palmares Academy in Mt. Dora,

the capoeira academy that helps sponsor our program. I am excited to see them continue in their journey, not only in

capoeira but in music and life as well!

Music Director

teacher for Triangle Elementary School in Angola Palmares. He holds the rank of Monitor

in Capoeira. He currently has 45 capoeira students in his after-school program. When not

teaching or playing capoeira, Mr. Anderson

is also a professional steel drum performer, composer, arranger and educator.

2019 NAfME Collegiate Advocacy Summit

Scholarship Opportunity

The Florida Music Education Association (FMEA) will be choosing two exceptional collegiate music students to be awarded a scholarship to attend the 2019 NAfME Collegiate Advocacy Summit on Capitol Hill. The event will take place June 17-19, 2019, in Washington, D.C. Be a Force for Your Students and Your Career!

Don’t miss this opportunity to gather in Washington, D.C., this June for mentoring and professional development that

will empower you to be the advocate you need to be, for yourself and for your students. Help lead our next steps in

«« Go “behind the scenes” as we meet face-to-face with U.S. legislators and their staffs in U.S.

this new era for music education.

«« Enjoy a wonderful evening reception and awards dinner, where you will meet and network Senate and House offices on the Hill.

«« Participate in leadership and advocacy training that you can take back to share with your chapwith NAfME state and national leaders. ter and use in your career.

Please complete the scholarship application

and see its additional instructions. Applications are due Tuesday, April

30, 2019. All forms must be postmarked no later than Monday, April 22, 2019, to meet the April 30, 2019, deadline.

For information regarding the event, visit hillday.nafme.org.

You can also follow #NAfMEHD19 on Instagram, Twitter and Facebook for updates.

If you have questions, please contact: Valeria Anderson val@fmea.org

(850) 878-6844 or (800) 301-3632

April 2019

15

FLORIDA MUSIC EDUCATION ASSOCIATION 2018-2019 DONORS

Thank you to all of the donors who have shown their dedication to the improvement of music education in Florida by supporting our Mission through financial contributions.

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

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

The following have graciously donated to FMEA from April 1, 2018, through March 1, 2019.

MAESTRO’S CIRCLE

ARTIST’S CIRCLE

All County Music, Inc.

Clifford Madsen

$10,000 and up

$1,000 – $9,999

Anonymous SUSTAINERS $100 – $999

Andre Arrouet Artie Almeida In Memory of June Audrey Grace Richard Brown Anthony Chiarito Alice-Ann Darrow Virginia Densmore Jay Hicks Cynthia Johnson Carlton Kilpatrick Sheila King In Memory of John W. King Jason Locker In Memory of June M. Hinckley Robert McCormick Carolyn Minear Jeanne Reynolds In Honor of Pinellas Performing & Visual Arts Team 16 F l o r i d a

Music Director

Russell Robinson In Honor of Charles R. Hoffer Mary Catherine Salo In Memory of Gary Rivenbark & Sally Schiff Steven Salo In Honor of John “Buck” Jamison & Dr. Bill Prince Kathleen Sanz In Memory of June M. Hinckley Kristopher Schave John Sinclair Leiland Theriot Richard Tremper Richard Uhler David Williams Kenneth Williams Matthew Workman Anonymous On Behalf of LungTrainers.com

PATRONS

$25 – $99

Carlos Abril Steven Amowitz Judy Arthur In Memory of Ray Kickliter Lucinda Balistreri Richard Beckford Mark Belfast In Memory of Dr. Mark A. Belfast, Sr. Shelton Berg Lindsay Blanc In Memory of Juan Rios Karen Bradley In Memory of Harold Bradley Gordon Brock Jamie Bryan In Memory of Wes Rainer Katarzyna (Kasia) Bugaj Dana Burt Seth Carlson Carol Casey Ron Castonguay David Chandler In Memory of Harry E. Grant Dale Choate Don Coffman Virginia Dickert Michael Dye In Honor of Phyllis Merritt & Anne Folsom

Edward Prasse Marie Radloff In Memory of Charles F. Ulrey Katherine Reynard In Memory of Caroline Sine Alicia Romero-Sardinas In Memory of John Rose Gabrielle Schrack Christopher Shultz In Memory of Kevin Frye Susan Skidmore John Southall Harry Spyker In Honor of Fred J. & Marlene Miller Valerie Terry Susan Throm-White Robert Todd In Memory of Gary Rivenbark Gary Ulrich John Watkins Howard Weinstein In Memory of Barry Weinstein Julian White In Memory of Ken Tolbert Richard Yaklich

Curtis Edwards Judith Evans Debbie Fahmie Patricia Flowers Cynthia Heidel John Henderson Stanley Hoch Dennis Holt Llewellyn Humphrey Jon Hutchison Alexander Jiménez Rolanda Jones In Memory of June Hinckley Marsha Juday Steven & Beth Kelly Pauline Latorre Joseph Luechauer Tyler Marais On Behalf of Florida Collegiate NAfME Victor Mongillo Woodrow Nail Ree Nathan In Memory of Dr. Sarah Crumpacker John Nista Mary Palmer In Memory of June Hinckley Galen Peters Hank Phillips

Anonymous (9) In Honor of Dale Jensen

FRIENDS

up to $24

John Anderson Alicia Austin In Memory of Kim Dentz D’Angelo Braun Balsai David Bayardelle In Honor of Matthew Jensen Ernesto Bayola Judith Berger Hannah Bergstrom Donna Blyden Richard Bradford Alexandra Carminati Ella Carr Tyler Chaney Shelby Chipman Blair Clawson In Memory of Shirley Kirwin Fernando Collar Sherry Cross David Cruiz Dennis Demaree Jodie Donahoo Denise Dumala In Memory of Lindsay Keller & Deborah Liles Christopher Dunn

Jenny Eckenrode Juan Fernandez Bradley Franks In Memory of Gary W. Rivenbark Alfred Gershfeld Tina Gill In Memory of Gary W. Rivenbark Walter Halil Harold Hankerson Robert Hansbrough Jesse Hariton Angela Hartvigsen Megan Hutera Jason Jerald Kathleen Kerstetter Michelle King Reco Knight Katie Kovalsky Anthony Lichtenberg Patricia Losada Claudia Lusararian Kevin Lusk Mari Mennel-Bell Mary Morrow Randy Nataraj-Allen

Kristy Pagan Caleb Pena Audrey Pilafian Rosemary Pilonero Katherine Plank Nathan Ree Paul Rigolini Stacie Rossow Jack Salley Donald Scott Nicholas Stefanic Zenda Swearengin In Memory of Mrs. Doris B. Swearengin Phil Tempkins Kathleen Thompson Ashley Viera Billy Williamson Christin Woodrow Sirenna Zorbis In Honor of All Past Music Educators Who Have Inspired My Career Anonymous (20) In Memory of Tom Damato

April 2019

17

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION DISTRICT 7

Take Care of Yourself!

by Lesleigh Howard-Zeno

What is self-care?

anxiety. There’s no need for a long workout every day, unless

plete this week: take care of my family, make sure my students

outside in the fresh air. It could be a whole personal day. Take

Did you ever stop to think, “I have X amount of tasks to comare learning and prepared for upcoming performances, check in with my grade group and see if anyone needs help with future

projects, organize this field trip/performance …,” and then realize that you haven’t taken any time to take care of yourself? Selfcare is defined as “the practice of activities that are necessary to

that’s what you’re into. Taking time off could be five minutes that time without guilt, especially if you feel yourself getting overwhelmed. Your body needs rest to be able to function. Your body and brain need that time to rejuvenate so you can return and be your best self for your students.

