Florida Music Director April 2022

Violins Prepare Kids for Future Musicianship: And So Much More!

Approaches to

Programming Band Performances Planning for success by choosing the right music!

PLUS: ADVOCACY: A TEACHER’S PERSPECTIVE FSMA SPECIAL SECTION FMEA Steel Band Festival

April 2022

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Music Education Scholarship Are you a high school senior who intends to major in music education at a Florida college or university?

Consider applying to FMEA's June M. Hinckley Music Education Scholarship.

Selected winners will receive a $1000 scholarship award.

Scan the QR code to learn more about the scholarship and apply.

The postmark deadline to mail your application is April 22, 2022.

2

www.FMEA.org Florida Music Director

1-800-301-3632

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

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

Contents Volume 75 • Number 7

April 2022

F E AT U R E S

FMEA Summer Institute. . . . . . . . . . . . . . . . 6 Back From the Brink: A Teacher’s Perspective. . . 8 FSMA Special Section. . . . . . . . . . . . . . . . 12-13

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

Violins Prepare Kids for Future Musicianship: And So Much More!. . . . . . . 14

Judy Arthur, PhD Florida State University, KMU 222 (850) 644-3005 (jrarthur@fsu.edu)

Approaches to Programming Band Performances: Planning for success by choosing the right music! . . . . . 22

William Bauer, PhD University of Florida, Gainesville (352) 273-3182; (wbauer@ufl.edu) Alice-Ann Darrow, PhD College of Music, FSU, Tallahassee (850) 645-1438; (aadarrow@fsu.edu) Jeanne Reynolds (jeannewrey@gmail.com) John K. Southall, PhD Indian River State College, Fort Pierce (772) 462-7810; (johnsouthall@fmea.org)

Advertising Sales

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

Official FMEA and FMD Photographers

Bob O’Lary Debby Stubing

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Circulation & Copy Manager

Valeria Anderson, (800) 301-3632

Copy Editor

Susan Trainor

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

Component News.. . . . . . . . . . 29

Advocacy Report . . . . . . . . . . . 7

Research Puzzles. . . . . . . . . . . 34

Academic Partners . . . . . . . . . 11

Committee Reports. . . . . . . . . 36

2021-22 FMEA Donors. . . . . 20-21

Executive Director’s Notes. . . . . 40

Corporate Partners. . . . . . . . . . 28

Officers and Directors.. . . . . . . 41 April 2022

3

President’sMessage

Shelby R. Chipman, PhD President Florida Music Education Association

Inspiration Starts From the TOP GREETINGS, COLLEAGUES!

excitement. We are some of the most fortunate individuals

ing how the power of music encourages students to think

primarily due to our INSPIRATION of music students

As a teacher, some of my proudest moments are witnesspositive, be determined, and most importantly, believe

in themselves. COVID had a tremendous impact on the

state of learning and particularly on music programs throughout the world. We all managed to skillfully

navigate in unusual ways, and the ensuing inspiration

of music teachers bridged the gap for so many students who felt lost and in fear. The good news is we are

rebounding with amazing creativity, collaboration, and critical thinking.

I’m sure by now all of you are well into spring semester

activities with concerts, festivals, spring trips, and mak-

ing your plans to set the stage for next year’s school-based

I N S P I

in the world, in that we shape lives beyond the classroom, and communities. As challenging as the past two years have been, there is still light at the end of the tunnel. We

continue to provide mentorship and to think positive as our students progress in general education, Orff, Kodály, guitar, string, voice, band, music industry, and other

diverse music ensembles. Your commitment to our profession is extraordinary, and we as an association could not function in the manner we do without your valued contributions and work.

As I personally reflect on INSPIRATION and some

of my music hero teachers from the past, I think of the sidebar below.

= Integrity and always providing professional leadership = Nuances in dealing with the multiplicity of the classroom = Synergy as we must be spirited from the time we step foot on campus = Pride in every aspect of our program in delivering the values that build communities = Inclusiveness to ensure Florida music students are true participants in every realm

from approaches that might subvert the role of a positive teacher, always R = Refrain maintaining boundaries of appropriate motifs to know we increase the pace in music, but realize we’re meeting the A = Accelerando students where they are in the program T = Tone that focuses on students’ sound and their skill sets and relationship of how half and whole steps relate to progress in the music I = Interval classroom as related to each student having their own learning curve that we as music teachers O = Opus must address and inspire to be successful Never satisfied with mediocre work but incorporating strong fundamentals that N = support the mission and motto within our music education ideals 4 F l o r i d a

Music Director

2021-22 FMEA Membership:

You are eligible for membership in the Florida Music Education Association if you are an individual engaged in the teaching, supervision, or administration of music in elementary and secondary schools, colleges, or universities within the state.

Visit FMEA.org/membership to learn more about the benefits of active membership.

Music connects different cultures, promoting diver-

sity and growth.

Music is the language of the spirit.

It opens the secret of life bringing peace, abolishing strife. — Kahlil Gibran Ludwig van Beethoven reminds us that “music can

change the world.” Strive to be the change on your campus.

Consider the following in establishing worldly

approaches to meeting your communities where they are and focusing on their needs for multicultural and shared musical experiences.

As I stated last month, it is our responsibility to

SUBSCRIPTIONS:

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

CIRCULATION:

The circulation of the Florida Music Director is 4,500 educators. Published eight times annually by The Florida Music Education Association, Hinckley Center for Fine Arts Education: 402 Office Plaza, Tallahassee, FL 32301-2757.

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

Non-members may request permission from the FMEA office.

SUBMISSIONS:

ensure that music is provided in urban and rural set-

Article and art submissions are always considered and should be submitted on or before the 1st of the month, one month prior to the publication issue to: D. Gregory Springer, PhD, dgspringer@fsu.edu.

music instruction due to multiple problems. FMEA

All articles must be provided in digital format (e.g., Microsoft Word).

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

tings, where in some cases children are not receiving will continue to take the lead in providing professional

development webinars as well as sessions that promote mental and physical health awareness. We must

honor our music profession through inspiring the next generation of school musicians who expect the highest

degree of instruction permeated by knowledge, valu-

able resources, technology, welcoming instruction, and attainable yet heartfelt standards.

I’ve learned that people will forget what you said, people will forget what you did, but people will never forget how you made them feel. — Maya Angelou Let us all continue to study the language of music

and how it influences communities. Continue to be

amazing, everyone. I look forward to hearing from you as we make progress and build stronger music communities.

It ALL starts from the TOP!

Shelby R. Chipman, PhD, President

Print. Digital. Direct.

Florida Music Education Association offers advertising in: � The Florida Music Director Magazine � Conference Program � All-State Concert Program � Conference Sponsorships � Direct Sponsored Emails � Website Banner Ads C L I C K TO L E A R N M O R E

Florida Music Education Association April 2022

5

FMEA Summer Institute The FMEA Summer Institute brings together music educators across all components and grade levels to envision future trends and discuss how to embrace the changes in music education. Join a small group of current and future leaders in music education in an inspiring multi-day training program.

All full active FMEA members are encouraged to apply!

Cost to apply is $75. Applications must include 2 letters of references.

Apply by April 10, 2022 Visit FMEA.org for more details and to apply.

20 Summer 22 Institute 6

Florida Music Director

June 5-8, 2022 USF School of Music

AdvocacyReport

Jeanne W. Reynolds Chairwoman Government Relations Committee

Inspiration From the Past T he legislative session has ended. It will take time to

pany, four professional theaters, a professional ballet

most effective action plan moving forward. More infor-

club in America, an internationally acclaimed art muse-

analyze fully the impact of this session and create the

mation will be provided in the coming months. One thing

is certain – the importance of strong grassroots networks

cannot be overstated. This month I am featuring an article written 23 years ago by this year’s Hall of Fame recipient, Cindy (Lippert) Balistreri. This story is inspiring because it refers to a major district challenge that was transformed

company, a major chamber music festival, the largest jazz

um, and a 1,700-seat performing arts hall that engages

national touring companies and shows in all the art forms. People actually move to Sarasota County because

of its abundant, thriving arts culture. Sarasota County likes to call itself “Florida’s Cultural Coast.”

So, when the Sarasota County School Board voted in

into a triumph nearly overnight due to strong grassroots

1995 to eliminate music and art classes from the elemen-

ships. Fortunately, we have the same tools to transform

through arts communities from Pensacola to Miami. “If

efforts, strategic planning, and vital community partnertoday’s challenges into triumphs. And we can all use a little inspiration right about now.

The following is reprinted with permission from the

tary and middle schools, a perceptible shudder rippled this could happen in Sarasota County, of all places, it could happen here,” everyone was thinking.

The following three articles* tell how the arts program

National Association for Music Education, formerly

in Sarasota County schools was not only pulled back from

Back From the Brink

ened, and enriched. Three people who participated in

MENC, Teaching Music, February 1999.

The Arts in Sarasota County Schools

S

arasota County, with a population of about 300,000, basks

in the Florida sun

about an hour’s drive

south of Tampa, on the

state’s west coast. The

county has long been dis-

tinguished by its intense

commitment to the arts. This

relatively small but affluent

community supports a profes-

sional symphony and opera com-

the brink of disaster but was actually bolstered, broadthese dramatic events recount essentially the same story

from different perspectives. The authors—a former music teacher, a school district administrator, and a representative of the arts community in Sarasota County—reflect the perspectives of the three groups that have been the

principal players in the drama: Sarasota County’s

arts teachers, the school district administration,

and the professional arts community. These groups worked together diligently to rescue

arts education in Sarasota County schools,

and they continue to pool their resources in order to build a program that will reflect the shared values, spirit, and dreams of Sarasota County.

— Bruce E. Rodgers Continued on page 8

*FMD editor’s note: we are including only the article from the teacher’s perspective.

April 2022

7

AdvocacyReport

This article, which is part of the “Back From the Brink” series originally

published in February 1999, is reprinted with permission from the National Association for Music Education, formerly MENC, Teaching Music.

A Teacher’s Perspe

by Cindy Lippert

A

As a music teacher in the Sarasota County School District

from 1971-97, I spent much of my career being proud of Sarasota County schools. In fact, I had attended elemen-

tary, junior high, and high school in Sarasota myself. As a product of the system, I knew firsthand that we had great music education in our schools, and I also knew that we had wonderful music, art, and theater in our community.

As a young teacher in the 1970s, I was incredibly busy,

learning how to teach well and raising my own family. It was not until the 1980s that I began to notice that the arts

were not valued as highly as before in Sarasota County schools. Programs were not as well funded as they had been. Suddenly, everyone seemed to be focused on getting

“back to the basics”—and the “basics” apparently did not include the arts.

In 1988, the position of fine arts specialist for the school

district was eliminated. Music and art teachers were devastated. The Sarasota County School District embraced

the idea of school-based management and decentralization, calling on each school to manage most of its own

funds and staffing. Meanwhile, state funding for public education, always a complex issue in Florida, continued to decline.

In 1995, a particularly acute budget shortfall prompted

school administrators to propose a new plan. Elementary and middle school art and music teachers would be eliminated, with the exception of band teachers. Only eight

itinerant consultants would continue to work in these Elementary school music students playing percussion in a Sarasota music classroom. Photo: Ann Wykell, Sarasota County Arts Council

special areas, traveling from school to school in order to help classroom teachers “integrate” the music and art

curricula into their classroom content areas. This plan,

implemented in the fall of 1995, failed miserably. During the ensuing academic year, classroom teachers became

painfully aware that they did not want to teach music and art, nor did they feel capable of delivering the specialized curricula of these subjects.

