Issuu

Music for Every Body Inclusive Music Education Strategies for Blind/Visually Impaired and Deaf/Hard of Hearing Students

So What, Now What? Opening Doors for On-Campus Recruitment

PLUS … 2027 Conference Important Dates Call for Hinckley Scholarship Nominees Untapped Parental Advocates APRIL 2026

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FLORIDA MUSIC DIRECTOR

Contents

APRIL 2026

VOLUME 79

Executive Director Florida Music Education Association Scott Evans

Hinckley Center for Fine Arts Education

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

NUMBER 7

Editor-in-Chief

Kelly Miller, DMA University of Central Florida 12488 Centaurus Blvd. Orlando, FL 32816-8009 (407) 823-4545 (kelly.miller@ucf.edu)

Editorial Committee Terice Allen (850) 245-8700, Tallahassee (tallen1962@hotmail.com) Judy Arthur, PhD Florida State University, KMU 222 (850) 644-3005 (jrarthur@fsu.edu) Alice-Ann Darrow, PhD (alifsu@mac.com) 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 Amanda Crawford

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

Circulation & Copy Manager

Valeria Anderson, (800) 301-3632

Copy Editor

Susan Trainor

F E AT U R E S

June M. Hinckley Music Education Scholarship Call for Applications.. . . . . . . . . . . 4 Setting the Stage for the 2027 Professional Learning Conference. . . . . . . 10 So What, Now What? Opening Doors for On-Campus Recruitment. . . . . . . . . . . . . . . . 12 2026 MCN Summer Professional Learning. . . . . 17 Music for Every Body: Inclusive Music Education Strategies for Blind/Visually Impaired and Deaf/Hard of Hearing Students. . . . . . . . . . . . 18 D E PA R T M E N T S Advertiser Index. . . . . . . . . . . 2

Council News. . . . . . . . . . . . 28

FSMA Report. . . . . . . . . . . . 6-7

Component News. . . . . . . . . 36

President’s Message. . . . . . . . . 5 Advocacy Report. . . . . . . . . . 8-9

Academic Partners.. . . . . . . . 23 Corporate Partners . . . . . . 24-25

FMEA Donors. . . . . . . . . . 26-27

Committee News.. . . . . . . . . 33 Research Puzzles.. . . . . . . . . 41

Executive Director’s Notes. . . 42 Officers and Directors. . . . . . 43

Florida Music Director (USPS 368560) is published monthly except JAN, JUN & JUL with combined FEB/MAR by Florida Music Education Association, 402 Office Plaza Dr, Tallahassee, FL 32301. Periodicals postage paid at Tallahassee, FL. POSTMASTERS: send change of address to Florida Music Education Association, 402 Office Plaza Dr, Tallahassee, FL 32301.

APRIL 2026

APPLY NOW

June M. Hinckley Music Education Scholarship The Florida Music Education Association (FMEA) is solicit-

ing scholarship applications for the June M. Hinckley Music

Education Scholarship. The Association will award $1,000 schol-

arships to selected 2026–27 graduating high school students who were accepted to a Florida all-state ensemble and who intend to major in music education at a Florida college or university.

How to Apply: Fill out the online application using the link

below. As part of the online process, you will be asked to upload

w Essay: Answer both of the following questions in a typed these files:

About

response of approximately 1,200 words and save it as a

June M. Hinckley

1) Why do you wish to become a music educator?

As arts education specialist for the

Microsoft Word (.docx) file:

w Three Letters of Recommendation signed and scanned as PDF files w High-Quality Headshot Photograph, such as your senior 2) Why should music be available to all students?

Florida Department of Education,

June Hinckley led the development

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

photo or a similar image. This will be published in the Florida

National Arts Standards and were

winners.

Education in 1996. Hinckley assisted

Music Director magazine if you are one of the scholarship

2026 Scholarship Online Application CLICK HERE

adopted by the Florida State Board of schools and school districts with the

implementation of the arts standards and with connecting the arts with

the state accountability and testing

program, and she served as a liaison An OFFICIAL COPY of your transcript (must remain sealed) must be sent to the following address:

groups, higher education, and com-

June M. Hinckley Music Education Scholarship

munity arts organizations. She was

402 Office Plaza

a Complete Education project, which

Attn: Val Anderson

a founding organizer of the Arts for

Tallahassee, FL 32301

has coalesced the various community,

Postmark Deadline: April 17, 2026

industry, and school arts organiza-

of teachers, administrators, and music educators convened by

and proactively to improve the qual-

will be distributed to the appropriate college or university once

throughout the state.

Applications will be reviewed by a representative committee

tions in Florida to work cooperatively

FMEA. Notification will be made by May 30. Monies awarded

ity and quantity of arts programs

the student is enrolled.

among the various K-12 arts education

FLORIDA MUSIC DIRECTOR

President’s

Harry “Skip” Pardee, EdD President Florida Music Education Association

MESSAGE

Happy Fourth Quarter, FMEA!

elcome to April. I hope this semester has been filled

headed a review of our affiliation. Our goal is to ensure

and that you are looking forward to a strong finish to the

best interests of Florida’s music educators. I am encour-

with enriching musical experiences for your students

school year.