Find an activity outside of your work duties that gives you

sustain life and health, normally initiated and carried out by the

peace or joy when you engage in it. You will find there are many

This includes caring for our physical and mental well-being.

self for one minute of quiet in your classroom after dismissal,

individual for him- or herself” (A Dictionary of Nursing, 2019).

As educators, especially music educators, we have hundreds of young people in our care at work. We give so much to our students, families and colleagues that it is easy to forget about ourselves. It’s ingrained in us as educators and musicians.

Why is self-care important for us as educators?

Have you ever heard the old saying “You can’t pour from an empty vessel”? If you, the vessel, are depleted, you cannot pour

any wisdom, love, caring or kindness into your students. You will find yourself with more patience for challenging students

when you are refreshed and rejuvenated instead of rundown and tired. We need to schedule time in our busy days to take

care of ourselves, just as we take care of our students, colleagues

and loved ones. Scheduling time for yourself will ensure it happens—it’s on the schedule!

How do I practice self-care?

Lindsay Thompson lists some basics in her article for NEA

Today, Importance of Self-Care As a Teacher: “Set healthy boundaries for yourself; remind yourself that not everything is on you;

free activities that don’t take a lot of time to do. Schedule yourbefore you start setting up for the next day. Take an extra min-

ute washing your hands in the rest room at lunch time because it is the quietest room in the school. Take your lunch break to

eat lunch. Nourishing your body is a basic tenet of self-care.

Socialize with your colleagues at lunch. Have conversations.

Soak up some vitamin D by taking the outside route back to your classroom after lunch. (We do live in the Sunshine State, after all!) Read a book for fun. Exercise is a great way to relieve

stress and relax, and it’s good for your body! I have found that

taking a 20- to 30-minute walk or attending a yoga class helps me to shed the stressors from the day and be able to be present at home for my family, plus those yoga teachers have wise advice to share about taking care of ourselves. Next, schedule a

set amount of time on multiple days during your busy week to engage in your peaceful, joyful activity. Self-care practices are

not meant as something else to be added to the schedule. Rather, look for other nonessentials (scrolling through social media?) to replace with self-care activities. Stick to that schedule, just like you do with the rest of your daily/weekly schedule.

use exercise as an outlet; allow yourself to take time off when

Finally (and most important!) … play music!

school at school, acknowledge that there are things you cannot

your favorite song. Remember when you were in high school or

you feel overwhelmed” (Thompson, 2019). In other words, leave control, exercise your mind and body to help relieve stress and

take some time to refresh and rejuvenate yourself without guilt.

Leaving school at school may mean staying a little later to set up

for the next day, or getting those papers graded by next week

instead of tomorrow. Realize that you cannot control everything that happens, even though, as teachers, we feel as if we need

to. Exercising your mind and body relieves stress. It does! Just taking a short walk can help blow off some steam and lessen

18 F l o r i d a

Music Director

Take a few minutes to play your instrument or sing or dance to college, and you preferred practice to homework? Remember that sense of well-being you got from a successful practice

session or playing your favorite piece? Unless we have side

gigs playing professionally, we tend to leave our own practice behind. I did. A close friend and fellow clarinet player recently convinced me to join a local community band. It took a year for

me to say, “I need to do this for me. I miss this!” Guess what?

I remembered how much I enjoyed playing my instrument. I

enjoy being a part of that ensemble. I get me time and social time

Note: A quick internet search of teacher self-care will provide

all in one. It has renewed my efforts in my classroom to teach

you with a plethora of articles, books and blogs on self-care for

sible for their own parts and respectful of others in the group.

own self-care journey.

my students to play and sing as an ensemble and to be responYou know all those social skills we learned in marching band

educators. I mentioned in this article what I have learned in my

or choir? The ability to work within a group toward a common

Lesleigh Howard-Zeno is chairwoman for

carried it with us throughout our lives after high school and

Martin, Okeechobee, Palm Beach and St. Lucie

goal is what we learned in band, choir or orchestra, and we have college without noticing we have those skills. It’s second nature

to us. We all have those unique attributes that were instilled in

us by other music educators who were selfless and made sure we learned them.

Be kind to yourself. Mindfully rework that busy schedule to

include some time for yourself, doing whatever it is that refresh-

es you and fills you up. Remember, everyone is different, and self-care looks different for each individual. Help yourself be the best you can be for your students.

FEMEA District 7, which includes Indian River,

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

References A Dictionary of Nursing. self-care. Retrieved February 24, 2019 from Encyclopedia.com: https://www.encyclopedia.com/caregiving/dictionaries-thesauruses-pictures-and-press-releases/self-care Thompson, L. (January 20, 2019). Importance of Self-Care As a Teacher.

Retrieved from NEA Today: http://neatoday.org/new-educators/ importance-of-self-care-as-a-teacher/

April 2019

19

ComponentNews

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Rosemary Pilonero, President

I

hope everyone enjoyed a wonder-

ful, restful and well-deserved spring

break. Now we jump into the last nine weeks of school. I know it is a busy time

the state of Florida. Next year promises

Orff curriculum and Orff technology

our students.

Indiana, and Orff Schulwerk levels at

to provide another great experience for The conductor of our 2020 All-State

with spring programs, testing, field trips,

Elementary Chorus will be Robyn Lana,

about All-State. January may seem far off,

tor and conductor of the Cincinnati

etc., but it is also time to begin thinking but the audition process will begin soon.

Start considering which of your students

would be good candidates for the 2020 All-State Elementary Chorus and the 2020 All-State Elementary Orff Ensemble.

Spring is a great time to identify some of

your most talented and dedicated stu-

founder, managing and artistic direcChildren’s Choir. Our commissioned

composer will be Peter Robb, co-found-

er and artistic director of the Pacific International Choral Festivals (PICFEST).

He publishes with Hal Leonard and Colla Voce Music.

dents, and dedicated music educators, in

Southard has been the music specialist

at Smoky Row Elementary School in Carmel, Indiana, where he teaches K-5 music. He was recently named the 20182019 Indiana Elementary Music Teacher of the Year.

Because many of you will probably

summer, the audition materials for the

2020 Orff clinicians will be Lisa Sullivan

blessed to have so many talented stu-

sessions at 2019 FMEA. Since 2008, Mr.

ued to grow and is a huge success. Our

Our 2019 ensembles encompassed

tions of about 1,000! We are extremely

you may have seen Josh Southard present

want to have your students work on the

Elementary Orff Ensemble has contin-

approximately 300 musicians, with audi-

DePaul University in Chicago. Many of

Since its 2016 premiere, the All-State

dents and to begin the discussion about auditioning for All-State in the fall.

at Anderson University in Anderson,

and Josh Southard. Lisa Sullivan teaches

K-2 music at Madison School in Skokie, Illinois. During the summer months, Ms.