Fortunately, relief came with unexpected speed. In

the spring of the same academic year (1995-96), the arts community, through the Arts Education Task Force of the

8 F l o r i d a

Sarasota County Arts Council, staged a major campaign Music Director

ective that succeeded in returning art and music teachers to their

classes and in launching a new world-class arts education program for Sarasota County.

As a result, new art and music teachers were hired.

In fact, the number of arts teachers doubled in one year.

During the 1995-96 academic year, there were only twenty-three music teachers; in 1996-97, there were forty-seven.

In January 1996, the district hired a new superintendent,

who promised to bring to our schools a curriculum and education—including education in the arts—of highest

quality. A coalition of arts advocates, the Community/

Photo: Frank Weber

Schools Partnership for the Arts (C/SPA), was formed at

the superintendent’s direction. This alliance included art

and music teachers—of whom I was one—community members, central school administrators, principals, and

classroom teachers. Many arts teachers distrusted the new superintendent’s claims initially, suspecting that he might

be simply trying to pacify the noisy community arts leaders. Teachers wondered if he would really implement

Everyone seemed to be focused on getting “back to the basics”—and the “basics” apparently did not include the arts.

In 1997-98, C/SPA began to develop an extensive five-

recommendations that C/SPA made.

year plan. We called together groups that we considered

defining our mission and our vision. The partnership was

welfare of the arts in Sarasota County—and we asked

Within C/SPA, we immediately set about the task of

co-chaired by Wilma Hamilton, then director of curricu-

lum, and Ann Wykell, assistant director of the Sarasota County Arts Council. Hamilton saw her first task as fostering a sense of trust among county administrators, teachers, and members of the arts community.

Next, C/SPA put together an “advocacy packet” for

principals, citing research that supports arts education.

We also included a “wellness audit,” showing a profile

of a thriving arts program, based on recommendations in National Standards for Arts Education (MENC, 1994).

to be “stake holders”—those with vested interests in the them what they thought music, visual art, theater, and dance education should look like in the schools, now and

in the future. These groups included community arts representatives, teachers of the various art forms, parents,

and students. Each group was invited to dream freely—to imagine the very best. All were encouraged to think of

ways in which the schools and community could collab-

orate to create a unique, ideal arts education program for Sarasota students.

The old styles of art, music, theater, and dance edu-

In addition, we worked out K-12 course and scheduling

cation were declared to be inadequate, although every-

academic year. The partnership leaders addressed the

should be preserved. Teachers often referred to guide-

recommendations in music and art for the following

principals and recommended that a fine arts coordi-

nator be hired. The recommendation was accepted and quickly implemented. Teachers—myself included—

were amazed that things were really happening—and so quickly!

one agreed that the best aspects of these traditions lines in National Standards for Arts Education and opportunity-to-learn standards (from Opportunity-to-Learn

Standards for Music Instruction: Grades PreK-12, MENC,

1994) in expressing their ideas for the “dream.” Members Continued on page 10 April 2022

9

AdvocacyReport Continued from page 9 of the community produced ideas that ranged much more widely and were far

less conventional—suggestions for “art-

ist-shadowing” (having students spend

a day “shadowing” a professional artist, such as a symphony conductor, director of a theatrical company, or painter),

school-to-work projects (having art stu-

I now believe that arts educators must call upon arts advocates in their own communities.

In fact, a number of collaborative proj-

dents work alongside curators, restor-

ects between community arts organiza-

for example) and unique collaborations

tence already. Professional theaters are

ers, and archivists in the art museum, between community and school groups

(such as workshops run by professional theaters for drama teachers and students).

It was exciting and exhilarating to imagine the possibilities!

Some arts teachers were concerned

that these ideas were too big, embraced too much, or would be impossible to

implement. Community arts leaders were

tions and the schools have come into exis-

providing workshops for drama teachers

and students in acting and set design. Our opera company provides teacher in-service workshops. Our symphony sends

small ensembles to perform in schools,

provides an annual children’s concert for

fourth and fifth graders, and runs an excellent youth orchestra program.

and refining an arts curriculum. We have

attention to what the community wanted.

comes for music and art, and we are cur-

I joined a core of dedicated teachers who

volunteered time for C/SPA committees and meetings. We worked to provide expertise in the areas we knew best:

curriculum, scheduling, equipment, and

now designed most of the curricular outrently working on outcomes for dance and theatre. We will be developing a teaching

strategy, assessment, and connection to another subject for each outcome.

Recently, C/SPA has been investing

student needs.

considerable time and energy in efforts to

are focusing on several issues that are

transform it into a realistic strategic agen-

With C/SPA now in its third year, we

important to arts teachers. We are work-

«

ing to

« « «

condense its extensive five-year plan and da for presentation to the school board.

of time devoted to arts classes, and courses offered

create more opportunities for in-ser-

vice training to meet the needs of arts teachers

increase the opportunities for schools to collaborate with community arts organizations.

10 F l o r i d a

Music Director

County schools had not eliminated art and music teachers, thereby sinking to

the depths, they might not have risen

to where they are now. There is perhaps

some truth to this idea. It is harder to

fight a slow decline in arts education, as we in Sarasota County schools tried to do from 1988-95, than it is to recover from a sudden fall, such as we suffered in 1995.

«

I believe that two things energized the

turnaround in Sarasota County:

The chance to create a new arts education

program that would be better than we had.

This possibility appealed to members of the community and administrators

who were not entirely enthusiastic

«

about some of the things that they had seen in arts education in our schools.

The collaboration between the communi-

ty and the school district. This unique cooperation has enabled the school

district to see how the arts are perceived and valued by the community

and has generated new ideas for, interest in, and understanding of school arts programs.

I now believe that arts educators must

programs. They should make their appeal

mine needs and possible grant sources

ing the numbers of teachers, amount

Some people have said that if Sarasota

arts equipment in the schools will deter-

and quality of arts education

each school through records show-

has been accomplished in just three years.

call upon arts advocates in their own com-

sue several long-term projects. A survey of

continue to monitor arts education at

It is difficult to believe that so much

During 1999, we will continue to pur-

increase the number of certified arts teachers in order to boost the quantity

proposals seeking grants.

C/SPA will also be focusing on creating

committed, however, to dreaming big,

and school district leaders were paying

possible sources of funding and write

to meet these needs. A subcommittee of C/SPA will focus on early childhood

music. A nationally recognized early

childhood music specialist will spend

eight days in Sarasota County over a sixmonth period, working with elementary

music teachers, preschool teachers, pre-

munities to help support their school arts broad and inclusive, perhaps embracing

parent activists and members of the business community. People other than arts

educators value arts education. We must collaborate with these individuals to marshal sufficient strength to provide the arts education that our students deserve.

school advocacy organizations, and com-

Cindy Lippert is the fine arts coordinator

oversee the creation of a preschool music

music teacher in the Sarasota County School

munity preschool teachers. C/SPA will

program. A subcommittee will identify

and former elementary and middle school District in Sarasota, Florida.

Please take time to thank and support our 2021-2022 Academic Partners.

GOLD PARTNERS

BRONZE PARTNERS Cannon Music Camp - Appalachian State University Florida Southern College Orlando Philharmonic Orchestra Rollins College Department of Music

University of North Texas The University of Tampa Valdosta State University

Partners as of March 9, 2022.

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

April 2022

11

FLORIDA SCHOOL MUSIC ASSOCIATION N O T E S

1-800-301-3632

FloridaSchoolMusic.org

FSMA

Leadership Training Building the Team: Equipping the Music Leaders of Tomorrow July 17-20, 2022 Renaissance Orlando at SeaWorld Orlando, FL FSMA has designed a professional learning opportunity for current and future component leaders to have the necessary skills to find success in their position.

Become a part of a select group and apply for the 2022 training today. Scan the QR code for further details and to apply.

Application Deadline: April 1, 2022

About the Training This professional development opportunity will provide communication training, team-building, scenario-based problem-solving, and other skills identified by participants as a need to find success as a leader in Florida.

12 F l o r i d a

Music Director

2022 STATE MPA CONCERTS Concerts open to the public!

Full schedule at FloridaSchoolMusic.org BAND North West Site April 26-27 NWFSC Mattie Kelly Arts Center Niceville North Site April 21-22 Faith Presbyterian Church Tallahassee

North Site April 21-23 UF Phillips Center for the Performing Arts Gainesville

VOCAL

Central Site April 25-29 First Presbyterian Church Lakeland

Central/South Site April 27-30 Vero Beach High School Vero Beach South Site April 18-20 American Heritage School (Broward) Plantation

ORCHESTRA

April 25-27 Howard W. Blake High School Tampa Photos provided by the Florida Music Education Association

April 2022

13

Photos: Anne C. Jacob

Violins Prepare Kids for Future Musicianship

And Much More!

by Anne C. Jacob

“Open your cases.”

I watched with growing horror and dismay as the middle school beginning band students in front of me awkward-

ly but enthusiastically began unlatching and unzipping the shiny black cases of the newly rented instruments they had been holding on their laps. Within seconds,

mouthpieces, barrels, ligatures, and even entire instruments were strewn about the floor of the band room. This enlightening moment occurred over 30 years ago. At the

possible to these very young children. I decided to explore

on the events of that day and am reminded of the need for

Suzuki must have felt when he said, “I am preparing

beginning of each school year since, I wistfully reminisce explicit instruction broken down into the smallest tasks.

Recalling this experience reaffirms my obligation as a

teacher to anticipate students’ reactions and to establish routines, processes, and procedures that promote stu-

the world of pre-K and wondered if this was how Shinichi myself for the five-year-old mind. I want to come down to

their physical limitations and up to their sense of wonder and awe” (as cited in Dobkin, 2015, p. 6).

dents’ success at every level.

Why start so early?

violin curriculum as an innovation component of Kings

everything is new to them. Researching Florida’s pre-K

In 2014, I accepted the challenge of developing a pre-K

Highway’s pre-K/VPK classes. With enthusiastic backing

from Pinellas County School Board’s Music Department

and a highly supportive principal, all of the physical and logistical resources, including violins, classroom space,

and time in the schedule, were provided. It was up to me to figure out how to provide the best violin instruction

14 F l o r i d a

Music Director

Young children are very receptive to new ideas; almost curriculum in 2014, I learned that this concept was the

underlying theme of The Florida School Readiness Program Curriculum (Florida Department of Education Office of Early Learning, 2014). By 2017, the Florida Department

of Education’s Office of Early Learning had revised the curriculum and published the Florida Early Learning and

Pre-K students enjoy learning to play the violin.

Developmental Standards Ages 4-Kindergarten. This inter-

patterns, cause and effect, and communication (Office of

domains that “reflect the knowledge and skills that a child

students as they advance through the benchmarks and

active website lists standards and benchmarks in eight on a developmental progression should know and be able

to do at the end of an age-related timeframe” (Office of

Early Learning, 2017). A beginning violin class benefits progress toward the standards in each domain.

As I developed the curriculum for this new violin pro-

Early Learning, 2017, para. 4). The eight domains are

gram, I realized that a highly structured routine would be

II.

this first instrumental experience to be enjoyable for the

I.