While every year brings unique highlights and hurdles,

this has been a landmark year for FMEA. The Executive

Committee and Board of Directors have addressed several historic issues, and I want to share a summary of these

accomplishments. We have completed a tremendous amount of organizational work on behalf of music education in

Florida, and I hope you will join me in thanking the Board

w CEO Search, Selection, and Onboarding for these efforts:

FMEA expresses our deepest gratitude to Dr. Kathy Sanz for her visionary career in arts leadership. Thanks to the diligent work of the CFAE Board and the CEO Search Committee, we have successfully appointed Mr. Scott

Evans as our new CEO and executive director of FMEA.

w Establishing Three New Council Associations Welcome, Scott!

With Full Board Seats

Our Board of Directors should reflect the diverse sub-

jects we teach across the state. Building on the planning and due diligence of previous leaders, we have offi-

cially added three new councils to the FMEA Board of

Directors’ governance structure. These groups will work

to advance Steelband, Guitar, and Contemporary Music

& Media in Florida. We look forward to advancing these great music subjects for students as we continue to be a

model for organizational leadership in music education in

w Reenergizing and Redefining Our Relationship our country.

With NAfME

Following honest and collaborative discussions between

the FMEA Board and NAfME leadership, we have spear-

we meet our fiduciary responsibilities and prioritize the aged by our progress and look forward to sharing more

w Streamlining Summer Activities for Committees, updates in the coming months.

Councils, and the Teach Music Florida Coalition

We have developed a more streamlined, cost-effective plan for our summer FMEA activities and coalition

meetings. These sessions are essential for drafting our

strategic plan and tackling pressing professional issues. By optimizing these events, we move the organization

forward while reducing costs and staff workload. Many thanks to Jason Locker, Bernie Hendricks, Scott Evans,

and the CFAE team for making these improvements pos-

w First President’s Virtual Town Hall sible!

Our first Virtual Town Hall, held Monday, March 30,

was a fantastic opportunity to connect with members

and to discuss the “highlights and hurdles” of our pro-

fession. I am a firm believer that progress only happens when we talk and learn from one another. I feel privi-

leged to moderate these statewide discussions and look

forward to more opportunities to find positive solutions

w Celebrating the 2026 Conference and Planning for 2027 together.

The 2026 conference was a historic success, and we are

already working to ensure 2027 is just as impactful. We look forward to producing another world-class experi-

ence for our teachers, students, and partners next year!

I remain deeply appreciative of everything you do daily

for Florida’s students. Together, we will continue to champion the collective impact of music education on our society. I look forward to connecting with more of you during the final year of my presidency.

Onward, friends!

Always musically,

Harry “Skip” Pardee, EdD, President

Florida Music Education Association APRIL 2026

Benny L. Bolden, Jr., EdD

President

N O T E S

FLORIDA SCHOOL MUSIC AS SO CIATION

Florida School Music Association

Spring Is in the Air … and I Hear Music Everywhere

pring has a way of reminding us why we do this

work. The days grow a little longer, the air feels a

little lighter, and across our great state the sound of

effort. And perhaps most importantly, they find their voice.

That voice may come through the sound of a trum-

music fills rehearsal halls, classrooms, auditoriums,

pet, the resonance of a cello, the energy of a drumline,

final performances of the year, to choirs lifting their

a teacher who believed in them, guided them, and

and stadiums. From concert bands preparing for their

voices in harmony, to orchestras and jazz ensembles

bringing notes on a page to life—spring in Florida means that music is everywhere.

For many of our programs, this season represents

the culmination of months of preparation through

our music performance assessments. MPA season is always a significant milestone, and it reflects the dedication, discipline, and excellence that define music education in Florida. Yet while ratings, adjudication

sheets, and performances are important, they are not the most important part of what we do. You are!

Across Florida, thousands of students walk into music rooms each day carrying more than instruments and

or the harmony of a choir. But behind every note is

showed them that they were capable of something greater than they imagined. That is the true impact of

music education. Beyond the stages and beyond the assessments, you are shaping lives. You are creating

spaces where students feel seen, heard, and valued.

You are teaching lessons in perseverance, collabora-

tion, and creativity that will remain with them long after the final concert of the year. And because of that work, students across our state are discovering something powerful: that their voice matters—and

that through music, they have a way to share it with the world.

As we move through this vibrant spring season,

sheet music. They carry questions about who they are,

I want to thank each of you for the passion, care,

Because of you—the music educators who stand in

rehearsal spaces every day. Your work matters deeply,

where they belong, and whether their voice matters. front of them every day—those students find answers through music. They find confidence when they per-

form their first solo. They find belonging when they

sit inside an ensemble that becomes family. They find discipline when they realize that excellence requires

and commitment you bring to your classrooms and and its impact reaches far beyond the walls of your

programs. Spring is in the air … and because of you, the sound of music continues to echo across Florida. And in that sound, thousands of students are finding their voice.

Benny L. Bolden, Jr., EdD, President Florida School Music Association

FLORIDA MUSIC DIRECTOR

FSMA Summer Leader ship Symposium

Unlocking the Potential: Empowering Music Educators Through Leadership July 12–15, 2026

Marriott Orlando Airport Lakeside 7499 Augusta National Drive Orlando, Florida

A P P L I C AT I O N D E A D L I N E : A P R I L 1 , 2 0 2 6

he state and district leadership of our com-

The training is designed in partnership with

ponent associations (FBA, FOA, and FVA)

the FSMA component organizations: Florida

music programs and champion better opportu-

Association, and Florida Vocal Association.

aims to provide excellent stewardship of existing

nities for aspiring musicians. This requires leaders to be efficient organizers of persons, resourc-

es, and projects, in addition to planning paths to fulfill the vision of a better tomorrow for music

education in Florida. This professional develop-

Bandmasters Association, Florida Orchestra Approximately 16 to 20 participants will be selected through an application process. FSMA will cover hotel expenses and meals during the training.

ment opportunity will provide communication

training, team building, scenario-based problem solving, implications of the latest developments in technology, guidance on laws relating to

music education, and other skills identified by participants as a need to find success as a leader in Florida.