Sullivan teaches Orff Schulwerk levels,

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

Stacie Rossow, DMA, President

I

recorder and xylophone pieces over the

Orff ensemble will be available on the FEMEA website sometime in May. We

will be recruiting judges for both ensembles. Judges of the All-State Elementary

Orff Ensemble must hold a minimum of Level I certification in Orff Schulwerk.

If you qualify, please consider serving in this capacity. If you have not already

taken advantage of our FEMEA adjudicator training program for the All-State Elementary Chorus, now would be a

hope the semester has treated you well thus far and that the first round of con-

great time to do so. Whether you desire

final flurry of performances, final exams and auditions, I want to bring to your

simply to improve your understanding

the Fall Conference is underway and will be finalized in May. Be on the lookout

this is a fantastic tool that is free to all

continue the two- and four-year curriculum discussion and use the time to make

program is provided on the All-State

certs and conferences was successful. As we bring spring 2019 to a close in the

to become an all-state chorus judge, or

attention the actions we have taken since our meeting in January. Planning for

of what the scoring rubrics really mean,

for information over the summer and begin making plans to attend. We want to

FEMEA members. A link to the training

some actionable plans.

Chorus page

of our FEMEA website.

, where we place

As FEMEA past president as of July

state, make calls to action and post links to relevant research items and questions.

ensembles. If you are interested in serv-

Development Conference, please be sure you submit it through the FMEA portal

femea.flmusiced.org.

The leadership continues to look for ways to make the FMEA conference more rel-

in the planning stages for 2019 Regionals

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

will be coming soon. I hope you will con-

I again want to encourage you to like our Facebook group

informal communication and keep members apprised of happenings around the

1, I will be looking for judges for both

If you have an idea for a presentation for the January FMEA Professional

ing, please contact me at rosemary@

by the deadline and include college educators as one of the appropriate audiences.

In addition to 2020 All-State, FEMEA is

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

to be held this fall. Dates and information

discussion that began a few years ago.

sider having your students audition for

20 F l o r i d a

Music Director

these prestigious ensembles.

FLORIDA BANDMASTERS ASSOCIATION

What a day!

I

Cathi Leibinger, President

t started with a discussion with my

and have used our FBA adjudicator form

agers and just pray they don’t dropkick

having trouble self-regulating his behav-

We’ve discussed concepts and skills that

come together well. Other years, we face

principal regarding a student who is

ior. We met with his parents and all of his teachers yesterday and set our clear expectations for him. At the end of the

meeting, I reminded this student that he has written a narrative for himself that is going to take twice as much effort to change, but that when (not if) he made

mistakes, we’d be there to help push him in the right direction. Today in class,

he fell right back into old patterns, but

now he more quickly recognizes what has gone wrong and can be prompted to find a new response. Change is difficult and perfection is impossible. We all

need to remind ourselves of that in our classrooms, both for ourselves and our

to give their own comments and rating. we’ve improved upon as well as those

over and the earth will still be rotating

recordings on my own and have com-

around the sun. Breathe, and appreciate

piled a list of their compliments and sug-

the process more than the product.

gestions for the group. My students still

On my way home from communi-

don’t know their ratings. I told them from

ty band rehearsal at 10 p.m., I had the

the feedback and reflection was done.

deadline for this article. I could make a

the start that I wouldn’t tell them until

painful realization that I had missed my

Maybe I’ll tell them tomorrow. I just want

million excuses, but it all comes down

to make sure they know that I’m proud of

to this: I messed up. Mistakes happen.

how hard they’ve worked. We should all

Sometimes we fall short of perfection.

be proud of our students’ efforts as well

The best thing to do in those situations is

as our own.

to own it and fix it. So, here I am at 11:30

After school, I had some social media

pending MPA events in the next few

have listened to their stage recording

the time you read this, districts will be

I’ve played through the adjudicators’

Later in the day, I went over the

from our MPA last week. The students

chose this profession in the first place. By

we move on to our spring concert music.

conversations with younger directors

recordings and adjudicators’ comments

obstacles that make us question why we

things that still need more attention as

students. Recognize growth when you see it, no matter how small.

them across the stage. Some years, things

p.m., sacrificing a little sleep to make sure I finish the job. If you’ve made some

who are concerned about their own

mistakes this year, own it and fix it. If you need some assistance, let FBA help

days. As I post every year, MPA is where

you find a good mentor. The best advice

we put our egos and professional reputa-

you can get is from someone who has

tions in the hands of children and teen-

been there.

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

Learn more at: FMEA.org/FMD

April 2019

21

ComponentNews For the Love of Music

by Mavel Morales

M

usic is a sixth sense. We have an innate sense of music in

our bodies, whether it be through song, chant or rhythm.

It’s an intuitive feeling that brings awareness of something

“Music directly imitates the passions or states of the soul ...”

greater than the here and now of life. If we can create something

important to surround ourselves with music that feeds the soul.

ing a feeling, it can almost be characterized as otherworldly.

or are unable to, pursue their dreams. It is not due to a lack of

momentarily on a plane above that of the physical realm. This is

imperfect. Sometimes situations present themselves in which we

that extends beyond our normal bodily functions while evok-

Music disconnects the soul from the body and allows us to live what people mean when they say that music serves as an escape.

It’s an escape from our earthly presence.

Aristotle said, “Music directly imitates the passions or states

of the soul ... when one listens to music that imitates a certain passion, he becomes imbued with the same passion; and if over

a long time he habitually listens to music that rouses ignoble passions, his whole character will be shaped to an ignoble form.” Aristotle claims that music has the potential to shape the soul. If we surround ourselves with a form of music that

does not elevate our souls, then it corrupts us from the inside

out. This ties in to Aristotle’s idea of Eudaimonia, the state of

It is an unfortunate reality of life that many people do not,

want, or because of a lack of ambition, but merely because life is

must make sacrifices and burdensome decisions; other times, it

is simply the pressure we face from society and within ourselves that hinders our ability to “follow our dreams.” There is no right

or wrong way to live life, and I believe strongly that everything

works out in the end. As Søren Kierkegaard said, “Life can only

be understood backwards; but it must be lived forwards.” We may think we know what we want, but it might turn out that

what we most desired was not right for us. A career in music is not for everyone, either because of accessibility, a change in priorities or because of life events.

No two people have the same history or reasons for their

happiness being a form of a higher good, if not the highest.

actions, but in my opinion, it is the job of the educators of soci-

lead to our ultimate Eudaimonia. This is why I find it incredibly

they love and what brings them happiness. It is impossible to

Essentially, the opportunities and activities presented by life

ety to encourage people to fight for what they believe in, what

… when one listens to music that imitates a certain passion, he becomes imbued with the same passion; and if over a long time he habitually listens to music that rouses ignoble passions, his whole character will be shaped to an ignoble form.”