Physical development

III.

Social and emotional development

IV. V.

Approaches to learning Language and literacy

Mathematical thinking

VI. Scientific inquiry VII. Social studies

VIII. Creative expression through the arts

As music teachers, we can easily relate our lessons

to the four concepts that connect all the domains: play,

necessary for success, but it would also be important for

students. Using the domains as guidelines, I broke down the skills necessary for successfully beginning to learn

to play a violin, made a list, and came up with a way to incorporate each skill into a step-by-step routine. I wrote a verse of a song for each step to help students remember

the sequence, and taught one or two verses per lesson

until the entire routine was established.

Continued on page 16 April 2022

15

Violins Prepare Kids for Future Musicianship Continued from page 15

Routines and procedures are estab-

violin so they can hold it securely. The

previous lesson, so make sure to ask them

the first day of class, I strongly recom-

engaged in making the prediction and

Discuss that these violins are made of

lished in the first four lessons. Prior to

mend meeting with the classroom teacher

to come up with a plan for how students will enter the room and where they will

sit. Once students are seated, bring three different violins (1/4, 1/8, and 1/10 sizes)

in their cases to the front of the room and

ask students what they think is inside.

Tell students they will take turns finding

out which violin will be their best fit.

Explain that violins are like shoes, and it

is important that they are not too big, not too small, but just right. Have students “try on” each size to see if their prediction

was correct. There are many ways to size violins, so use the method you are most

comfortable with. I have found that if I

rest of the class is always enthusiastically looking to see which size fits. I recommend taking a photo of the student hold-

ing the instrument and quickly writing down the violin size next to the student’s

name on a roll sheet. This helps to learn

students’ names and to figure out which

students from different classes will be

able to share violins. The “try-on” process takes about 15 minutes for a class of 10

students. It is very important to keep the process moving and not waste any time,

but also not to make the students feel rushed or pressured. Ensure that this first

16 F l o r i d a

Music Director

violin correctly, they will get to play a real violin. Instruct students to practice standing up and sitting down without touching

the violins, and teach them to identify the chinrest and the scroll. If there is time in

this lesson, I also have a puppet I use for students to echo “hello” and/or to tell the puppet their name in a high voice or a low voice.

Lesson three is all about the bridge.

if they are not careful. I have a violin

around the violins and sit down. They

Establishing routines is important.

they demonstrate they can use the box

In the second lesson, have box violins

students.

the scroll, it is a good fit if they can reach guide their hand to the shoulder of the

be able to practice with them so that when

Show students the bridge on a real violin

on the floor when students enter, and

around the end of the scroll, and I gently

cardboard, like a box, and how they will

day is a positive experience for all of the

lightly place the violin under the student’s

chin and have them reach their arm to

for reasons why this might be important.

instruct the students to carefully walk will quickly recognize that the violins are not “real” like the one they held in the

and explain that the bridge can fall down

with a missing bridge to show the stu-

dents how the bridge supports the strings but is not permanently attached to the instrument. With students standing and holding their box violin like a tray in front

Box violins can later be used as “rosin holders” and to help students practice bowing.

of them, place a block, a lid from a mini

verse to the song, chinrest bridge and neck

of Early Learning, 2017). Bow hold and

violin to represent the bridge. Challenge

Chinrest bridge and neck and scroll, I love my

while physical warm-ups and movement

rosin, or other small object on the box

students to move the violin up and down without the object falling off, and reas-

sure students that it is okay if it falls because that is why we practice. Students

will discover it is easier to keep the object in place if they move slowly. In this lesson,

I also like to teach the students the song

and scroll; neck and scroll; neck and scroll.

violin. In future lessons, we will add to this verse. After collecting the box violins, review the song “London Bridge,” but this

time with partners (everyone is a bridge).

Discuss safety, and if time permits, guide students in playing the actual game of

“London Bridge” in groups of three or

finger dexterity rely on fine motor skills

of the bow arm develop gross motor skills. Standing with correct foot position

and moving the feet from rest position to

playing position requires balance, and the actual act of playing the violin requires coordination.

Domain II deals with approaches to

four.

learning and includes eagerness, curiosity,

hands like the bridge in front of them and

appreciation of this curriculum, a brief

2017). Before students even come into

In the fourth lesson, teach students

Domain I is physical development, which

“London Bridge” but not play the game

yet. Instead, I have students raise their bring their hands down on the word lady.

the parts of the violin—chinrest, bridge,

neck, and scroll. I introduce the second

In order for the teacher to gain a full

review of the eight domains is necessary. consists of fine motor skills, gross motor

skills, balance, and coordination (Office

and persistence (Office of Early Learning, my classroom, I bring a violin in its case

to their classroom and ask, “What do you think is in this case?” Eventually, a Continued on page 18

April 2022

17

I Love My Violin

Verses to the tune of “Wheels on the Bus”

Violins Prepare Kids for Future Musicianship Continued from page 17

student will answer, “a violin.” They are

VERSE 1

I undo the latch and open my case… open my case… open my case.

I undo the latch and open my case.

I love my violin!

curious to see it, and I dramatically open the case and let them ask questions about

it. They are curious about how to play, what it sounds like, and if they can play

it. The children’s curiosity and eagerness

VERSE 2

Chinrest, bridge, and neck and scroll… neck and scroll… neck and scroll.

Chinrest, bridge, and neck and scroll.

I love my violin!

remain throughout the school year as

they learn more about the instrument,

and they demonstrate persistence by con-

tinuously increasing their new skills and knowledge.

VERSE 3

Pinkie in the fish and thumb in the frog… thumb in the frog… thumb in the frog.

Pinkie in the fish and thumb in the frog.

I love my violin!

Routines and self-awareness are two

of the standards in Domain III, which is

based on social and emotional develop-

ment (Office of Early Learning, 2017). In

VERSE 4

violin class, students follow routines for

My bow’s on my head while I stand up…

I stand up… I stand up.

find their violin, open the cases, rosin the

My bow’s on my head while I stand up.

I love my violin!

everything—how to enter the classroom, bow, etc. They exhibit self-awareness in

a variety of ways, including when they

VERSE 5

maintain proper behavior and safely stay

I put some rosin on my bow… on my bow… on my bow.

poignant example of self-awareness is

I put some rosin on my bow.

I love my violin!

in their own space, but perhaps the most

when they recognize that their instru-

ment is out of tune or that their playing

VERSE 6

does not sound the same as the others.

Under the neck and on the button… on the button… on the button.

ment of musicianship and inner self-con-

Under the neck and on the button.

I love my violin!

This is also a huge step in their developfidence.

Domain IV consists of language and

literacy and comprises listening, under-

PROCEED WITH LESSON

standing, and vocabulary (Office of Early

VERSE 7

these skills by listening and understand-

I clean, clean, clean my violin… violin… violin.

I clean, clean, clean my violin.

I love my violin!

ing instructions in the violin class and also by listening to music. Students develop new vocabulary by learning the parts

of the violin and the bow and by learning

VERSE 8

I close my case and lock the latch… lock the latch… lock the latch.

I close my case and lock the latch.

Learning, 2017). Students demonstrate

I love my violin!

SPOKEN: Clap, Clap… Hands in your Lap.

basic music terms.

Mathematical thinking is Domain V

and covers patterns, counting, and spatial relations (Office of Early Learning, 2017).

One of the first activities I do with the students is counting the strings, counting the

tuning pegs, and counting the fine tuners.

Verses are loosely based on the tune “Wheels on the Bus.” They also work with the tune “London Bridge.”

18 F l o r i d a

Music Director

Through this activity they learn that the violin has four strings and that the strings

are connected to the tuning pegs and the

tings (Office of Early Learning, 2017).

By age 5, that child may have heard 50

and create rhythmic and melodic patterns

unique in that, in order to be successful,

a child not living in poverty. After two

fine tuners. Students also play, identify,

and imitate bowing patterns. There are many other opportunities for exploring counting and patterns in the violin class.

Spatial relations and vocabulary related

to proximity (next to, under, over, above, below, etc.) are other components of this

domain that are used in violin instruction.

Students begin to understand the five

senses and the concept that vibration

produces sound in Domain VI, scientific inquiry (Office of Early Learning, 2017). This domain requires collabora-

tion with the classroom teachers. When they reach the curricular component of

the five senses, I ask the students to describe how they use each sense with

The social setting of the violin class is

the students must all be doing the same thing at the same time—bowing together,

playing correct notes, moving together,

etc. This helps students to internalize the

million fewer words in his or her life than

years of music lessons, those same kids’ academic performance went through the roof” (Hudziak & Picard, 2018, para. 3).

In addition to brain development and

importance of conforming to the group’s

growth, through learning basic violin

individual identity, and to recognize

integral part of the school day, students

mores and rules while maintaining their how their efforts contribute to the whole

group’s success. Musically, at four and

five years old, children begin to develop an awareness of the incredible power

of making music as a part of a group.

Belonging to a music ensemble becomes as normal a part of the school day as reading or math, and when the children

get older, they will likely have a sense that

something is missing if they are not a part

concepts and establishing music as an are much more comfortable signing up for

traditional instrumental music ensembles in intermediate elementary and middle school. In this article, I hope to have pro-

vided tools and rationale that will spark ideas and concepts for music teachers to provide highly effective instrumental music instruction to students at every grade level.

of a music ensemble.

Anne C. Jacob is a nation-

becomes a favorite line, especially when

expression through the arts, is perhaps

(renewed 2018) in ele-

and procedures to their parents. The use

educators and potentially the most

the violin, and which of the senses they do not use (taste). “Don’t lick the rosin”

students are describing the violin rules

of sight, hearing, and touch are obvious, but perceptive students will notice that

string instruments have a unique smell because of the varnish, glue, cases, and rosin. I also collaborate with the teachers

on teaching the concept of vibration. The students can see the strings vibrate, and

I allow them to experiment with gently stopping the vibration with their fingers.

They learn that they can use the bow or

they can use pizzicato to produce vibration of the strings and create sound. They

also discover that the thicker strings are lower pitched and the thinner strings are

higher pitched, a much more advanced notion that they will learn in their science class in later years.

Domain VII is all about social stud-

ies with components including culture, individual and group development and

identity, time, continuity and change, and rules and expectations in various set-

The status of Domain VIII, creative

the most encouraging domain for music confusing for classroom teachers. This domain specifically includes music as a component, and one of the standards is “actively participates in a variety of

individual and group musical activities.”

The reason this can be misleading to

classroom teachers is that, in order for

the benchmark to be adequately reached,

this domain needs to encompass more than just singing along with a recording.

The violin class is a vital key in helping

students to work through this benchmark at such a malleable moment in their

brain development. By learning to play an instrument, students improve muscle

control and coordination, increase atten-

tion span, and are more able to regulate their emotions than their peers. Practicing

music is a workout for the frontal and

prefrontal regions of the brain. According

to a 2018 study, “a child raised in poverty often grows up with a massive word gap.

al board certified teacher mentary/early

childhood

music. She teaches K-5

music and VPK violin at

Kings Highway Elementary, Pinellas County Schools, Clearwater. Mrs. Jacob holds the

BME from West Virginia University and the MA in education (curriculum and instruction) from the University of Phoenix.

References Dobkin, L. (2015). The history and evolution of the Suzuki School. The Suzuki School.