APRIL 2026

Advocacy

Advocacy Committee Co-Chairpersons

REPORT

Angela and I are thrilled to turn our April column over to Elizabeth “Lisa” J. Olson, the

2026 recipient of the FMEA Distinguished Service of an Individual in Music Education Award. Lisa is the living embodiment of the phrase “Be the change you wish to see in the world.”

As a parent advocate in the Panhandle area, Lisa has often singlehandedly ensured school music

Jeanne W. Reynolds

Angela Hartvigsen

programs be retained or added. Quite simply she is a force. One Lisa Olson has the

impact of a successful community advocacy group or a professional lobbyist. She is an inspiration to all of us. Angela and I are thrilled that Lisa serves on our Advocacy Committee. — Jeanne and Angela

The Untapped Potential of Parent Advocates BY E L I Z A B E T H “ L I S A” J . O L S O N

istory, in many ways, is a wonderful teacher. It

is also a compelling source of inspiration. Over the course

of history, we are able to see the full picture and power

of collective impact toward

the goal of creating positive

change. The idea of collective

impact via volunteerism is a

we see this on full display in

Alexis de Tocqueville, in

hot days cleaning concession

bedrock value of our nation. his pursuit to understand American society in 1831, observed with wonder,

“They hardly ever failed to

lend faithful support of each

other.” Nearly 200 years later,

the form of parents spending stands, hours mending and

washing uniforms, supplying food, chaperoning trips, and the list could grow endlessly. The purity of this gift of

effort and time, at personal sacrifice, is incredible.

Yet when I talk with

parents about advocacy, they often appear a bit perplexed

or even intimidated. How do we tap into this wonderfully generous and passionate

resource? With the belief that most parents are willing to give what they can, where

they can, to contribute to the flourishing of the programs

they love and appreciate, I’d like to offer a few practical

deeds for parents. But first, it

would seem useful to address

Ale x is de Toc q u e v i lle 8

FLORIDA MUSIC DIRECTOR

those things that might serve as impediments to parentbased advocacy efforts.

A few thoughts that might

appear disparate on the

w “Stay in your lane” has surface:

become a societal direc-

tive that unintentionally serves as a hobbling

w Parents like to use social device.

media to celebrate their

child’s accomplishments, both individual and col-

lective, but are sometimes shy to interact with their program’s online pres-

w We’re living in a time ence.

where public schools and their programs must be

marketed, but within our

programs there is rarely a

w We must free parents

single point of marketing. to know that advocacy

efforts are “in their lane.”

Though the lobbying arm

of advocacy might appear intimidating, that is not

the sole facet of advocacy. Conveying the truth that

Advocacy REPORT

public, vocal support is a

invitation also helps par-

ership panel. Involvement

advocacy. The perception of

able component of advo-

to connect in a personal

booster clubs, and the like

foe that can be fought with

necessary and managecacy will allow parents

to see they are uniquely equipped to serve as a

wide-reaching and effec-

tive mouthpiece for school music programs.

w Encourage parents to

Manageable Action Items interact with your orga-

nization’s social media to

increase visibility. Be specific and direct. Ask your

booster leadership to lead the way and unashamedly ask parents to interact

w Encourage parents to with social media.

invite decision makers to concerts. A friendly

ents and decision makers manner thus forming

positive relationships.

Consider providing com-

plimentary tickets to these

w Encourage active gratidecision makers.

tude. Principals and other

decision makers are accustomed to hearing com-

plaints but don’t always hear gratitude. A handwritten thank-you note

expressing gratitude for

support of arts programs

in SAC committees, PTOs,

w Inform booster leadership are all helpful.

of positive legislative

decisions and ask them to

have parents send expressions of gratitude via

email or mail. Similarly, inform parents of other

legislative decisions that could have unintended negative consequences

and ask parents to express care and concern for the programs they value.

w Encourage involvement in

large gestures are the

pose of creating a musi-

the greater impediments

is courtesy as advocacy. school decision-making

organizations for the pur-

cally engaged school lead-

It is easy to believe that

only gestures with large

impact. This may be one of to involving parents in

insignificance is the invisible intentional action. Circling

back to the idea of history as both instructor and a source of inspiration, the story of St. Patrick’s Cathedral in New York City comes to

mind. When construction began in 1858, the project

was referred to as “Hughes’

Folly” for numerous reasons, not the least of which

being funding. The large benefactors’ donations

collectively didn’t come close

to funding the entirety of the project. However, the penny

donations by thousands upon thousands of believers in the project led to the completion of one of America’s most exquisite and enduring

buildings. Thousands of

small, gracious acts created a most beautiful result. Such is the work of advocacy, where no effort is insignificant. Lisa J. Olson is a voice

instructor and fierce music education advocate.