22 F l o r i d a

Music Director

FLORIDA COLLEGIATE NAFME

Jennifer Luechauer, President

inspire and move everyone to behave a certain way, to push

is a union between you and the music itself. The “puppy love”

are simply that, choices. As a music education major, I believe we

It is a matter of returning to the amateur stage. It was explained

them toward a certain path or to tell them what to do. Choices must do our best to ignite a lifelong passion for the arts in the

hearts of others that cannot be relinquished. When that cannot

be achieved, it is our responsibility to remind people why they loved music in the first place and why they desired to pursue

their dream. Even if not everyone can be a musician, everyone can be a lover of music.

As a musician and a lover of music, I recognize that those are

two very different things. My interpretation of the distinction

is that to be a musician is to devote your life to the creation of music, withstanding the complications that may arise. On the

in the beginning seems so pure because it is effortless and easy.

to me that the negative connotation of the word doesn’t apply

here, but that to return to the amateur stage is a matter of doing

music solely for the love of it, with no repercussions, no pres-

sure and no rigidness. This can be accomplished by joining a church choir, doing karaoke, going to a concert, forming your own music group, playing/singing for fun or even joining a

community ensemble. Returning to the roots of music is one of

the most imperative steps toward finding the connection with music you once had.

When you have so much history allocated to a certain activity,

other hand, to be a lover of music is to appreciate the art form

it is nearly impossible to fully rid yourself of the memories and

quite often do, in conjunction. Throughout my life, I have wit-

the love for music you once had is to watch a live performance.

and to devote your heart to its existence. The two may exist, and nessed the power of music. It is something quite extraordinary to see the love people have for music radiate from their very

core. It is in their eyes, their tone of voice, their playing and their aura; it is a part of who they are, intertwined with their soul.

There is nothing more devastating than to see that much love

in musicians or music lovers disintegrate and crumble before your eyes. It eats away at who they once were and transforms them. How does something that once defined who they were

disappear? Is it gone forever? These questions have no answer.

Most people do not understand what the life of a musician is, the intensity, the strictness and the time it requires. Music is not an easy career. People stray from the path of music time after

the feelings you once had. The most powerful tool to return to The feeling that overcomes your body when fully immersed in

an otherworldly live performance, in which you are transported to a personal heaven, cannot be replicated. Being in a room with people who share the love for music you have, and watching musicians pour their entire being into making beautiful music, is a gift. It is such a powerful and inspirational experience that it leaves you vulnerable, leaving room in your heart for only deep

love and appreciation for music. We can spread this experience by inviting our friends to concerts and giving the gift of music to others. It may be that a performance that inspired us can be life changing for someone else.

There are cases in which people never return to music, but it

time. Personally, it saddens me deeply to see people leave, and I

is the job of educators to continue inspiring and eliciting the

back?” The answer is not what I can do, but what they can do.

mance memorable, touching the emotions of the people who

ask myself, “How can they return? What can I do to bring them

I’ve spoken with quite a few educators about what they believe

can bring people back to music. It is imperative to me that those who have lost their way may return, not necessarily to being a musician, but simply a lover of music.

The biggest reason people stray from music is burnout.

Burnout is not limited to those who have been teaching for

10-plus years; it also affects people before a career even begins.

There are so many requirements and expectations for a music

student while studying that, at times, music becomes a burden.

sheer beauty of music. We must continue to make every perforhear the music. We must continue to instill within the younger

generations the gracefulness that is music. We must continue to provide the older generations with opportunities to make music.

We must continue spreading music in every crevice of the world; for the moment we falter, we lose the soul of the universe. Music can be a demanding occupation, but we must find new ways to

perceive music and be reminded of the ability it has to make us not only better people, but happier people.

You go from doing music because you like it and think it’s fun

Mavel Morales is a junior at the University of

times and it becomes wax, no longer the radiant candle it once

in education and philosophy. She is a mezzo

to doing only music, all day every day. Light a candle too many

was. In order to return to music, people must return to what originally attracted them to it. Many marriages lose their flame

and what couples counseling does is to remind the couple how they fell in love. Being in music is very much like a marriage; it

Miami majoring in music education with minors soprano studying classical voice. She serves as

president of her NAfME chapter and parliamentarian of the Florida Collegiate NAfME Executive Board.

April 2019

23

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

RESEARCH COMMITTEE CHAIRMAN

Don D. Coffman, PhD University of Miami

Do actions speak louder than words?

T

his month’s column reports a recently released study in the

The students rated all of these statements higher for the

Journal of Research in Music Education. Mark Montemayer and

expressive conducting video than for the unexpressive conduct-

sivity on her verbal instructions during a band rehearsal. They

expressive conducting behaviors interspersed among episodes

Brian Silvey1 explored the effect of a conductor’s gesture expresvideo recorded a rehearsal segment that included expressive

conducting and pauses for verbal instructions to the ensemble.

After the conductor reviewed the rehearsal, she repeated the rehearsal process. For the second rehearsal, the cameras record-

ed her conducting the same tune, but unexpressively. The band members simulated playing while the sound source for the second recording was the audio of the first recording, played

over loudspeakers. Through careful video and audio editing, the

researchers created two 3.5-minute rehearsal segments that used

the same audio stimulus (music and verbal instructions) but had different visual information (expressive conducting or unexpres-

sive conducting). They also obtained a “control” conductor for comparison (a different conductor and a different piece).

College students (N = 134) viewed two of these rehearsal seg-

ments (either expressive vs. the control or unexpressive vs. the control) and were asked to rate the effectiveness of each conduc-

tor’s verbal instructions on a 10-point scale (this is the intriguing

ing video. The authors noted, “It appears that the presence of of verbal instruction influenced perceptions regarding the efficacy of those verbalizations.” They also observed:

One outcome of particular interest was that our partici-

pants perceived rehearsal pacing to be more effective in the expressive conducting condition than the unexpressive con-

dition when in actuality, the pacing remained unchanged… .

Perhaps when there is a discrepancy between what a

conductor says versus what he or she shows, ensemble members are more likely to lose concentration during the music-making process. The admonition to “show more and talk less” that is often given by conductor educators to novices may serve as more than anecdotal advice as perceptions of pacing (and perhaps other teaching behaviors) are

indeed enhanced through the demonstration of conducting skills alone.

The authors point out that the evaluators in their study were

part). No statements about the conductors’ nonverbal conducting

not the performers receiving the instruction. Nonetheless, the

these eight statements:

Much more detail is available online for NAfME members.

gestures were on the response forms. The students evaluated 1. Verbal instruction reflects acceptable interpretation of music 2. Verbal instruction reflects thorough knowledge of score 3. Demonstrates ability to motivate students

4. Gives precise, understandable explanations and directions 5. Communicates confidence and assurance 6. Paces rehearsals effectively

7. Appears organized and efficient

raters were musicians with experience in music ensembles.

I encourage you to dig deeper into this well-designed and implemented study.

Endnote

1 Montemayor, M., & Silvey, B. A. (2019). Conductor Expressivity Affects Evaluation of Rehearsal Instruction. Journal of Research in Music Education.

Online First. https://doi.org/10.1177/0022429419835198

8. Maintains a professional demeanor Email your questions and feedback to d.coffman1@miami.edu

with a subject heading Research Puzzles.

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

24

Florida Music Director

CommitteeReports

EMERGING LEADERS COMMITTEE

Mary Palmer, EdD, Chairwoman

Don’t “miss YOUR shot!”