Florida Department of Education, Office of Early Learning. (2014). Florida school readiness program: Curriculum approval specifications [Form]. https://www.fldoe.org/core/fileparse. php/5444/urlt/0074888-7102.pdf Hudziak, J. and Picard, K. (2018). How does learning to play an instrument affect a child’s brain? VT Kids Magazine. https://www.kidsvt.com/vermont/how-doeslearning-to-play-an-instrument-affect-a-childsbrain/Content?oid=2757234 Office of Early Learning. (2017). Florida early learning and developmental standards. http:// www.floel.org/standardsresource/ Suzuki, S. (1981). Ability development from age zero. (M. L. Nagata, Trans.) Warner Bros.

Publications (Original work published 1969).

April 2022

19

FLORIDA MUSIC EDUCATION ASSOCIATION 2021-2022 DONORS

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

Our donors support specific causes by donating to the FMEA funds of their choice: FMEA Scholarship Fund June M. Hinckley Scholarship Music Education Advocacy Professional Development for Members General Fund Mel & Sally Schiff Music Education Relief Fund The following have graciously donated to FMEA from April 1, 2021, through March 9, 2022.

MAESTRO’S CIRCLE $10,000 and up

No current donors at this time.

ARTIST’S CIRCLE

$1,000 – $9,999 All County Music Artie Almeida In Honor of June Audrey Grace & Katie Grace Miller Russell Robinson

SUSTAINERS $100 – $999 Carlos Abril In Honor of Dr. Patricia Flowers Andre Arrouet Lucinda Balistreri In Memory of June Hinckley Katarzyna (Kasia) Bugaj Dale Choate In Memory of Linda Mann Alice-Ann Darrow In Dedication to Mr. & Mrs. O. B. Darrow Virginia Densmore In Memory of Dr. James Croft Anna Marie Friars In Honor of Dr. Andre Thomas Stanley Hoch Dennis Holt Frank Howes In Memory of Ron Powell Marsha Juday Steven Kelly Carlton Kilpatrick In Honor of Cynthia Berry Sheila King In Memory of John W. King Martin Kivell In Memory of Mel Schiff Jason Locker In Memory of June M. Hinckley Robert McCormick Carolyn Minear John Nista Mary Palmer Douglas Phillips In Memory of Dr. Bobby L. Adams & Mr. Lawrence W. Phillips, Jr.

20 F l o r i d a

Music Director

David Pletincks In Honor of Alexis & Jonathan Pletincks Jeanne Reynolds In Honor of Pinellas County Performing Arts Teachers Janice Roberts In Memory of Mel Schiff Mary Catherine Salo In Memory of Gary Rivenbark & Wes Rainer Kathleen Sanz In Memory of June M. Hinckley Heather Sawyer In Memory of Byron & Bobbie Smith J. Mark Scott In Honor of Dr. Andre Thomas & Dr. Judy Bowers D. Gregory Springer Jeannine Stemmer In Memory of Barbara Kingman & Lauren Alonso Ira Strachman In Memory of Mel & Sally Schiff Leiland Theriot In Memory of Clayton Krehbiel Richard Uhler Howard Weinstein In Memory of Barry Weinstein David Williams William Zoch In Memory of Mel Schiff Anonymous (2) In Dedication to Steve & Mary Catherine Salo In Memory of Mel & Sally Schiff

PATRONS $25 – $99 Sharon Adams In Memory of Rosemary Collins Ann Adams-Valle In Memory of Bobby L. Adams Sandra Adorno Michael Antmann William Bauer David Bayardelle In Honor of Harry Spyker Mark Belfast In Memory of Dr. Mark A. Belfast, Sr. Richard Bradford In Memory of William & Helen Bradford Gordon Brock Thomas Brown Dana Burt In Honor of Kathy Sanz Alexander Busby Greg Carswell Patrick Cassidy Shelby Chipman Zachary Chowning Blair Clawson In Honor of Alice-Ann Darrow & Ginny Densmore Dayna Cole In Memory of Linda Mann Beth Cummings In Memory of Jim Urbanski Catherine Dalzell Matthew Davis In Memory of Robert Morrison Nicholas DeCarbo Dennis Demaree

Virginia Dickert In Memory of Lindsay Keller & Debbie Liles Abbey Duncan Christopher Dunn Kathryn Eaton Judith Evans Bradley Franks In Memory of Gary W. Rivenbark Elizabeth Frogel In Memory of one of my favorite uncles and his lifetime dedication to music and education Suzanne Gagliardini Olivia Green Bernie Hendricks Llewellyn Humphrey Jon Hutchinson Michael Johnson Mary Keyloun Cruz In Memory of Laurice Keyloun Joshua Langston Ginger Lerner-Wren In Memory of Mel & Sally Schiff Allie Levine In Memory of Uncle Mel Joseph Luechauer Claudia Lusararian In Honor of Sue Byo-Passell Jeneve Medford Jarvis Kim Miles Katie Grace Miller In Honor of Artie Almeida Ree Nathan In Dedication to Rosemary Caldwell Collins

Chad Norton In Memory of Cassandra J. Norton Galen Peters Edward Prasse In Honor of Nancy Marsters Melissa Rawls On Behalf of Nancy Bartels Kristian Reid-Drummond C. William Renfroe In Memory of James O. Johnston Diana Rollo John Sinclair Harry Spyker In Honor of Fred & Marleen Miller Eddie Steadman In Memory of Janie Walker Valerie Terry Mark Thielen Alex Toussaint John Watkins Brad Wharton Julian White In Memory of Kenneth Tolbert Lindsey Williams Billy B. Williamson

Jesse Hariton Angela Hartvigsen Ciara Hill Sarah Hoover Calvin Jasper Jason Jerald Jennifer Jimenez In Memory of Linda Mann Aiasha Johnson Ronald Jules Kathleen Kerstetter Erika Locke-Williams In Memory of Eunice B. Locke, 40-plus-year Palm Beach County Florida music educator Kevin Lusk Deborah Mar In Memory of Rosemary Collins Mackenzie Meiers Lorri Naylor

Kristy Pagan Katherine Plank Jennifer Ross In Honor of Ms. Helen Bailey Edgar Rubio Ian Schwindt Kelly Southall Mark Stevens Timothy Thompson Christian Torres Michelle Tredway Giovanni Venezia Max Vitagliano Songra Wenninger Collins Richard Yaklich

Anonymous (3)

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up to $24 Carmen Aquino Judy Arthur In Memory of Ray Kickliter Crystal Berner In Memory of Rosemary Collins Joseph Callaway Zachary Charlebois Ernesta Chicklowski Bethany Confessore Christopher Creswell Richard Dasher Liza Dean Marc Decker Beth Ann Delmar Shelby Fullerton Tina Gill In Memory of Gary Rivenbark Lise Gilly Rose Grace Walter Halil

Anonymous (10) April 2022

21

Approaches to Program Band Performances Planning for success by choosing the right music!

F

by Thomas Willmann

For bands, concerts serve a variety of functions. Concerts

can strengthen the reputation of your music program.

community, build a sense of unity by bringing people

and the audience’s reception when selecting a program’s

provide opportunities to offer musical enjoyment for the

together, and provide challenging artistic outlets for students. With the COVID-19 pandemic affecting every music program, now is the time to consider alternatives

and new approaches. A well-planned performance, live-

stream, recording, or socially distanced in-person concert

22 F l o r i d a

Music Director

Directors should always consider the students’ growth

content and the performance medium. Student growth is vital; however, the audience’s approval is also a necessary

consideration for continued support. Knowing how to accomplish both can be challenging even for the expe-

rienced director, especially in the pandemic age. When

mming thoughtful and deliberate attention is given to the repertoire choices and performance type, you will have many of the ingredients for success.

composition, a well-balanced program will have some variety, unity, and contrast” (Cooper, 2004, p. 141).

The compositions chosen for a program will repre-

The values of your music program are reflected in each

sent your values in music and those of the department.

to understand where your priorities lie. Public appearanc-

audience learns more about the conductor’s choices and

performance. The community and the administration get es of the ensembles reflect what music is deemed worthy

of practice and performance, but recordings and livestream events now serve as artifacts and evidence of these values. Therefore, considerable forethought in choosing

Consequently, each time the ensemble performs, the the ensemble’s abilities. If an ensemble only performs one

genre/type of music, even if it is performed flawlessly, the ensemble may be considered a “one-trick pony.”

Keep students learning new types of music. At the

the repertoire each year will guide directors toward

primary and secondary levels, students need meaning-

chosen is similarly crucial, as is the ability to defend the

is new to the students can increase their versatility of

success. This transparency of how and why repertoire is choice of specific selections.

Choosing the Repertoire

Balanced concerts should include a variety of selections, including core repertoire, contemporary music, lyrical pieces, transcriptions/arrangements, marches, lighter selections, and crowd-pleasers. The pieces that fit these categories should challenge the students musically

and technically. Simply put, “As with a fine musical

ful exposure to a variety of music. Choosing music that

playing skills. Students may narrow their focused genre in post-secondary classes or experiences, but a music edu-

cator is responsible for broadening students’ knowledge and experience. Choose music from around the world for

your students. Seek music from different continents and regions each year. Some world music is already integrat-

ed into the standard repertoire for concert bands, and

students will likely play certain region-based pieces Continued on page 24 April 2022

23

Approaches to Programming Band Performance Continued from page 22 Rather,

anced instrumentation. Many can be performed with

you have not explored. The

Flex-band arrangements are often 5-parts plus percussion;

countless

times.

search for music from regions Wind Repertory Project (win-

drep.org) has dozens of cate-

gories from different regions.

Knowing Where to Look

Finding music suitable for socially distanced ensembles

can be difficult. Directors may find that suitable music for

their altered ensemble is not in the band library. The plac-

es to look are on popular music publishers’ websites, and

nearly all publishers have flex/adaptable categories. These categories are for concert bands with incomplete or unbal-

combinations of string, brass, or woodwind instruments. however, other voicings exist, and knowing which type

works best for your band will determine which type is appropriate. There are four broad categories of these new

«

instrumentations:

« «

«

Flex arrangements typically need at least one instru-

ment on each part (soprano voice on part 1, bass voice on part 4).

Full flex arrangements have more options and can use

any instrument for any part (e.g., 4 flutes, 1 on each part).

Modular/cellular arrangements can use any instrumenta-

tion and any size ensemble, encouraging students to choose elements such as dynamics and repeats.

Improvisatory arrangements incorporate verbal direc-

tion, jazz chords, and alternative notation.

The Creative Repertoire Initiative (creativerepertoire.

com) is one website a director

can use to find flex arrangements. It is home to a collective

of composers who write specifically adaptable compositions.

Interestingly, some compos-

ers have started rewriting their music for smaller instrumenta-

tion, and these pieces can now be performed by ensembles that recently were unable to do so due to instrumentation

issues. Contacting composers directly may also encourage them to modify or arrange their existing compositions if they have not already done so.

Choosing What Is Best for the Musicians

Choosing the music the ensemble will perform is a primary concern for band directors. Start with introducing students to great literature (new and old) that will challenge

them. Students often respond favorably to challenges and well-crafted music. Building performances with this in

mind can highlight their skills and versatility, connecting them to new and exciting music as well as classic compositions.