She earned a BM in vocal

performance from Samford

University in Birmingham,

Alabama, and later an MME

from the University of Mobile,

Alabama School of the Arts. She served as a high school choral

director for several years, which Angela Hartvigsen, Jeanne Reynolds, and Lisa Olson at the Advocacy Hub, 2026 FMEA Professional Learning Conference

led her to pursue intentional advocacy.

APRIL 2026

FMEA Professional Learning Conference &

The Power in Our Profession: Music Education for Collective Impact

n c e r ts fe

ll - S

Pro

ona

l Lea

n r nin g C o nfer e

Collective Impact is a broad cross-sector coordination toward a mutual cause. It is a

network of community members, organizations, and institutions that advance a cause

tat

e Co

F M E A 20

s si

January 13–16, 2027 Tampa Convention Center

N SIO

THE P

OUR PRO ER IN FES W O

by learning together, aligning, and integrating their actions to achieve systems-level change. Join us as we explore the collective impact of music education.

Call for Session Proposals and Performing Ensembles

Exhibit at the FMEA Trade Show

All FMEA members and NAfME members nationwide are

With approximately 10,000 attendees annually, the FMEA

and/or a 25-minute concert performance. Conference

education professional learning events in the Eastern U.S.

invited to submit proposals for a one-hour clinic session

exhibitors are invited to submit Industry Product Showcase

sessions through July 15, 2026. For all others, the deadline is May 9, 2026. PLEASE

CLICK HERE

FOR MORE INFORMATION, POLICIES, AND SUBMISSION PROCEDURES.

Professional Learning Conference is one of the largest music In addition to approximately 250 clinic sessions and

concerts, the FMEA Professional Learning Conference is host to the all-state bands, orchestras, choruses, guitar ensemble, and Orff ensemble.

Attendees include elementary and secondary music

teachers, music supervisors, college students, college music

teachers, school administrators, K-12 students performing in the all-state ensembles, students and professional musicians

performing with invited performing ensembles, and parents of performing students. PLEASE

CLICK HERE

FOR MORE INFORMATION, RATES, AND DEADLINES.

FLORIDA MUSIC DIRECTOR

Podcast

FL Music Ed

Important Dates (Subject to Change) MAY 8, 2026 Deadline for Session Proposals and Performance Applications JULY 15, 2026 Deadline for Product Showcase Applications SEPTEMBER 11, 2026 Early Registration opens. Nominations for Student Conference Experience and Tri-M Experience open. SEPTEMBER 26, 2026 Hotels begin taking reservations at 9am.

PLEASE

CLICK HERE

Tales from the Heart of Florida’s Music Education Community Tune in as we delve into the heart of music education, exploring topics that resonate with our members and beyond. Whether you are a seasoned educator or a passionate student, this podcast is for you. With six insightful episodes already available for streaming, there’s no better time to join in the conversation.

KEY CONVERSATIONS

All-State Concerts

Follow “Key Conversations” on Spotify or Apple Podcasts to receive instant updates whenever a new episode drops.

TO VIEW A MORE COMPREHENSIVE LIST OF IMPORTANT DATES

APRIL 2026

F E AT U R E

So What, Now What? Opening Doors for On-Campus Recruitment BY DANIEL GREENWOOD

For many middle school music directors, the tried-and-true methods of traditional recruiting—including performances for feeder programs or in-person classroom visits—are no

longer an option. Maybe your program is in a rebuilding phase, or there has been a large teacher turnover at the school. Perhaps there isn’t a strong relation within the feeder pipeline, or lack of a pipeline due to school choice. Or maybe there just isn’t time that works for all schools for a visit during the day.

Music educators who find themselves presented with recruitment barriers don’t need to

reinvent the wheel. Instead, they should ask the question So What, Now What? Despite what

we often hear about “kids these days,” I’ve found that students remain curious and eager to make social and musical connections. When students engage with music, they’re more inclined to become active consumers and producers. When this happens, we can begin to shift from “now what” to “what’s next” on our campuses.

FLORIDA MUSIC DIRECTOR

continued on page 14

APRIL 2026

So What, Now What? continued from page 12

My first year as a middle school band director, there

was a large turnover of the administrative team and

teachers, to the point that it felt as though the veteran

teachers were in the minority. The band program, once approaching 200-plus students, was down to fewer than 80. Student enrollment for the school was down by 300-

plus students when compared to the next lowest middle

school’s enrollment. Morale was low on campus, but our new administrative team was determined to steer the ship

in a new direction. Their motto for the year was So What, Now What? Their mindset for going into the year was that

we could keep morale low and feel bad for ourselves, or

we could pick ourselves up, ask ourselves So What, Now What? and begin to rebuild. After three years of a steady

positive increase in campus morale and enrollment, we faced the setback of COVID shutting down the end of the

2019–20 school year. Our motto upon reopening campus was again So What, Now What? Through the years this

motto stuck with me when faced with overcoming barri-

ers for my band program, the largest barrier being postCOVID recruiting. By embracing the phrase So What, Now

What? I allowed myself to think in unconventional ways about recruitment within my school. By the end of my last year before returning to graduate school, my band’s

enrollment had increased by nearly 75%, from fewer than 80 members my first year to more than 135 my last year. Being Present

The first step in any successful recruitment strategy is to

show up. Potential students need to see that you and your

program have an exciting presence in campus life. This

doesn’t have to mean constant performances or large-

forget, If it’s important to them, maybe it should be important

interacting with students you don’t know. Stand outside

of shoes, offering congratulations on an accomplishment

scale events. Start by getting out of your classroom and

your room during mornings and between classes. Help supervise lunch once a week or more in the cafeteria.