(paraphrased from Hamilton, An American Musical)

I

t’s time to nominate candidates for the

FMEA Emerging Leaders Program. In

the past nine years, more than 200 teach-

ers representing all areas and levels of music education have been a part of this program. Many of these amazing music educators are now savvy young leaders in their schools and communities and in our state and nation.

How does the Emerging Leaders

Program impact the lives of those who

have participated? Check out these statements:

“If your actions inspire others to dream more, learn more, do more and become more, you are a leader.”

– John Quincy Adams, sixth President of the United States (1825-1829), son of John and Abigail Adams

At

the

2019

FMEA

Professional

conference sessions, including the popu-

Emerging Leaders presented successful

by nine current Emerging Leaders. Over

Development Conference, many of our

Being part of this think tank of passionate and forward-thinking educators gave me the confidence to reach out and serve my students, community and colleagues …

– Rueff Frazao, high school orchestra, Osceola County School of the Arts

lar Emerging Leaders Pecha Kucha offered 90% of conference session hosts were our

2019 Emerging Leaders. With the full

support of FMEA, the program gives selected teachers multiple opportunities

After being recognized as an FMEA Emerging Leader, I was able to garner the confi-

to serve as well as to interact with music

have landed in the “top 10 most read” for three years running.

Our goal is to have Emerging Leaders in

dence to write and submit my blogs to NAfME’s Music in a Minuet forum. My blogs

education leaders throughout Florida.

– Audrey Carballo, K-8 general music, Miami Dade County Public Schools

all 67 Florida school districts!

I was able to make great connections with other teachers throughout the state. Their wonderful ideas continued to fuel me as a music teacher and allowed me to go back into the classroom with new ideas and new energy for my students.

– Katharine G. Miller, K-5 general music, Orange County Public Schools

Being accepted as an FMEA Emerging Leader has given me an entire network of

educators, supervisors, community members, state and national leaders who will-

ingly share their varied expertise, provide guidance/support and help me to grow

professionally. I enjoy being able to collaborate and work with these top leaders to afford others the opportunity for growth and to reciprocate my experiences with a

new set of incoming Emerging Leaders. My involvement has illuminated my role as

a music educator to my administration and fellow site colleagues and has solidified the value and importance of music education for a well-rounded public education.

– Malissa A. Baker, middle school orchestra and chorus, Manatee County Public Schools

Nominations from school principals,

district music supervisors and any music

educator are encouraged and welcomed!

Self-nominations are accepted and welcomed as well. More information about

the program can be found by clicking here.

Please be sure to include your resume/

vitae

with

your

nomination.

2019

Emerging Leaders need to be able to

attend the FMEA Emerging Leaders Drive-In to Leadership one-day conference on Saturday, June 8, at the University

of Central Florida in Orlando. More infor-

Being an Emerging Leader helped me to network with other teachers who think

mation on the conference will appear in

teachers who are as excited as me about getting their students engaged and excited,

due April 25. Questions? Please contact

designed possible ways to focus our standards and redesign curriculum with the

com.

– Christopher Burns, elementary, Osceola County Public Schools

ership quest … as a nominator and/or as

and teach outside of the box in the ways that I do. When hearing stories from other

the May issue of FMD. Nominations are

it reinvigorates my purpose and drive. As an Emerging Leader, I discussed and

Dr. Mary Palmer at mpalmerassoc@aol.

students at the helm.

We hope you will join us in this lead-

a candidate.

April 2019

25

CommitteeReports I

AWARDS COMMITTEE

Debbie Fahmie, Chairwoman

have served as your FMEA awards

that he is one of the finest leaders she has

title for his work as superintendent of

something very special about our latest

made this particular awards ceremony

One of the first things he did after being

chairwoman since 2009. There was

awards ceremony. Dr. Michael Grego, superintendent

of

Pinellas

County

Schools, was named the 2019 FMEA

Superintendent of the Year. Jeanne Reynolds nominated Dr. Grego, stating

ever worked with. This in itself is not what so special for me. You see, Dr. Michael

Grego also happens to be the very first recipient of the FMEA Superintendent

of the Year award, in 2010, when the category was introduced. He earned the

the School District of Osceola County. appointed superintendent in Osceola was to reinstate the position of fine and

performing arts resource specialist at the district level. Since I was hired into that

position, I can give first-hand testimony of what a game-changer Dr. Grego was for Osceola County.

The circumstances in Pinellas County

were very different. When he moved to

Pinellas, Dr. Grego inherited a robust arts program that had been financially supplemented through a voter-sup-

ported referendum for more than eight

years. This program didn’t need a hero

to come in and save it; however, Dr. Grego gave the arts his attention all the while addressing the achievement gaps

he was hired to correct. He has had a pro-

found effect on the music programs in Pinellas County. He inspired all to “dig

deeper, do more, dream bigger and take

risks.” My heart was full when I was able to introduce Dr. Michael Grego as the 2019 FMEA Superintendent of the Year,

knowing that he has demonstrated true, ongoing commitment to music education over time.

Dr. Grego inspired attendees of the

Dr. Michael Grego with his daughter, Lauren Grego

Michael A. Grego, EdD, became superintendent of Pinellas County Schools in 2012. He is a visionary leader and educator whose career spans more than 35 years. He is credited with dramatic academic improvements, especially among minority students within every district he has served. Among his many honors, Dr. Grego was named the 2018 Superintendent of the Year by the Florida Association of School Administrators, 2017 Superintendent of the Year by the Florida Art Education Association and was awarded the FMEA Superintendent of the Year honor in 2010 when he served as superintendent of the School District of Osceola County.

26

Florida Music Director

Second General Session of the FMEA Professional Development Conference by

sharing his thoughts about music edu-

cation. It is a message that is important for all to hear, so I asked for permission to share it here. I hope you will be

as inspired by Dr. Grego’s words as I

was and perhaps find them appropriate to share with decision makers in your world.

With Dr. Grego’s permission,

I share his speech presented at the FMEA Second General Session on the following page.

T

hank you to the Florida Music Education Association

For too long, rhetoric and policy have created an either/or

for the honor of being selected as your Superintendent

dynamic between the traditional academic core (language

the committed teachers who serve our scholars every day.

know to be true, not just my personal belief, is that research

of the Year. I am humbled to receive this award on behalf of They are the reason I stand here today, and this honor is a

reflection of their dedication to the lives of their students.

We have such a rich music program in Pinellas County

arts, math, science, etc.) and music education. What we continually demonstrates that students who are engaged in music perform at higher levels across all subject areas.

Our state accountability system needs to grow and rec-

Schools, and I would be remiss if I didn’t acknowledge our

ognize that music and arts education is an integral part of

The tenacity, inventiveness and collaborative spirit she

We, as a community, must champion this shift.

phenomenal performing arts specialist, Jeanne Reynolds. brings to the work are undeniable.