Think of the students first when choosing concert

music. A director may find themselves too ambitious and

pick only highly challenging pieces. It is easy to do this

24

unknowingly and with great excitement, and unless one Florida Music Director

has unrestricted rehearsal time (unlikely), the director

music by composers that may not be included in their

Eric Leinsdorf cautioned conductors about this possibil-

bles make musical choices, correct errors, and become

may need to choose music of varying difficulty levels. ity by saying, “The question of sufficient rehearsal time

is affected by more than one factor. The strengths and

weaknesses of particular orchestras should be taken into account” (Leinsdorf, 1982, p. 205). Although Leinsdorf was speaking about the orchestra, his message applies

full ensemble performances. Students in chamber ensemleaders, gaining valuable skills for future performing.

Furthermore, the small setting is perfect for social distancing guidelines and adds a new skill set to the musicians.

To provide students with opportunities for success,

to any ensemble and the process and preparation. A pro-

a band director must be ready to adapt and learn. The

rehearsal time and could reduce the quality of each com-

knowledge of chamber music repertoire,

gram filled with challenging pieces will need extended position’s performance. In the case of unprepared music, the musicians may lose a degree of interest leaving them feeling unsuccessful in completing the task. Taking the

appropriate rehearsal time for each piece of music will

ensure a successful performance and a positive experience for students.

Adapting to Your Students’ Needs

One alternative to flex-band arrangements can include

the programming of chamber music. Chamber music

provides musicians with a diverse and extensive range of music, challenges in teaching themselves performance

techniques, and opportunities in leadership. This is an opportunity for students to perform and connect with

director will adapt by expanding their providing methods for students on how to make musical decisions (normally

assigned to the conductor), and arranging music to fit new instrumentation. Using websites similar to the ones previously mentioned, band directors can search specifically for chamber music and use

organizations’ websites like the Chamber Music Society (chambermusicsociety.org) to discover music. The band

directors may also need to arrange existing music for

the needs of the altered ensemble. Band arranging skills will provide directors with the ability to organize music specifically for their students. New students and new Continued on page 26 April 2022

25

Approaches to Programming Band Performance Continued from page 25 situations, like the COVID-19 pandemic,

In short, promoting your ensemble with

Sousa, King, and Fillmore marches will

ertoire. For directors, having knowledge

toire will be the best approach to connect

many generations of audience members.

present these new opportunities for repof chamber music, flex-band arrange-

ments, smaller instrumentation, and arranging music precisely for their students is priceless.

Knowing Your Audience

Directors must consider how best to show-

case the ensemble and simultaneously

give the audience a reason to listen and then choose to attend more performances.

Performances may be the only method for promoting a band program, and getting

the community on board is an important step. Featuring new repertoire can help draw an audience, or featuring music that

appeals to a wide variety of listeners can

superior performances of varied reperwith an audience.

The age of the audience can also deter-

mine the choice of repertoire. An experi-

enced concert “regular” might expect to

hear band standards and marches while a new audience member may be excited to hear popular music or music that appeals to a younger ear. In other words,

heritage, and the very best should be a regular part of band concert programs.

Most audiences, especially older audiences, respond very favorably to performanc-

es of the vast variety of march types” (Cooper, 2004, p. 142).

Themes

different than an evening concert for the

to unify a concert. Explore new and old

student body will look and sound much

community with parents and grandparents present. These performances may call for different music to connect with an audience.

With this in mind, do not underes-

timate the power of concert marches.

of music can leave audience members

obligatory at times, they provide variety

sleeping, bored, agitated, or disinterested.

“Marches are an important part of band

performances at a school assembly for the

effectively leave the audience wanting

to hear more. Conversely, the wrong set

be easily recognized and enjoyed by

Although programming marches may feel

and can connect with most audiences.

A theme can be a fun and useful way themes, and do not be afraid to be cre-

ative. When thinking about what could be celebrated during the time of the con-

cert, one may exercise their creativity and use occasions like space shuttle launches/ space exploration, Earth Day and con-

servation, holidays celebrated in other

countries, and contributions from Frank Oz and Jim Henson (or any influential fig-

ures) to select a variety of repertoire that follows a common theme. It is important to note, however, that with a specific

theme, there is the potential to lose the interest of the musicians and the audience members. Find a variety of music within a theme. A theme based on movies,

Broadway, or a decade may have music that has too many similarities between pieces, saturating the audience with like styles, forms, keys/meters, or orchestra-

tions. An alternative approach might be to use a theme such as “The Natural World” to bridge a variety of styles together with

selections like Colors of the Wind arranged

by Paul Lavender alongside Loch Lomond

by Frank Ticheli, Chasing Sunlight by Cait Nishimura, Themes from Green Bushes by

Percy Grainger, Summit by Kevin Day, and

Bonsai Tree by Julie Giroux. This selection

of music combines a variety of composers and styles. Regardless of thematic perfor-

26 F l o r i d a

mances, maintain variety. Drawing music Music Director

from strictly one source will not offer the students and the audience much variety in style.

When considering a variety of music,

be aware of the genre, style, and time period of the selection. Sousa once claimed, “I

believe a programme composed entirely of so-called popular music would now be

as dismal a failure as one wholly made up of classical pieces” (John Philip Sousa

and the Culture of Reassurance, n.d., Para.

44). Take time to consider the selection of

music as a whole and weigh the options.

videos for the band program. Online con-

pandemic seems to have forever changed

concert program.

less people to watch, and if prerecorded,

al and performance, meaning adapta-

Remember, a good director crafts a good

Adapting to Zero Audience Performances

Many places have resumed in-person concerts while others maintain a virtual approach. Regardless of what has been

certs provide the opportunity for countthe best possible performance can be pre-

sented—however, careful consideration

should be given to copyright laws when performances are livestreamed or prerecorded and posted on a school’s website.

implemented, band directors must dis-

Finding Success

for an audience—not only if their region

for the program, and a satisfied, con-

cover new and creative ways to perform

returns to a virtual system, but also to reach a larger audience. Although most

directors have access to the internet, it is

still an underutilized resource for perfor-

mance. Creating an online concert will

challenge the director to become better acquainted with technology, but can pro-

vide numerous opportunities for concert viewing. Provided there is permission

from the district and the parents, the director can record and post each per-

formance online for the community to

Success for our students, gaining support nected audience (success for the listener)

ways to engage students. The director can encourage students with skills in audio/ visual technology to organize the record-

ing and gain experience in producing

adaptable and imaginative. So, if your plans unexpectedly fail, or if you are

looking for a more effective approach,

consider exploring some of these creative

options for your next concert cycle. Have a great show!

is a PhD candidate and

above are intended to help guide them

toward success. Performing successful

concerts throughout the year can provide positive experiences for the students, a

baseline for success in the future, steady audience attendance, and potential donations.

A director “… should usually plan

119). It is hardly feasible to program so far

prerecorded concerts can also be used as

learn from their teacher include being

program, the considerations mentioned

When a band director plans a concert

tunity for members of the community to

cert, and gain support. Livestream and

Remember, valuable skills students can

Thomas Willmann is

each season’s program at least one year

enjoy the performance, archive the con-

tion is now more essential than ever.

are the objectives of every performance.

watch. Posting performance videos on the school’s website can provide an oppor-

the band director’s approach to rehears-

in advance” (Hunsberger et al., 1992, p. in advance with class schedules changing, conflicts with sporting events, or

not knowing the instrumentation in the ensemble, but having an intimate knowl-

edge of full, flex, and chamber music for band students can assist with prepara-

tion time. More recently, the COVID-19

from St. Louis, Mo., and graduate

assistant

at

Florida State University in

Tallahassee, studying music education with

an instrumental conducting emphasis. He has been a music educator for primary and

secondary grades for 14 years in Colorado and Indiana.

References Cooper, L. G. (2004). Teaching band & orchestra: Methods and materials. GIA Publications.

Hunsberger, D., Ernst, R. E. (1992). The art of conducting. McGraw-Hill.

John Philip Sousa and the Culture of Reassurance. (n.d.). [Online text]. Library of Congress, Washington, D.C. 20540 USA. https://www.loc.gov/item/ihas.200152753/ Leinsdorf, E. (1982). The composer’s advocate: A radical orthodoxy for musicians. Yale University Press.

April 2022

27

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28 F l o r i d a

Music Director

ComponentNews M

FLORIDA VOCAL ASSOCIATION

Jeannine Stemmer, President

the

afraid to set the bar high,

before the pandemic. Step-

achievements on the way

arch

marked

as long as you celebrate the

first live MPA since

up.

ping foot on site was a huge

As I entered the presi-

sigh of relief, a light at the end of a seemingly endless

dency of FVA, I told myself

of the hardships we faced. I

organization and to learn

to lean on the pillars of this

tunnel, and not just because

from the “tried and true.”

forgot all that goes into an

That legacy is the key to

event of this magnitude:

endless sight-reading practice, tone quality develop-

FVA District 8, Wolf Lake Middle School, Ashley Norville, director

ment, the technical preparation of two

culture.

I have also found that the

new generation of music educators is thor-

that can be easily reached so that larg-

upon the legacy that is the Florida Vocal

goals for your program. Make small goals

field trip forms, bus companies, chap-

er goals seem more attainable. Don’t be

erone releases, finding an accompanist,

this

Finally, organize your plans and set

or three choral pieces, shaping phras-

es, dynamics, syllabic stress, expression,

continuing

oughly equipped to continue building Association.

attendance office, administrative signatures, business office purchase orders, payments, and finally, remembering how to conduct.

It was a such a joy to once again experi-

ence the live music-making with our col-

FLORIDA ORCHESTRA ASSOCIATION

Laurie Bitters, President

leagues and students. The Florida Vocal

s I write this, I am in the process of hosting and participating in MPA. What

sons for their outstanding leadership in

few years, it is amazing the resilience our teachers and their groups have shown

opportunity for our students. Many of

their hard work, and it is my intention to focus on that when we discuss our MPA

time and stepped into a culture with

everyone recognizing their students’ hard work. I also want to thank our adjudi-

education.

us and to give us their words of wisdom and encouragement.

some decay in culture, and many need

riences for both you and your students as you prepare for state MPA and end-of-

that culture is by understanding your stu-

left to do, which includes spring concerts and banquets and, surprise, testing!

or. Being successful is fun! Enjoy every

any motions or concerns to your district chairperson for the May FOA executive

accomplishment even in the failures.

in the handbook, please contact our past president, Matthew Davis. The handbook

by evaluating your tools for development.

always feel free to contact one of us on the board. We are here to serve you and

Association thanks its district chairper-

a wonderful feeling it is to hear so many wonderful groups! After the past

reinstituting this invaluable academic

in their performances and in sight-reading. I am so proud of my students for all of

them experienced MPA for the very first

performances. As I read your posts on Instagram and Facebook, it is good to see

deep roots of integrity in choral music

cators for taking the time from their own school programs to come and listen to

Our choral programs have experienced

rebuilding. The first step to rebuilding

dents’ desires for success in this endeav-

High school directors, I hope that your rehearsals continue to be learning expe-

year performances. It’s hard to believe the year is coming to a close with so much As we head into our end-of-year district meetings, please remember to submit

opportunity, and teach them how to find

board meeting. If you have concerns or would like more clarification about items

The second step to rebuilding culture is

committee will be meeting in July. Should you have questions or concerns, please

Be innovative. Refresh your ideas. Call on friends and colleagues for inspiration and

your students, and we value your input.

Best wishes on all of your end-of-year endeavors!

sanctuary.