Attend after-school events (even if your students aren’t

participating), such as games, competitions, and award

you watched them achieve, or showing a genuine interest

in their experiences can all be as meaningful as traditional recruitment.

ceremonies. These important moments outside your class-

Allies and Advocates

with your face and notice your positive engagement. By

allies to help extend your reach. We often forget the influ-

room give students multiple opportunities to put a name

By being present in campus life, you can create powerful

being visible, you become a familiar face on your campus,

ence our colleagues have. Science and math teachers can

which can lead to creating a level of comfort.

Familiarity leads to approachability, which is essential

to building a good rapport with potential students. Never

to me. Friendly gestures such as complimenting a new pair

FLORIDA MUSIC DIRECTOR

be great allies for our programs when it comes to integrating music into lessons. An easy way to start this dialogue

is small talk before a faculty meeting. Sit with teachers

outside of the elective department. Present your ideas

carpool; bring them in. The same applies for younger

music to create a hands-on lesson. Be enthusiastic about

musical opportunities with no commitment attached, it

and ask them if they’ve ever thought about incorporating creating exciting opportunities. For example, if there’s a

unit on sounds waves, talk about tuning instruments and

offer to have your students bring instruments to class for a demonstration on frequencies and how they affect tuning.

Additionally, our students themselves can serve as

siblings of students. By exposing non-music students to allows them to check it out without the added pressure

of signing up on the spot. Curiosity leads to interest, and

interest often leads to joining. Before you know it, you’ve gained another student.

Don’t forget the most powerful potential ally: your

powerful recruiters for our programs. Enthusiastic stu-

administrative team. Building relationships with your

Let’s take a page from youth groups and the “bring a

ing your vision. If your administrators only hear from

dents are the best walking advertisements on campus! friend” concept. Swinging by the band room during lunch; bring a friend. Having a concert; bring a friend. Having an after-school rehearsal and a friend needs to

administrators is an invaluable resource in accomplishyou when things are going wrong, they’ll begin to cast a

negative view on your program. However, if you start a continued on page 16 APRIL 2026

So What, Now What? continued from page 15

dialogue with meaningful conversations, and help your

Open Doors on Your Own Campus

goals, they can advocate in ways that may offer instant

several ways it doesn’t have to be. Potential students

administrators understand your vision and support your

Recruitment may feel like a huge weight, but there are

benefits and long-term positive outcomes as well. From

aren’t waiting for a fancy, polished performance—they’re

scheduling, to getting students out of class for events and performance opportunities, to spotlighting your

program, and even to funding, your administration can serve as a huge ally. Getting called to the principal’s office can be intimidating, even as an educator. Don’t wait to be

and provide excitement and music, there’s potential for a shift from “Why should I do music” to “Why wouldn’t I do music?”

Music and recruitment both thrive on creativity. The

called down. Stop by proactively, ask how they’re doing,

strides you make will demonstrate that your program is

Above all else, invite them to everything you do, and

program students will want to be a part of.

offer your help, and present solutions over problems! make a big deal of it when they’re there.

welcoming, engaging, and exciting; all positive traits of a

When traditional recruitment doors are closed, find

ways to open doors on your own campus. Over time,

Pop-Up Performances

these moments will add up, and your program will

eventually you must let the music speak for itself. Create

last well beyond a single school year. When the question

ment to the student body. Pop-up performances serve as

engage, inspire, and connect. Your presence, excitement,

the need for planning an elaborate formal performance.

respond.

cafeteria—even if only two tunes, surprising a faculty

Daniel Greenwood is a graduate assistant at

Birthday,” “classroom caroling” during the winter season,

MM in instrumental conducting. He has eight

As your support continues to grow, you will find that

grow while building a culture of engagement that will

musical moments that are memorable and offer engage-

So What, Now What? arises, the answer is simple. Show up,

a great way to generate spontaneous excitement, without

and passion for music will lead the way, and students will

A few examples include performing during lunch in the member at their door with a performance of “Happy

or even a morning performance in a common space on the

day of a big game. These performances show that there are fun musical opportunities in your program.

By going out into spaces that are widely utilized, you

have now made your program visible and integrated as a part of campus life. In the digital age, word travels quick-

ly. Students who see your pop-up performances may post on social media, thus creating a buzz about your program. Even those who don’t take an immediate interest may be left wondering when and where your group will randomly pop up next. This means you’ve sparked an interest!

waiting for an invitation! When you show up for them

FLORIDA MUSIC DIRECTOR

the University of South Florida, pursuing an years of music education experience, including seven as the band director of Gifford Middle

School in Vero Beach, Fla. He received his BS in music education from USF.

APRIL 2026

F E AT U R E

Music for Every Body Inclusive Music Education Strategies for Blind/Visually Impaired and Deaf/Hard of Hearing Students B Y S A M E S T E S A N D V A L E R I E N Ú Ñ E Z- C A I C E D O

Music is often described as a universal language, a space

music aurally with remarkable precision, and memorize

ing and expression. That belief fuels thousands of class-

entire ensemble. Many DHH students experience music

where students from every background can find belongrooms, from elementary general music to advanced high school ensembles. Yet in many rehearsal rooms, access to that “universal” experience is not equally distributed. For

students who are Blind or Visually Impaired (BVI) and Deaf or Hard of Hearing (DHH), traditional rehearsal

structures, materials, and instructional habits can unin-

tentionally create barriers. If our profession truly believes

through vibration, visual cues, and movement, and some sing confidently with appropriate supports. The real bar-

rier is rarely musical ability; it is access. When teachers shift from asking, “How will this student fit into my

existing system?” to “How can I design my system so this student can thrive?” the classroom begins to change.