Music education is deeply personal to me. I have always

wanted to play musical instruments. When I was in third

grade, I desperately wanted to play the drums. I was told

that I had to earn the right to learn this musical instrument by increasing my academic levels. There is no doubt in my

mind that countless other children have been told the same

thing. I proved my gatekeepers wrong. My ability to read and my number sense dramatically improved alongside my passion and love of learning music. I could visualize half,

quarter, eighth and sixteenth notes and was quickly able to

translate that into mathematical concepts in the classroom,

putting me well ahead of many of my classmates. I truly believe that music education enhances and supports academic growth and performance.

how we measure our success in preparing the whole child.

We must come together to continually demonstrate,

communicate and advocate for the value that is added to a

«« Music teachers – Continue to push, innovate and add student through music education:

value to the lives and academic outcomes of your students. Support your fellow educators to see how the

work you and your colleagues do supports the learning

«« School administrators – Be open to the ideas of your teachand culture of your school.

ers and continually create the space for creativity and

«« District leaders – Listen and work alongside your schoolinnovation to support the whole child in your buildings.

based teams and work creatively to advocate and be

part of the solution at your district and at the state and

If our goal is to graduate students who are truly prepared

«« Music and arts community – Work with your public edu-

a part of THE curriculum and an essential part for a stu-

These words to the FMEA are really preaching to the

Music education is vital to ensuring a complete educa-

tion and supporting the development of the whole child.

for college, career and life, we must start viewing music as

national levels.

cation systems and local delegations to be part of the solution.

dent’s pathway to graduation. Access to high-quality music

choir, as every person in this organization believes in the

granted only to those who have room in their schedules or

people. It is time, though, that we come together to cham-

education should not just be an after-thought or an elective have earned the opportunity, but should be an integrated model to support the growth of the whole child.

power of music education to transform the lives of young pion the change we wish to see, not just through our words but our actions.

— Dr. Michael Grego, 2019 FMEA Superintendent of the Year

To view lists of those who came before the 2019 winners (some going back to 1968) and links to the nomination process …

CLICK HERE

FMEA.org/programs/awards

April 2019

27

CommitteeReports Arts Participation Benefits All Students

H

ouston, Texas, is by at least one

the two groups of schools, they looked at

reported lacking a full-time arts teacher.

the United States (Gallay, 2018), which

that asked students whether they agreed

ly served low-income students of color.

measure the most diverse city in

makes a recent study even more prom-

ising for many students in our similarly diverse state of Florida. A study released

by the Houston Education Research Consortium found that students whose

schools participated in school-community arts partnerships showed improvements on writing test scores, discipline and compassion (Barnum, 2019).

Participating schools were compared

academics but also responses to surveys

with statements like “I want to help people who get treated badly,” “School

work is interesting” and “I plan to go to college.” Though the effects were small

to moderate, the research is important because it is the first large-scale randomized-control trial designed to measure

what students learn from school and community arts participation.

In the Houston school district study,

with schools that had been interested

academic and social learning were

were not randomly selected to partici-

well, an important finding since near-

in participating in the partnerships but pate. When the researchers compared

accompanied by learning in the arts as

ly a third of the schools in the district

The participating schools predominant-

Arts learning experiences can benefit all students in terms of social, emo-

tional, and academic outcomes,” wrote

researchers Dan Bowen of Texas A&M and Brian Kisida of the University of Missouri. Although academic outcomes are often the most recognized and cited

gains in such studies, social and emotional learning may be the most import-

ant for students with disabilities. The lack of social and emotional skills is often what makes them the target of bul-

lying in schools (Twyman, Saylor, Saia, Macias, Taylor, & Spratt, 2010). Results of the study found measurable improvements in participating students’ com-

passion for others. Both students who are bullied and those who bully often have serious, long-lasting problems into adulthood (Kowalski, Limber, &

Agatston, 2012). Consequently, improve-

ments in social-emotional skills should never be regarded lightly.

Students with disabilities, like many

struggling and diverse learners, need a

different way to learn. For these students, the arts are engaging, and thus moti-

vate them to participate more actively in school and to continue to graduation. This fall, the Kennedy Center in

Washington, D.C., will sponsor the VSA

Intersections: Arts and Special Education Conference, which provides professionals in the intersecting fields of arts education and special education the oppor-

tunity to share current information in

research, practice, programs and policy.

Through innovative, thought-provoking

and interactive sessions, attendees build new skills, transfer knowledge, net-

28 F l o r i d a

work and ultimately help to shape best Music Director

DIVERSE LEARNERS COMMITTEE Alice-Ann Darrow, PhD, Chairwoman

by doing. Conference sessions will

get you up on your feet to try out new strategies, and preconference workshops offer an even deeper learning experience with extended time to

«« Networking

learn new tools!

opportunities.

VSA

Intersections offers numerous net-

working opportunities during the conference and at evening receptions, offering you informal opportunities

practices for students with disabilities

part of the planning committee for the

The 2019 national conference, hosted

is a dynamic group of arts educators

learning in and through the arts.

in partnership with the Orange County

Department of Education, will take place October 27-28 in Irvine, California.

Additional workshops will take place

two days prior to the conference. It is the

first VSA Intersections conference to take place in the fall. There is now time to talk to principals and supervisors about

this exciting opportunity and to secure release time for these dates and, perhaps, funding to attend.

Who attends? The VSA Intersections

Conference provides professional devel-

«« General and special educators «« School-based arts specialists «« Teaching artists and museum educators «« Curriculum and instruction professionals «« Arts education program administrators «« School administrators and central district staff «« University faculty and researchers «« Undergraduate and graduate opment for:

students

Why attend VSA Intersections? I have

presented at this conference and was

«« Tools to implement. Every session to connect with like-minded peers.

first Intersections conference in 2011. It

has a direct and intentional tie to practice, meaning you’ll leave VSA

who have a special interest in students

Intersections with tools and strate-

with disabilities. The Kennedy Center

gies you can begin using as soon as

«« Something

Intersections conference is one of the

you return to your setting.

largest and most-respected conferences on arts learning for students with dis-

for

everyone.

VSA

Intersections has sessions and work-

«« One-of-a-kind professional develabilities. Other reasons to attend are:

shops for beginners and the more experienced. It doesn’t matter what

opment. VSA Intersections is unique

your background or knowledge level

in the education field; no other con-

is—there will be sessions for you.

ference specifically addresses the

If you have any questions about the

learning needs of students with dis-

conference, please feel free to contact me

abilities in arts-based and arts-inte-

at aadarrow@fsu.edu.

grated instruction while welcoming

professionals from school and com-

References

educators and leaders from across the

Barnum, M. (2019, February). How extra arts education at school boosts students’ writing scores — And their compassion.

Retrieved from https://www.kqed.org/ mindshift/53036/how-extra-arts-educationat-school-boosts-students-writing-scoresand-their-compassion

«« A community of practice. Learn with munity settings.

country to share ideas, ask questions

and build new connections so you

Gallay, A. (2018, May). Sorry Jersey City, Houston remains the real most diverse city in America. Retrieved from https:// www.papercitymag.com/culture/houstonremains-most-diverse-city-america-jerseycity-study-flawed/

don’t have to be an island in this

«« Access work.

to experts. The Kennedy

Center engages leading experts in the field to present at the conference and

Kowalski, R. M., Limber, S. P., & Agatston, (2012). Cyberbullying: Bullying in the digital age.