April 2022

29

ComponentNews

FLORIDA MUSIC SUPERVISION ASSOCIATION

Lindsey R. Williams, PhD, President

W

e are still feeling the effects of the

“[W]e have all gone through some trauma in our experiences with the pandemic … we all need a bit of trauma care strategies in our lives…”

global pandemic that has inun-

dated us with all sorts of COVID-related

stimuli via social interactions, news, and social media feeds for nearly two years.

This may have led to a good deal of fear (still) as well as exhaustion. Further, I believe this fear has caused some adults

in our world to act irrationally, which only

I overheard my wife, a board certified

ing article by Jessica Minahan, a board

all gone through some trauma in our

educator. The article was written before

exacerbates the situation.

music therapist, suggesting that we have

son, I have had numerous conversations

experiences with the pandemic, which

As we work through concert MPA sea-

with teachers about how this MPA is a “first” for many of their students, and they expressed, either directly or indi-

rectly, anxiety both for their students and for themselves personally. These feelings seem to be more acute this year. Many of

my colleagues across the state have indi-

cated they have had similar conversations.

30 F l o r i d a

Music Director

made me wonder if we all need a bit of trauma care strategies in our lives, and

perhaps, we may want to explore some

trauma-informed teaching strategies to help our students cope with the world we now live in.

In trying to better understand trau-

ma-informed teaching, I found a fascinat-

certified behavior analyst and special COVID-19, but her recommendations hold

true today. I believe we can all agree that students are more likely to learn when

they feel safe, heard, and supported.

Minahan (2019) stated that “small changes

in classroom interactions can make a big difference for traumatized students.”

It is important that we address our

students’ needs as well as our own, and

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

some of the suggestions in Ms. Minahan’s article are worth mentioning.

1. Expect Unexpected Responses

Uncertainty can cause stress and uncom-

to be mastered. Remember to show that

you value their efforts and the numerous skills that were demonstrated correctly instead of only addressing the problems.

Marc Decker, DMA, President

I

hope you all enjoyed a well-de-

served spring break and are

mon responses. The entropy of the last

5. Create Islands of Competence

recharged for the remainder of

somewhat wonky. Our students feel the

“learning gap” or how “far behind” their

active this semester with the launch

that are inappropriate. Students hear

the FCMEA Mentorship Project,

assume that they continue to accumulate,

ulty members in higher education

quacies. Students have no perspective

share the same teaching areas and

them are experiencing your class or their

ing to connect with a mentor, or

have your experience and the benefit—or

visit fcmea.org and complete the

are where they are because we have all

FCMEA president-elect, will con-

altered reality. They can’t help it. We need

coming weeks.

the most yearly growth we’ve ever seen.

tion of the FCMEA Professional

We all function better when we know

6. Limit Exclusionary Practices

is led by our immediate past

what to expect when they enter a class-

COVID was feeling separated from oth-

membership of FCMEA faces

ing are challenging for humans who

er education, and this committee

dents, especially our youngest ones, have

material for everyone’s benefit.

opportunities, so their social maturity is

sure trove of syllabi, or listening

have the COVID interruption. We need to

Teacher Certification Exam, ten-

frequently and repetitively.

development. These are just a few

often implored by one of my mentors,

what we have each day. Be kind, and con-

can accomplish. If you are inter-

dents often take in information with a

to yourself.

member, please let the FCMEA

Reference

Enjoy the rest of the semester.

two years has likely caused us all to feel

same way, but without the maturity and

coping strategies that we have developed

as adults. First listen to understand and show grace.

2. Employ Thoughtful Interactions

Students who have experienced trauma may be prone to feeling defensive espe-

cially as it relates to the student/teacher

power structure. Minahan stated that “the teacher is 50 percent of every interac-

tion with a student: By changing the way we give a direction or respond, we can reduce problematic behavior.”

3. Promote Predictability and Consistency

what to expect. When students know room—both environment and behavioral expectations—they are more likely to respond and behave in predictable ways.

4. Give Supportive Feedback to Reduce Negative Thinking

As music teachers, we are adept at finding “what is wrong” and correcting it.

While this is certainly part of the teaching/learning process, it is important that

we also “catch them being good,” as is Cliff Madsen. Minahan suggests that stu“negativity amplifier.” Sometimes we can

be guilty of assigning motive to an error rather than just assuming it was simply a mistake or a concept or skill that has yet

If I hear one more person lamenting the

the school year. FCMEA has been

students are, I might just say some words

of two new initiatives. The first is

these negative comments, and I can only

designed to connect younger fac-

leading them to feel all sorts of inade-

with experienced veterans who

of “behind” or “ahead” as nearly all of

research interests. If you are look-

grade level for the first time. They do not

are willing to serve as one, please

the curse—of hindsight. Our students

interest form. Dr. Sandra Adorno,

weathered almost two academic years of

nect mentors and mentees in the

to treat this unique time as a way to see

The

second

is

the

forma-

Development Committee, which

One of the most prominent effects of

president, Dr. Stacie Rossow. The

ers. Virtual courses and social distanc-

many challenges specific to high-

are by nature social animals. Our stu-

can collect, centralize, and create

missed consequential social interaction

Imagine having access to a trea-

different than those students who did not

in on a webinar about the Florida

find ways to include students and do so

ure and promotion, or curriculum

We’re all doing the best we can with

examples of what this committee

tinue to show grace to one another and

ested in serving as a committee

Minahan, J. (October 1, 2019). Trauma-Informed Teaching Strategies. https://www.ascd.org/el/ articles/trauma-informed-teaching-strategies

leadership team know.

Stay safe and teach well!

April 2022

31

ComponentNews

FLORIDA NAfME COLLEGIATE

Mark A. Belfast, Jr., PhD, Advisor

a style and a language they might have

ignored under different circumstances.

Last fall, I told you of my determination

to listen to and more closely study Latin

music in order to expand my musical knowledge. As we continue to see music

as a medium to introduce culture and to

connect people across the globe, I hope you will also push yourself to explore

music and/or cultures with which you

are unfamiliar. April is Jazz Appreciation Month, so why not start there? Jazz is

deeply rooted in American history, and although our education system insists

all K-12 students learn about the history of our country, little emphasis is placed

F

or several weeks the world has

which was not a style or a text I expected

astated millions of people. If any of you

check it out on YouTube. When I first

watched as yet another war has dev-

have loved ones involved in the war in Ukraine, I hope and pray they are safe and will be able to return home soon.

It has been interesting to see how the

arts community has responded to the war. I found it fascinating that Saturday

Night Live, a mainstream, prime time, network television show, chose to open

one weekend with a performance by the Ukrainian Chorus Dumka of New York instead of a comedy sketch. I was espe-

cially intrigued because (1) they did not sing in English, and (2) they performed Молитва за Україну (Prayer for Ukraine),

to hear on SNL. If you missed it, you can saw the performance, I was overcome

with a sense of pride. In that moment, I

on the history of jazz. As future music teachers, I encourage you to spend this month learning how to play, teach, and speak intelligently about the first truly American art form: jazz.

Most streaming video services have

was proud to be a musician and a music

one or more great documentaries on sig-

think the producers at SNL believed what

ing Quincy Jones, Nina Simone, John

educator, and it warmed my heart to

people needed most at that time was not

to laugh, but to be still and experience music.

It is likely many of the people who

saw that performance had no experience

with or interest in that type of music.

nificant figures in jazz history, includColtrane, Frank Sinatra, Miles Davis, Lee Morgan, Ella Fitzgerald, and others. Add

them to your watchlists and start educat-

ing yourself while having movie nights with friends!

Finally, here are some other resourc-

Nevertheless, they watched because they

es you might find helpful as you begin

open.” In doing so, they were exposed to

jazz education.

recognized the significance of such a “cold

exploring (or take a deeper dive) into your

ADDITIONAL RESOURCES

32

Florida Music Director

Let Freedom Swing Resource Guide

http://bit.ly/FMD-LFS

Jazz Academy

https://academy.jazz.org

Jazz Academy on YouTube with more than 600 instructional and performance videos

youtube.com/c/JazzAcademy

Swing University ($10 per class)

https://2021.jazz.org/swing-u

Jazz (the Ken Burns documentary)

https://amzn.to/3HUiomU

PBS – Blues Classroom

pbs.org/theblues/classroom.html

FLORIDA BANDMASTERS ASSOCIATION

Ian Schwindt, President

W

hat a wonderful time to be a music teacher! There have been so many

instances of triumph and perseverance throughout our state. Over this year

I have had the opportunity to attend

marching band MPAs, jazz band MPAs, chorus MPAs, orchestra MPAs, and con-

cert band MPAs. I find myself at each one of these MPAs being overwhelmed by the

sheer numbers. Ensemble after ensemble after ensemble all full of students striv-

ing to create music together. So many

incredible music teachers and SO MANY STUDENTS!

Please always remember, you are not

alone. You are not on an island. You are part of a HUGE music education family that is so grateful you are a part of it. If you make an impact on even just one stu-

dent, you are a success. And believe me, you are making an impact on more than

one student. You are working in the greatest subject to impact students, MUSIC! You are educating their humanity.

Missionaries have to be encouraged

constantly due to the frustrating nature of their work. One of the biggest principles

they have to remember is that it takes 10 witnesses to create a convert. You may

spend your whole life being witness num-

You are truly making a difference, even when you can’t see any results.

You have a powerful network and an

ber seven and never see a conversion. But

even more powerful subject matter. What

ber 10 becomes witness number nine and

to help you and support you. You are

if the missionary gives up, witness num-

there is no conversion. You are the music missionary. Don’t give up! Be the witness for music. Advocate in your school, advo-

cate in your town, advocate in the state.

you do matters, and so many people want what makes music education in the state of Florida so wonderful. Music education is truly alive and vibrant in the state of Florida.

Print. Digital. Direct.

April 2022

33

ResearchPuzzles FOR MUSIC TEACHERS

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

Research Perspectives in Music Education

D

o you know that FMEA has a journal focused on

Survey items were focused on participants’ incorporation

Research Perspectives in Music Education (RPME) has been

utility of popular music to achieve a variety of musical goals.

research related to music teaching and learning?

published for over 30 years, providing reports of formal research studies conducted by scholars from throughout the United States. Past issues (https://bit.ly/rpme-past

)

have included articles on a plethora of topics such as music

aptitude, creative musicianship, curriculum issues, technol-

ogy, music listening, and music ensembles, to name only a

few. The journal is a valuable resource for music teachers looking for research-informed insights into student learning

of popular music into concert programming and perceived Results revealed that popular music made up less than half

of most directors’ concert programs, and responses regard-

ing the frequency of popular music rehearsal varied widely.

Results also suggested that participants generally found popular music to be useful for motivating students and teaching musical concepts, although there were some differences in popular music usage in the classroom.

and instruction. All issues of RPME are available to FMEA

Effects of Score Study on Undergraduate members without charge and can be downloaded from the Musicians’ Performance Ratings and Rehearsal Attitudes in Chamber Ensembles: FMEA website.

The latest issue of RPME (2022, volume 22) has recently An Exploratory Study been published. In it are five articles on topics that include

(a) using popular music in middle school band, (b) the effect of providing undergraduate musicians with a score to use

during rehearsals, (c) strategies for facilitating the melodic singing accuracy of second graders, (d) music opportunities for students in Florida charter schools, and (e) resources for

working with diverse music students. Below are abstracts of

each of these articles. The entire issue that includes the full text of each article can be downloaded from the journal’s page on the FMEA website (https://bit.ly/rpme-journal

).