Understanding the spectrum of sensory differences is

in the transformative power of music, then accessibility

essential. Blindness and visual impairments range from

design our classrooms, our rehearsals, and our perfor-

requiring tactile and auditory learning. DHH students

cannot be an afterthought. It must be central to how we mances. Inclusive music education is not about lowering standards or creating separate tracks; it is about removing

obstacles so every student can participate fully and meaningfully.

At its core, inclusive practice begins with mindset. Too

often, educators encounter disability through a deficit

lens, focusing first on what a student cannot do. In music classrooms, this may sound like, “Blind students can’t read music,” or “Deaf students can’t sing.” These assumptions are not only inaccurate, but they are also limiting.

Many BVI students read braille notation fluently, learn

repertoire with speed and depth that strengthen the

FLORIDA MUSIC DIRECTOR

low vision requiring magnification to total blindness may use hearing aids, cochlear implants, American Sign Language (ASL), spoken English, cued speech, or a combination of communication methods. There is no single pro-

file. This variability makes flexibility crucial. Frameworks such as Universal Design for Learning challenge us to plan with learner variability in mind from the outset

rather than retrofitting accommodations later. In a music

classroom, that might mean presenting rhythmic concepts visually on the board, aurally through modeling, and

kinesthetically through body percussion. It might mean continued on page 20

APRIL 2026

Music for Every Body continued from page 18

allowing students to demonstrate understanding through

screen readers increases autonomy. Devices such as the

ment. These strategies do not benefit only BVI or DHH

ing software like JAWS by Freedom Scientific allow stu-

performance, composition, verbal explanation, or move-

students; they strengthen comprehension and retention for all learners.

For BVI students, access to print is often the most imme-

diate challenge. Standard sheet music is rarely accessible without modification. Waiting for braille transcription

or relying solely on audio recordings can delay independence and limit ownership. Providing large-print scores,

high-contrast copies, or digital files compatible with

BrailleNote Touch Plus by HumanWare and screen-readdents to navigate musical materials more independently.

Emerging tactile music displays further expand access to

notation and theory. While not every program will have immediate access to advanced tools, awareness empowers

educators to collaborate effectively with district specialists and families to secure appropriate support.

Technology, however, is only part of the solution.

Teachers must also examine instructional language and rehearsal habits. Phrases like “Watch me” or “Look at measure 32” unintentional-

ly exclude students who cannot rely on

visual cues. Replacing gestures with pre-

cise verbal descriptions, “Altos, begin on

beat three after the piano introduction,” creates clarity for everyone. Orientation and mobility are additional considerations. Music classrooms are dynamic

spaces filled with chairs, stands, risers, and instruments. A moved chair or unex-

pected layout change can cause confusion

or even safety concerns. Maintaining a consistent room setup, verbally announc-

ing changes before rehearsal begins, and keeping pathways clear build trust and independence. Tactile floor markers can

define rehearsal zones while predictable

entrances and exits during performances reduce anxiety. These adjustments require

intentionality, not extensive funding, and they cultivate a rehearsal environment grounded in respect.

For DHH students, language access and

visibility are paramount. Lip reading cap-

tures only a fraction of spoken English, and rapid verbal corrections delivered while

facing away from the ensemble can result in missed instruction. Teachers should

face students when speaking, repeat peer

FLORIDA MUSIC DIRECTOR

The Monarch tactile braille device connected to a computer interface displays a tactile keyboard diagram with braille music notation labeling each piano key.

The Monarch displays a tactile diagram illustrating the shape and structure of a trumpet.

comments before responding, and pro-

vide written rehearsal notes when possible. Clear sightlines and strong lighting are

essential, especially when an interpreter is present. Visual tuners, decibel meters, and

projected text reinforce musical concepts in accessible ways. FM systems, including

Roger™ microphones developed by Phonak AG, can transmit a teacher’s voice direct-

ly to hearing aids or cochlear implants, reducing background noise and improving clarity. Live captioning tools embedded in

presentation software or virtual platforms can further support comprehension during instruction.

Music, however, is not solely an audito-

ry experience; it is physical and communal. Vibrations resonate through floors,

risers, and percussion instruments. Simple

tools such as balloons placed near speakers

allow students to feel rhythmic pulses. More advanced vibrotactile systems cre-

ated by organizations like Not Impossible Labs translate sound into wearable vibration patterns, expanding the sensory expe-

rience of rehearsal and performance. These approaches challenge the narrow assumption that music must be heard to be under-

stood. When educators embrace multisen-

sory engagement, they open artistic possibilities for all

Rehearsal design plays a significant role in accessibili-

students and often deepen ensemble awareness of rhythm

ty. Inclusive classrooms prioritize clear sightlines, bright

This work becomes even more powerful when ground-

downs before starting, visual and physical start signals,

it is practical. It looks like an elementary music room

cohesion while supporting students with sensory dif-

to her place because the layout has remained consistent all

patterns, body percussion, and movement-based vocaliza-

gives a clear verbal cue and the ensemble responds with

every learner. Allowing extra time for accessing adapted

designed. It feels like a high school performance where a

flow overall. In many cases, strategies originally imple-

ductor’s preparatory gesture, fully engaged in the shared

elevate the entire ensemble.