Malden, MA: Wiley-Blackwell.

uses innovative model programs as

«« Hands-on

case studies from which to learn. learning.

VSA

Twyman, K. A., Saylor, C. F., Saia, D., Macias, M. M., Taylor, L. A., & Spratt, E. (2010).

Bullying and ostracism experiences in children with special health care needs. Journal of Developmental Behavioral Pediatrics, 31, 1-8.

Inter-

sections offers experiential learning opportunities that allow you to learn

April 2019

29

CommitteeReports

MULTICULTURAL NETWORK Bernard Hendricks, Chairman

“March MPA Madness” is finally behind

programs. I encourage all music teachers

ature with some of the new and modern

er to spring concerts and year-end events.

ideas and methods to display the talents

more music year after year.

us, and the month of April brings us closMany of us are fresh off of a relaxing

spring break and ready to conquer the

end of yet another school year with our

to continue to explore new, innovative of your music students. Communicate

with your students about how they want to construct performances that are edu-

phenomenal and engaging spring per-

cational, fun and pleasing to ALL people.

of year to highlight all kinds of things

ideas and imagination that our tremen-

formances. This is always a great time within music programs, schools and com-

munities. Now is a great time to reach

out to other departments within your school to try to come up with creative

ways to have more people witness all of

the great music making going on in your

30

ideas that keep the kids coming back for Plan well, be diverse, have fun and

make some great musical memories while doing so!

For your summer professional develop-

You will be surprised by the creative

ment, the FMEA Multicultural Network

dously talented young people possess

on Thursday, June 13, at Ocoee High

and how we sometimes put a muzzle on their brilliance because WE want to play

certain music and stick to the “normal”

concert setting. It’s imperative that we

explore new ways of meshing great liter-

Florida Music Director

will host a one-day summer workshop

School in Orange County. This in-service will have several sessions to cover multi-

ple aspects of a complete and diverse music education program. Registration will be on the FMEA website in April.

Please take time to thank and support our 2018-2019 Academic Partners.

GOLD PARTNERS

SILVER PARTNERS

Florida International University

BRONZE PARTNERS

Cannon Music Camp - Appalachian State University The College of Saint Rose Florida College Florida Gulf Coast University Florida Southern College Hillsborough County Secondary Music Council Jacksonville University Keiser University Mercer University Northwestern State University (LA) Palm Beach Atlantic University

Rollins College Department of Music Stetson University Union University University of Miami University of North Florida University of North Texas University of Tampa University of Texas at San Antonio Valdosta State University West Virginia University School of Music

Partners as of March 1, 2019.

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

April 2019

31

GOLD

SILVER PARTNERS The Horn Section, Inc. Music is Elementary West Music Company Partners as of March 1, 2019.

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

32 F l o r i d a

Music Director

Please take time to thank and support our 2018-2019 Corporate Partners.

PARTNERS

BRONZE PARTNERS Blues Angel Music Cadence Music Carl Fischer Music Concept Tours, Inc. Excelcia Music Publishing Festivals of Music & Music in the Parks J. W. Pepper & Son, Inc. MakeMusic, Inc.

Music & Arts Music Man, Inc. Music N More, LLC National Concerts Neil A. Kjos Music Company Rhythm Band Instruments, LLC Romeo Music Super-Sensitive Musical String Co.

April 2019

33

CALL FOR APPLICATIONS

June M. Hinckley Music Education Scholarship We are pleased to announce that the Florida Music Education Association (FMEA) is soliciting scholarship applications for the 2019 June M. Hinckley Music Education Scholarship. The association will award $1,000 scholarships to selected 2018-19 graduating high school students who participated in a Florida all-state ensemble and who intend to major in music education at a Florida college or university.

Please access the application at the link below and encourage your students to apply.

A P P L I C AT I O N

https://fmea.org/programs/scholarship/ application/

About

June M. Hinckley As arts education specialist for the Florida Department of Education,

June Hinckley led the development

of the Sunshine State Standards for the Arts, which are based on the National Arts Standards and were

adopted by the Florida State Board of Education in 1996. Hinckley assisted

schools and school districts with the

implementation of the arts standards and with connecting the arts with

The following should be sent to the FMEA office after submitting the online application: Printed copy of the essay Official transcript - should remain sealed Three letters of recommendation

«« «« ««

the state accountability and testing

program, and she served as a liaison among the various K-12 arts education

groups, higher education and com-

munity arts organizations. She was a founding organizer of the Arts for

a Complete Education project, which

has coalesced the various community, industry and school arts organiza-

Postmark Deadline: April 19, 2019

tions in Florida to work cooperatively

and proactively to improve the qual-

ity and quantity of arts programs throughout the state.

34 F l o r i d a

Music Director

F L O R I D A M U S I C E D U C AT I O N A S S O C I AT I O N OFFICERS AND DIRECTORS EXECUTIVE BOARD President..............................Kenneth Williams, PhD 3610 Beauclerc Rd.; Jacksonville, FL 32257 (904) 521-7890; kenwms@fmea.org Past President........................John K. Southall, PhD Indian River State College 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810 johnsouthall@fmea.org President-Elect....................... Steven N. Kelly, PhD College of Music, FSU 128 Housewright Bldg.; Tallahassee, FL 32306-1180 (850) 644-4069; Fax: (850) 644-2033 skelly@admin.fsu.edu FBA President.................................. Cathi Leibinger Ransom Everglades School 2045 Bayshore Dr.; Miami, FL 33133 (305) 250-6868; president@fba.flmusiced.org FCMEA President..................... Stacie Rossow, DMA Florida Atlantic University 777 Glades Rd.; Boca Raton, FL 33431 (561) 297-4230; srossow@fau.edu Florida Collegiate NAfME President.......................Jennifer Luechauer Florida State University, 2220 Sandpiper Street Tallahassee, Florida 32303 (954) 643-1149; jll14e@my.fsu.edu Florida Collegiate NAfME Advisor................. Shelby R. Chipman, PhD FEMEA President.......................Rosemary Pilonero The Villages Elementary of Lady Lake 695 Rolling Acres Rd.; Lady Lake, FL 32159 (352) 751-0111; rosemary@femea.flmusiced.org FMSA President......................................Scott Evans Orange County Public Schools 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; scott.evans@ocps.net FOA President........................................Jason Jerald Blake High School 1701 North Blvd.; Tampa, FL 33607 (813) 272-3422; jason.jerald@sdhc.k12.fl.us FVA President.................................Thomas Jomisko Manatee High School 902 33rd Street Ct. W.; Bradenton, FL 34205 (941) 714-7300; jomiskot@manateeschools.net Member-at-Large....................................Ted Shistle Douglas Anderson School of the Arts 2445 San Diego Rd.; Jacksonville, FL 32207 (904) 346-5620; shistlet@duvalschools.org EX-OFFICIO MEMBERS Historian/Parliamentarian Kathleen D. Sanz, PhD Hinckley Center for Fine Arts Education 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 kdsanz@fmea.org Executive Director...............Kathleen D. Sanz, PhD Hinckley Center for Fine Arts Education 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 kdsanz@fmea.org