Directors’ Use and Perceptions of Popular Music in Middle School Concert Band Julia R. Weinstein & Marshall Haning

The purpose of this descriptive, exploratory research study

was to investigate to what extent middle school band directors incorporate popular music in their programs and how they perceive the utility of popular music in their music curriculum. Middle-school band directors in Florida (n = 52) com-

pleted a researcher-designed survey containing Likert-type and open response items related to their use of popular music.

34 F l o r i d a

Music Director

Alec D. Scherer & Brian A. Silvey

The purpose of this exploratory study was to investigate the effects of score study on undergraduate musicians’ per-

formance ratings and rehearsal attitudes in chamber music ensembles. Undergraduate trumpeters (N = 8) were assigned to one of two matched quartets. In the control condition, quar-

tet members rehearsed without any restrictions, whereas in

the experimental condition, a portion of rehearsal was spent completing score study tasks. All rehearsals were 10 minutes

long. No significant difference in performance ratings or

performers’ rehearsal attitudes based on rehearsal condition were found. In addition to our primary research questions, we also compared performance ratings between sight-reading and post-rehearsal recordings. Our analysis indicated that

post-rehearsal recordings were rated significantly higher

than sight-reading recordings (p < .001). Because the time spent engaged in score study activities did not detract from

performance or attitude ratings, further investigation into incorporating score study within the rehearsal process seems warranted.

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

The Effect of Self-Evaluation, Self-Recording Along With Self-Listening, and Modeling on 2nd Graders’ Melodic Singing Accuracy

First, do overall music course offerings and the specific classes

Dylan D. Fixmer

in music courses differ between charter and traditional pub-

of (a) self-recording along with self-listening and (b) self-record-

between enrollment in Florida middle school music courses

graders’ melodic singing accuracy. Pre- and post-treatment

the state, percentage of minority students, or percentage of

children from two schools in southern Indiana, who were

effect of school management type and student enrollment

group. Participants in “Treatment A” sang a song taught to

the majority of traditional schools offered at least one music

to a recording of their own voice, and sang again. Participants

least one music course. Significant, positive, weak correlations

rated their performance, listened back to an exemplar model

(a) school size, and (b) school grade. Significant negative

sang a song taught to them by the researcher, rated their perfor-

courses and (a) percentage of minority students, and (b) per-

vidually in sessions lasting from one to five minutes. Melodic

cally significant difference was found between music course

absolute value of cents deviation from the correct pitch adjust-

and between traditional schools and nonprofit charter schools.

that are offered differ between charter and traditional public middle schools in Florida? Second, does student enrollment

The purpose of this study was to investigate the relative effects

lic middle schools in Florida? Third, is there a relationship

ing along with self-listening and listening to a model on second

and school enrollment, annual school grade assigned by

singing performances were collected from 48 second-grade

economically disadvantaged students? Fourth, what is the

randomly assigned to one of two treatment groups or a control

on music courses at charter schools in Florida? In this study,

them by the researcher, rated their performance, listened back

course, whereas only around half of the charter schools had at

in “Treatment B” sang a song taught to them by the researcher,

were found between students enrolled in music courses and

of the song, and sang again. Participants in the control group

correlations were found between students enrolled in music

mance, and sang again. The conditions were administered indi-

centage of economically disadvantaged students. A statisti-

singing accuracy was measured as pitch deviation (i.e., the

enrollment in traditional schools and for-profit charter schools,

ed for the participant’s chosen key center). Results indicated

Additional analyses and implications are included.

improved in melodic singing accuracy, whereas participants in

Music Is for Everyone: Scholarly Resources for Teaching Diverse Students

no improvement, and participants in the control group per-

Barry Hartz & Megan M. Sheridan

may benefit from the use of self- and model-listening, as well

diverse, coming from a variety of cultural and social back-

that children in Treatment B (e.g., self- and model-listening) group A (e.g., who only listened to their own recording) made formed worse at post-test. The findings suggest that children as the use of self-listening as part of the self-evaluation process.

Music for All? A Comparison of Florida Middle School Music Enrollment in Traditional, For-Profit, and Nonprofit Charter Schools

Students in today’s American classrooms are exceptionally

grounds, and have a wide variety of learning needs. Music classrooms are no different. The purpose of this article is to introduce a collection of research-informed resources

to help music educators support the music learning of all

their students. The information is divided into four sections

Melissa A. Salek

addressing racial and cultural diversity, socio-economic

school (grades 6-8) students in charter schools had similar

with disabilities.

their counterparts in traditional public middle schools during

Email your questions and feedback to wbauer@ufl.edu

The purpose of this study was to examine if Florida middle opportunities to access and enroll in music courses as did

the 2019-20 school year. Four questions guided this research.

diversity, gender-based diversity, and supporting students

with a subject heading Research Puzzles.

April 2022

35

CommitteeReports I

hope you have the opportunity to read about how each 2022 FMEA award recipient is supporting and furthering quality

and exemplary music education throughout our state in the February/March Florida Music Director. You will learn about

AWARDS COMMITTEE

Sondra A. W. Collins, Chairwoman

that they better understand and make connections as they continue to grow. I just happen to do all of that through music.

I want to ensure that my students know that I want them

our nine major category 2022 FMEA award winners, includ-

to be in my class. That them being there matters to me.

Collegiate), the Administrator of the Year, the Leadership in

challenging than others. I want them to know that they can

ing the Educators of the Year (Elementary, Secondary, and Music Education awardee, the Distinguished Service in Music

Education awardees, the Exemplary Music Model Project and

Program awardees, and the Conference Service awardee. You

will also see the 19 FMEA Music Education Service awardees who collectively contributed 565.5 total years of service to music

education. And you will see the 18 schools that were awarded the FMEA Music Enrollment Award, reaching at least 45% at the

middle school level and 30% at the high school level of their total student population with music education.

In the coming months I would like to share with you a lit-

Life isn’t easy, and sometimes we have days that are more

count on me to be there for them. That I’m only as good a music teacher as they make me out to be. And together we

will make beautiful music memories. I feel privileged to be able to be a part of educating the children who pass through

my classroom each day. I have several students who tell me

how lucky I am because I get to go to music class all day, every day. And I tell them that they are right!

And Connie Drosakis states, in her own words:

Development Conference. These words of inspiration I share

F

students, as well as the drive to help shine a light on others in our

Cecilia” by Dello Joio, accompanied by the

tle of the brilliance that our awardees shared with us at our 2022 FMEA Awards Ceremony during the FMEA Professional

with you to give you that confidence to be the light to your own

next nomination period. I know that reading about and hearing

words from all of our 2022 FMEA awardees will impress you, but I hope it will also inspire you to think about possible nominees for 2023. The call for nominations is already available at https:// fmea.org/programs/awards/.

I know there are many amazing

music educators and music education supporters out there, and I look forward to receiving the next new round of nominations.

First off this month, we will start with some inspiring

words from our 2022 FMEA Elementary Music Educator of the Year, Beth Ann Delmar, and our 2022 FMEA Secondary Music Educator of the Year, Connie Drosakis.

As Beth Ann Delmar states, in her own words:

orty years ago, I was a member of the All-State Concert Choir, under the

direction of Dr. Robert Summer. I remem-

ber two pieces in particular, “To Saint All-State Orchestra, and the schmaltziest arrangement of “All the Things You Are”

I think that has ever been written. To this day, I can still remember how I felt singing those songs, singing with an orchestra. It was the first time that I had the opportunity to do that. It was that day that I decided that I wanted to

become a music educator. I wanted to teach others. I wanted

to help others feel music … feel what music could do for them … feel the opportunities that they could have, through music.

I’m so proud of this award, because I was selected by my

peers. But I’m most proud, because through the letters of

congratulations I received from sweet students, I learned

W

how they feel about music. Yes, they thanked me. They

them deserve to have. I want to make sure

thanked me for teaching them music theory! But even

hen I go to school each day, it is a goal for me to not just be my best for my students, but

to truly be the music teacher that each of

that I’m putting forth my best effort to give them the best music education I can in the

short amount of time that I have them. I don’t just teach music. I teach my students

knowledge and skills to help them in all aspects of life so

36

Florida Music Director

thanked me for teaching them certain songs. They recalled certain songs and how it made them feel in that particular

moment of their life and how it helped them. They even more, every letter said something about life skills that they

learned. They spoke about responsibility. They spoke about

teamwork. They spoke about how music made them more

confident and how it made them proud. As a teacher, I’m not sure that we could ask for much more.

STUDENT DEVELOPMENT COMMITTEE

Michael Antmann, EdD, Chairman

A

s the year starts to wind down, it’s

students lead sectionals. This might be

give them the opportunity to work as a

ing the groundwork for next year. One of

they have clear parameters and objectives.

to apply musical knowledge critically. We

time to start making plans and lay-

my favorite things this time of year is the process of interviewing and selecting student leaders. It’s an opportunity for both

me and my students to reflect on the past year and to find opportunities for growth.

While selecting student leaders is important, we must recognize that selection itself is only a small part of the process.

Leadership needs to be cultivated and

encouraged in all students throughout the year. Fortunately, in music, there are many opportunities for students to lead.

You don’t have to be in leadership

to be a leader. This is one of the most important lessons a student can learn.

Leaders set an example. I often ask my

students, “If everyone gave the same effort as you, would our organization be better

or worse?” It’s important to inspire the

people around you to do better. Students who exhibit these behaviors should be

scary at first, but can be highly effective if

This also gives them ownership of the

learning process, which is a critical factor for the students’ and the ensemble’s suc-

cess. There are many other opportunities to let students lead. One of my students’

favorite events is when we host middle school solo and ensemble (S&E) MPA. It

is student-organized and student-run. As a teacher, it’s a great feeling to see my stu-

team, to organize and execute a plan, and already know that S&E is one the most

important things a student can do to grow musically, but the leadership and person-

al responsibility benefits should not go unnoticed.

Finally, when it is time for the inter-

view, my students are asked only the three questions shown below.

One of the most important lessons

dents take these opportunities seriously

we’ve learned over the last two years is

Speaking of S&E MPA, that is probably

students. Have a great end of the school

and to see them take pride in their work.

one of the best opportunities to develop student leaders. Student-led ensembles

that everything we do should be about

year, and get some much-needed rest this summer. Next year is going to be great!

INTERVIEW QUESIONS 1. “What have you done this year that makes you a good candidate to be on the leadership team?”

This is because leadership is an action, not an idea or a title.

Change and growth both require actions.

2. “What is something you wish you had done better this year?”

reinforced and recognized as a positive

Growth cannot happen without humility. The ability to recognize needs for improvement in oneself can inspire others to do the same.

rected. All young people have leadership

3. “What is something you think we should do differently, or something new we should do next year?”

example. Students who do not can be rediabilities; it’s our job to help them realize their potential.

Give them opportunities to lead. This

Students have great ideas, and I feel like we learn a lot by giving them the opportunity for input. Some of the most effective changes I’ve made in my current position came from students’ suggestions.

is remarkably easy in music programs. Let

April 2022

37

CommitteeReports

W

EMERGING LEADERS COMMITTEE

Mary Palmer, EdD, Chairwoman

e have heard the word resilience

and opportunities … and increases the

your community, and much more.