They are the natural outcome of proactive planning and a

expected to be experts in every specialized strategy, but

and dynamic nuance.

and even lighting, and structured pacing. Verbal count-

ed in daily classroom reality. Inclusion is not theoretical;

and intentional pauses for processing improve ensemble

where a visually impaired student confidently navigates

ferences. Warm-ups that incorporate call-and-response

year. It sounds like a middle school choir where a director

tion strengthen rhythmic accuracy and internalization for

precision because communication has been intentionally

scores frequently results in more thoughtful rehearsal

Deaf student stands on the risers, eyes locked on the con-

mented as accommodations become best practices that

musical moment. These scenarios are not extraordinary.

Collaboration is essential. Music educators are not

commitment to access.

continued on page 22 APRIL 2026

Music for Every Body continued from page 21

they are expected to be willing partners. Teachers of

tive understanding for hearing peers. Inclusion becomes

Hearing, ESE coordinators, and families offer invaluable

into a community where differences are not hidden but

the visually impaired, teachers of the Deaf and Hard of insight. Inviting them into the rehearsal process, even briefly, can provide clarity on seating arrangements,

valued as strengths.

Importantly, inclusive practices do not require educa-

pacing, interpreter placement, or material adaptation.

tors to implement every strategy at once. Beginning with

siloed. Educators can also partner with community orga-

consistent room layout, visual reinforcement of instruc-

Inclusion thrives when expertise is shared rather than

nizations such as the Lighthouse for the Blind and

Visually Impaired, a nonprofit that empowers individu-

als with vision loss to build independence across home, school, work, and community settings, and Hands &

Voices, a family-centered organization offering advocacy, unbiased information, and peer support for families of children who are Deaf or Hard of Hearing. These part-

a single intentional change (clearer verbal directions,

tions) can initiate meaningful progress. Collaboration with specialists, administrators, and families strengthens

implementation. Time must be allotted thoughtfully, as effective accommodations develop through reflection

and adjustment. The process is not only evolving, but it is achievable.

Music education holds extraordinary potential to shape

nerships extend resources beyond the classroom and

identity, confidence, and belonging. When students feel

shared knowledge and community con-

alongside their personal development. Inclusive class-

strengthen inclusive practice through

Inclusive music education is not about lowering standards or creating separate tracks; it is about removing obstacles so every student can participate fully and meaningfully.

nection.

Performance spaces deserve equal

attention. Accessibility should extend

beyond minimum compliance with physical regulations. Providing ramps, stable risers, and predictable stage mark-

ings ensures safe navigation. Offering large-print or braille programs demonstrates respect for audience members

with visual impairments. Incorporating ASL interpreters as integrated mem-

bers of the performance, rather than peripheral additions, affirms language

seen and supported, their musical growth accelerates

rooms communicate a powerful message: you belong

here, your voice matters, and your presence strengthens our ensemble. For music educators serving diverse com-

munities across grade levels, this work reflects not only best practice but professional responsibility. The power

of our profession lies not only in the repertoire we select

or the performances we stage, but in the access we create.

Inclusion is not about lowering expectations; it is about expanding opportunity. When we design music education for every body, we cultivate empathy, strengthen musi-

cianship, and build communities where all students can experience the transformative power of music.

equity and enriches the artistic expe-

Sam Estes is director of choirs at Pinellas Park

ography, and visual storytelling to create multisensory

leads a vibrant and growing program in a Title I

rience. Some ensembles explore projected text, chore-

performances that expand expression rather than limit it. When accessibility is embedded into performance design, it enhances the experience for performers and audiences alike.

Perhaps the most fundamental aspect of inclusive

High School in Pinellas County, Fla., where he school. An active performer and music director, he is passionate about sustainable teaching prac-

tices, inclusive classrooms, and fostering meaningful collaboration among music educators.

music education is the emphasis on student voice and

Valerie Núñez-Caicedo is the general music

tations, select repertoire, or assume leadership roles, they

County, Fla. As a legally blind music educator,

agency. When students are invited to help design adap-

move from passive recipients of accommodation to active contributors. A BVI student may suggest an efficient rehearsal strategy that benefits the ensemble. A DHH student may model expressive signing that deepens interpre-

collaborative rather than corrective. The ensemble evolves

FLORIDA MUSIC DIRECTOR

teacher at Cross Bayou Elementary in Pinellas

she is a dedicated advocate for equitable music education. She leads inclusive performances,

directs choirs, and sponsors arts enrichment where she champions access to music education for all learners.

Please take time to thank and support our 2025-2026 Academic Partners.

GOLD PARTNERS

SILVER PARTNERS The College of Idaho

BRONZE PARTNERS Florida Gulf Coast University Florida Southern College

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Partners as of March 18, 2026.

*Please visit FMEA.org/partners for partnership details or call 850-878-6844. APRIL 2026

GOLD

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FLORIDA MUSIC DIRECTOR

Please take time to thank and support our 2025-2026 Corporate Partners.