FMD Editor-in-Chief......... Mark A. Belfast, Jr., PhD Southeastern University 1000 Longfellow Blvd.; Lakeland, FL 33801 (863) 667-5104; mabelfast@seu.edu FSMA President...........................Craig Collins, EdD College of Arts & Media, Southeastern University 1000 Longfellow Blvd.; Lakeland, FL 33801 (863) 667-5657; cscollins@seu.edu FMEA COMMITTEE CHAIRPERSONS Awards............................................... Debbie Fahmie Fine and Performing Arts Resource Specialist Osceola District Schools (407) 870-4904; fahmied@yahoo.com Budget/Finance, Development........................Kenneth Williams, PhD 3610 Beauclerc Rd.; Jacksonville, FL 32257 (904) 521-7890; kenwms@fmea.org Committee Council.......................... Debbie Fahmie Fine and Performing Arts Resource Specialist Osceola District Schools (407) 870-4904; fahmied@yahoo.com Conference Chairman...........John K. Southall, PhD Indian River State College 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810; johnsouthall@fmea.org Contemporary Media...............David Williams, PhD University of South Florida 4202 E. Fowler Ave., MUS 101; Tampa, FL 33620 (813) 974-9166; davidw@usf.edu Diverse Learners.................Alice-Ann Darrow, PhD Florida State University Music Education and Music Therapy 123 N. Copeland; Tallahassee, FL 32306 (850) 645-1438; aadarrow@fsu.edu Emerging Leaders....................... Mary Palmer, EdD 11410 Swift Water Cir.; Orlando, FL 32817 (407) 382-1661; mpalmerassoc@aol.com FMEA Corporate & Academic Partners...Fred Schiff All County Music 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fredallcounty@aol.com Government Relations.............Jeanne W. Reynolds Pinellas County Schools, Administration Bldg.

301 4th St., SW, P.O. Box 2942; Largo, FL 33779-2942 (727) 588-6055; reynoldsj@pcsb.org Multicultural Network..............Bernard Hendricks Ocoee High School 1925 Ocoee Crown Point Pkwy.; Orlando, FL 34761 (407) 905-3009; bernard.hendricks@ocps.net Professional Development............. Carolyn Minear carolynminear@fmea.org Research.................................Don D. Coffman, PhD University of Miami d.coffman1@miami.edu Retired Members................................Cynthia Berry 1341 Dunhill Dr.; Longwood, FL 32750 (407) 310-1254; cberry1314@gmail.com Secondary General Music........................Ed Prasse Leon High School 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net

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

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

PROFESSIONAL DEVELOPMENT CONFERENCE

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

Exhibits Managers........... Byron and Bobbie Smith 4110 Tralee Rd.; Tallahassee, FL 32309 (850) 893-3606 fmeaexhibits@fmea.org Local Co-Chairman.................................... Ted Hope Hillsborough County Public Schools School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4861; ted.hope@sdhc.k12.fl.us Local Co-Chairwoman.................Melanie Faulkner Hillsborough County Public Schools School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4461; melanie.faulkner@sdhc.k12.fl.us FLORIDA BANDMASTERS ASSOCIATION President.......................................... Cathi Leibinger Ransom Everglades School 2045 Bayshore Dr.; Miami, FL 33133 (305) 250-6868; president@fba.flmusiced.org Past-President...................................Jason Duckett Bartram Trail High School 7399 Longleaf Pine Pkwy.; St. Johns, FL 32259 (904) 343-1999; pastpresident@fba.flmusiced.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 FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION President.................................. Stacie Rossow, DMA Florida Atlantic University 777 Glades Rd.; Boca Raton, FL 33431 (561) 297-4230; srossow@fau.edu Past President........................Patricia Fleitas, PhD pfleitas@fau.edu President-Elect...........................................John Ash ashj@cf.edu FLORIDA COLLEGIATE NAfME President................................... Jennifer Luechauer Florida State University, 2220 Sandpiper Street Tallahassee, Florida 32303 (954) 643-1149; jll14e@my.fsu.edu Past-President............................Michael A. Gabriel Florida State University (561) 762-0016 mgmagabriel@gmail.com FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION President....................................Rosemary Pilonero The Villages Elementary of Lady Lake 695 Rolling Acres Rd.; Lady Lake, FL 32159 (352) 751-0111; rosemary@femea.flmusiced.org Past President.................................... Marie Radloff marie.radloff@ocps.net

FLORIDA MUSIC SUPERVISION ASSOCIATION

Past President............................Angela Hartvigsen ja.hartvig@comcast.net Treasurer.................................................... Ted Hope Hillsborough County Public Schools School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4861; ted.hope@sdhc.k12.fl.us FLORIDA ORCHESTRA ASSOCIATION President................................................Jason Jerald Blake High School 1701 North Blvd.; Tampa, FL 33607 (813) 272-3422; jason.jerald@sdhc.k12.fl.us Past President......................................Valerie Terry vterrymusic@gmail.com Executive Director........................Donald Langland 220 Parsons Woods Dr.; Seffner, FL 33594 (813) 502-5233; Fax: (813) 502-6832 exdirfoa@yahoo.com FLORIDA VOCAL ASSOCIATION President.........................................Thomas Jomisko Manatee High School 902 33rd Street Ct. W.; Bradenton, FL 34205 (941) 714-7300; jomiskot@manateeschools.net Past President.............................Carlton Kilpatrick ckilpat444@gmail.com Executive Director.............................. J. Mark Scott 7122 Tarpon Ct.; Fleming Island, FL 32003 (904) 284-1551; fva.scott@gmail.com Financial Officer..........................................Jo Hagan 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260 business@fva.net CENTER FOR FINE ARTS EDUCATION STAFF 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 Executive Director...............Kathleen D. Sanz, PhD kdsanz@fmea.org Director of Operations............................Valeria Anderson, IOM val@fmea.org Director of Finance & Client Relations......................Richard Brown, CAE richard@fmea.org Technology Director.........................Josh Bula, PhD josh@fmea.org Public Affairs & Communications Coordinator......Jenny Abdelnour jenny@fmea.org Marketing & Membership Coordinator.....Jasmine Van Weelden jasmine@fmea.org

April 2019

35

Apply Today

at FloridaSchoolMusic.org/Leadership

submission deadline is April 10.

Building the Team: Equipping the Music Leaders of Tomorrow This professional development opportunity will ensure that current and future component leaders have the necessary skills to find success in their position.

Limited Participation and Cost

In Partnership

Date and Location

The training is designed

Only 20 participants will be

July 8 - 10, 2019

in partnership with FSMA

selected through an application

Renaissance Orlando at SeaWorld

component organizations :

process and will have limited

Orlando, Florida

Florida Bandmasters Association,

costs. Hotel, travel, and most

Florida Orchestra Association,

meals will be covered by FSMA.

Florida Vocal Association.

About the Training The aim of state and district component leadership is to provide excellent stewarding of existing music programs, as well as the championing of better opportunities for aspiring musicians. This requires leaders to be efficient organizers of persons, resources, and projects, in addition to being able to plan paths to fulfilling the vision of a better tomorrow for music education in Florida.

This professional development opportunity will ensure that current and future leaders will have the necessary communication, team-building, problem-solving, project management, and fiduciary/financial management skills to find success in their position.