Here is how it is defined in the dictionary:

and sharing is an important part of

expected to attend the annual FMEA

Program participants have guided oppor-

to be held in Orlando on Saturday, June 11

« «

frequently in these troubled times.

the capacity to recover quickly from difficulty; toughness

the ability to spring back; elasticity

Here is the Mary Palmer definition:

music educators! It has thrilled me to see

value of the initial idea. Friend-building the FMEA Emerging Leaders program. tunities to help each other grow as music educators and leaders … and have FUN.

Now is the time to shape your future. If

the will to make it work in action; to see

you’d like to be a leader for music educa-

students and audiences to experience

to be a 2023 FMEA Emerging Leader.

music educators create new ways for both music; to feel the JOY of accomplishment.

Yes, resilient … and a whole lot more!

Thank you for continuing to change lives through music!

What I’ve discovered is that it is much

more fun when we work together. Each

shared idea sparks more and more ideas

The 2022-23 Emerging Leaders are

Emerging Leaders Drive-In to Leadership (9:30 am-3:30 pm). We’ll hear from FMEA

leaders, award-winning music educators, and more. You won’t want to miss it!

We urge experienced teachers, district

tion, we hope you will consider applying

leaders, and school principals to nomi-

You’ll have front row opportunities to

come, too. Please visit: http://FMEA.org/

participate in the “inner workings” of the

annual FMEA Professional Development

Conference, to present your own ideas/

work in our Pecha Kucha session, to learn more about how to advocate for music

education not only in your school but in

nate candidates. Self nominations are welprograms/emerging-leaders/

for the

application form. Please be sure to include your resume/vitae. Applications are due

by April 26. Questions? Please contact

Dr. Mary Palmer at mpalmerassoc@aol. com.

The Tri-M Music Honor Society is a program of the National Association for Music Education, which focuses on creating future leaders in music education and music advocacy.

Learn more at:

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musichonors.com

Partners Make It Possible The Florida Corporate and Academic Partners help strengthen music education in Florida through their tireless work to support teachers.

FMEA expresses its greatest thanks to each of our Partners, Corporate and Academic, for their partnership over the past year. We hope that FMEA members from across the state support our partners as they support FMEA and Florida music educators.

The Academic Partner memberships are for colleges, universities, and military organizations, and the Corporate Partner memberships are for businesses and organizations.

Please choose the appropriate button for more information.

FMEA is a not-for-profit professional education association that serves and supports music education across Florida. FMEA promotes and publishes the Florida Music Director and music education research, organizes professional development programs, and broadens teachers’ knowledge and interest in their profession through affiliation with colleagues. Membership in FMEA is open to music instructors from pre-kindergarten level through college, including music supervisors, and component organization membership is available for your specific music education focus.

Corporate Partners

Academic Partners

April 2022

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ExecutiveDirector’sNotes

FMEA Executive Director

The mission of the Florida Music Education Association is to promote quality, comprehensive

Kathleen D. Sanz, PhD

music education in all Florida schools.

Florida Legislature Passes Several Bills Related to Education he regular 2022 Legislative Session closed on March 11. The « SB 1054 Financial Literacy: Even though this bill passed, as

T

Legislature approved a resolution that extended the session

through March 14 for budget bills only.

Legislation That Passed

Several education-related bills passed both the House and the

Senate and have been sent to the governor for his signature,

«

including:

CS/CS/HB 1557 Parental Rights in Education: Requires district school boards to adopt procedures that comport with

certain provisions of law for notifying student’s parent of

specified information; requires such procedures to reinforce

as the FMEA advocacy committee recommended. So, thank you for your work. And huge thanks to our lobbyists, Tony and Mike, who made this magic happen.

Florida Seal of Fine Arts

The Florida Seal of Fine Arts bill was filed in the Senate (SB 318) with no companion bill in the House. It was indefinitely postponed and withdrawn on March 12.

K-12 Education Budget/Grant Funding

district from adopting procedures or student support forms

pupil funding from $7,758.30 to $8,142.80.

that prohibit school district personnel from notifying parent

Funding for public schools is slated to be up by 4.96%, raising per The Florida Division of Arts and Culture’s Cultural and

about specified information or that encourage student to

Museum Grants, which FMEA falls under for grant funding,

district personnel from discouraging or prohibiting parental

news! There is always the possibility that Governor DeSantis

withhold from parent such information; prohibits school notification and involvement in critical decisions affecting student’s mental, emotional, or physical well-being; prohib-

were approved by the House and Senate at 100%. This is great could veto this line item, but we will keep our fingers crossed.

its classroom discussion about sexual orientation or gender

Commissioner of Education

notify parents of healthcare services; authorizes parent to

announced he will be stepping down from his

identity in certain grade levels; requires school districts to bring action against school district to obtain declaratory

judgment; provides for additional award of injunctive relief, damages, and reasonable attorney fees and court costs to certain parents.

CS/HB 7 Individual Freedom: This bill will limit discussions teachers and businesses can have about race. The bill reads in

Commissioner of Education Richard Corcoran position at the end of April. He has served as the commissioner of education for more than

three years since his appointment in December 2018, and he has served the state continuously since 2010, including his time as a

member and as speaker of the Florida House of Representatives.

part, “A person should not be instructed that he or she must

ESSER Funds

for actions, in which he or she played no part, committed in

funding available for arts education. You need to work closely

feel guilt, anguish, or other forms of psychological distress

«

amendment added to put off implementation for one year,

fundamental right of parents to make decisions regarding upbringing and control of their children; prohibits school

«

we suspected it would, in good news we were able to get an

the past by other members of the same race or sex.” It applies to K-12 public schools, but not universities.

CS/HB 1467 K-12 Education: The Florida Legislature is

imposing 12-year term limits for school board members in 67 school districts, a new standard for locally elected board

members who currently don’t have term limits. At issue is whether the bill may overstep local authority or constitution-

al rules. Local boards, under the Florida Constitution, have the authority to operate public schools.

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While initially the ESSER funds were very limited, there is with your school district and school administration to request the funds. Remember that you must have a needs assessment

and a plan with specificity on how the funds would be used for students.

I hope the remainder of the year is productive for you and

your students.

Kathleen D. Sanz, PhD

�

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

Officers and Directors

EXECUTIVE BOARD President

Shelby Chipman, PhD

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

Steven N. Kelly, PhD

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

Jason Locker

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

Ian Schwindt

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

Marc Decker, DMA

Florida Atlantic University 777 Glades Rd.; Boca Raton, FL 33431 (561) 297-3883; deckerm@fau.edu FEMEA President

Joani Slawson

Holy Trinity Episcopal Academy 1720 Peachtree St.; Melbourne, FL 32901 joanislawson@gmail.com Florida NAfME Collegiate President

Allison Yopp

Southeastern University ayopp@seu.edu Florida NAfME Collegiate Advisor

Mark A. Belfast, Jr., PhD

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

Lindsey R. Williams, PhD

Seminole County Public Schools (407) 320-0434; willialz2@scps.k12.fl.us FOA President

Laurie Bitters

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

EX-OFFICIO MEMBERS

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

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

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

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

President....................................................................................Allison Yopp Southeastern University; ayopp@seu.edu

FSMA President ........................................................................Valerie Terry vterrymusic@gmail.com

FMEA COMMITTEE CHAIRPERSONS

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

Committee Council...........................................................Bernie Hendricks Ocoee High School; bernard.hendricks@ocps.net

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

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

FLORIDA MUSIC SUPERVISION ASSOCIATION

Contemporary Media................................................... David Williams, PhD University of South Florida; 4202 E. Fowler Ave., MUS 101 Tampa, FL 33620; (813) 974-9166; davidw@usf.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; fred@allcountymusic.com Government Relations..................................................Jeanne W. Reynolds jeannewrey@gmail.com Health & Wellness........................................................ Revae Douglas Ross Brandon High School; 1101 Victoria St.; Brandon, FL 33510 (813) 744-8120, ext. 311; revae.douglas@hcps.net Multicultural Network...........................................................Bruce J. Green (407) 927-3141; bruce.green@ocps.net

President.............................................................. Lindsey R. Williams, PhD Seminole County Public Schools (407) 320-0434; willialz2@scps.k12.fl.us Past President............................................................Harry “Skip” Pardee pardeh@collierschools.com Treasurer......................................................................................... Ted Hope Hillsborough County Public Schools, School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4861; ted.hope@sdhc.k12.fl.us

FLORIDA ORCHESTRA ASSOCIATION President.................................................................................Laurie Bitters Winter Park High School; 2100 Summerfield Rd.; Winter Park, FL 32792 (407) 622-3200; laurie.bitters@gmail.com Past President.......................................................................Matthew Davis Harrison School for the Arts; 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 499-2855; matthew.lawson.davis@gmail.com

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

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

Reclamation.............................................................. William “Bill” Reaney Buffalo Creek Middle School, 7320 69th St. East; Palmetto, FL 34221 (239) 826-8077; billreaney64@gmail.com

FLORIDA VOCAL ASSOCIATION

Research......................................................................William I. Bauer, PhD University of Florida; wbauer@ufl.edu Secondary General Music.............................................................Ed Prasse Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net Student Development.............................................. Michael Antmann, EdD Freedom High School; 2500 W. Taft-Vineland Rd.; Orlando, FL 32837 (407) 816-5600; michael.antmann@ocps.net Social Justice & Diverse Learners..................................Bernie Hendricks Ocoee High School; bernard.hendricks@ocps.net

PROFESSIONAL DEVELOPMENT CONFERENCE Exhibits Manager fmeaexhibits@fmea.org Local Chairman Ted Hope—(813) 272-4861; ted.hope@sdhc.k12.fl.us

FLORIDA BANDMASTERS ASSOCIATION

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

Miami Northwestern Senior High School cnorton@dadeschools.net

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

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

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

Chad Norton

Past President..........................................................................Alexis Hobbs Southeastern University; (352) 220-2791; aphobbs@seu.edu

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

FVA President

Member-at-Large

Florida NAfME Collegiate

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

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

Jeannine Stemmer

�

Executive Director......................................................................Neil Jenkins Florida Bandmasters Association P.O. Box 840135; Pembroke Pines, FL 33084 (954) 432-4111; Fax: (954) 432-4909; exec@fba.flmusiced.org Business Manager..................................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; jo@barefootaccounting.com

President........................................................................ Jeannine Stemmer Florida Christian School, 4200 SW 89th Ave.; Miami, FL 33165 j9stemmer@floridachristian.org Past President......................................................................... Jason Locker jason@fva.net Executive Director.....................................................................Michael Dye 231 S. Bayshore Dr.; Valparaiso, FL 32580 (850) 217-7419; mike@fva.net Business Manager..................................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; business@fva.net

CENTER FOR FINE ARTS EDUCATION

402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 President..................................... Kathleen D. Sanz, PhD (kdsanz@fmea.org) Director of Operations........................Valeria Anderson, IOM (val@fmea.org) Technology Director......................................Josh Bula, PhD (josh@fmea.org) Public Affairs & Communications Coordinator..................................... Jenny Abdelnour, CAE (jenny@fmea.org) Marketing & Membership Coordinator................................. Jasmine Van Weelden (jasmine@fmea.org)

AFFILIATIONS

April 2022

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TES A D THE E V SA

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