PARTNERS

BRONZE PARTNERS Cathy’s Choir Class Hal Leonard Head’s House of Music J.W. Pepper & Son, Inc. Music and the Brain - Building for the Arts

Music is Elementary MusicFirst PACE Travel Sight Reading Factory West Music Company APRIL 2026

FLORIDA MUSIC EDUCATION ASSOCIATION 2025-2026 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 Learning for Members

General Fund

Mel & Sally Schiff Music Education Relief Fund

The following have graciously donated to FMEA from December 8, 2025, through February 9, 2026.

ARTIST’S CIRCLE

MAESTRO’S CIRCLE $10,000 and up

No current donors at this time.

All County Music

$1,000 – $9,999

Artie Almeida In Honor of my sister, Joyce Slatton, & my niece, Katie Grace Miller

Russell Robinson Fred Schiff In Memory of Mom & Dad

DONATE TODAY FOR A STRONGER TOMORROW.

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

SUSTAINERS $100 – $999

Carlos Abril In Honor of Ms. Terry Paulen

Dayna Cole In Memory of Linda Mann

Sandra Adorno

Alice-Ann Darrow

Andre Arrouet

Virginia Densmore In Memory of Gene Densmore

Lucinda Balistreri In Honor of music & arts educators in Sarasota County Gordon Brock Trent Brown In Honor of J. Mark Scott Kasia Bugaj Judith Bula Wise In Honor of Dr. Josh Bula Dale Choate In Memory of Dr. Colleen Kirk 26

FLORIDA MUSIC DIRECTOR

Shelby Fullerton Deragon In Honor of Kathy Sanz Virginia Dickert In Memory of Lindsay Keller & Debbie Liles Michael Dye In Honor of Michelle R. Tredway William Fredrickson Kathleen James In Memory of Dr. Dale Blackwell

Beth & Steven Kelly Sheila & John King Jason Locker In Memory of June M. Hinckley Joseph Luechauer Deborah Mar In Memory of Barbara Kingman David Martinez-Cooley John Nista In Memory of Stanley Dmitrenko Mary Palmer Douglas Phillips In Memory of Dr. Bobby Adams Kyle Prescott

SUSTAINERS (Continued) $100 – $999

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Kathleen Sanz In Memory of June Hinckley

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Meghan Alfaro In Memory of Carol Boyce David Bayardelle In Memory of Dr. George Sparks Mark Belfast In Memory of Dr. Mark A. Belfast, Sr. Greg Carswell In Memory of all deceased members of the FMEA William Castillo Jeff Cayer Shelby Chipman Zachary Chowning Patrick Cooper In Memory of Martha Matteson Dewey Dodds

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John Parris APRIL 2026

FLORIDA NAfME COLLEGIATE

Mark A. Belfast, Jr., PhD Advisor

Jazz Appreciation Month:

Spotlight on Jazz Vocals click photo or link to listen on Spotify

n 2001, the Smithsonian’s National Museum of

American History created

Billie Holiday

celebrate the rich heritage

her voice was intimate and

offered a striking contrast:

Jazz Appreciation Month to

fragile but emotionally

and history of jazz. So, this

devastating! Her performance

April, I invite you to focus

of “Strange Fruit” stands as

your attention on a group of

one of the earliest and most

jazz musicians who are often

powerful musical protests

overlooked. Jazz vocalists

against lynching, cementing

have shaped not just a genre, but the sound of American

jazz as a vehicle for social awareness.

culture itself—blending

relaxed phrasing, rhythmic

and identity across more than

of scat singing shifted

Jimmy Rushing swung

simply delivering lyrics

bands like the Count Basie

storytelling, improvisation, a century.

In the early 20th century,

voices like Bessie Smith and Louis Armstrong helped

define the emotional core

freedom, and refinement the singer’s role from

to improvising like an instrumentalist.

The swing era elevated

of jazz. Smith, known as

jazz singers to global fame.

brought raw emotional

audiences with unmatched

the “Empress of the Blues,” honesty to her recordings,

documenting Black life in the Jim Crow era. Armstrong, meanwhile, transformed

not only trumpet playing

but vocal music itself—his

Ella Fitzgerald dazzled

technical precision, tone, and improvisational

brilliance, particularly in her Songbook recordings, which helped canonize American

pop standards. Meanwhile,

FLORIDA MUSIC DIRECTOR

While male vocalists like

the blues with popular big

Dorsey), breath control, and storytelling redefined the

art of popular singing and influenced virtually every vocalist who followed.

Mid-century innovators

Orchestra, Nat King Cole and

expanded the expressive

phrasing into mainstream

Sarah Vaughan possessed

Frank Sinatra brought jazz pop culture. Cole’s smooth baritone and crossover

appeal broke racial barriers

in entertainment, even as he faced discrimination, while

Sinatra’s mastery of phrasing (which he claims to have learned from trombonist and band leader Tommy

and cultural range of jazz. extraordinary vocal range

and operatic control, pushing technical boundaries.

Nina Simone fused jazz with gospel, blues, and classical

traditions, using her music

as a platform for civil rights, particularly in songs like “Mississippi Goddam.”

FLORIDA NAfME COLLEGIATE

Grace E. Wieckowski President

e’ve reached the point of the semester when many

college students would consider themselves the bus-

iest, and music majors are no exception to this. I know I’ve been feeling this stress between touring with my school’s

concert choir at ACDA Southern Region, then competing at

NATS Southeastern Region with my voice studio, and while writing this article, in tech rehearsals for my school’s spring opera Hansel and Gretel.

It’s easy to let yourself

get overwhelmed with all the performances, rehearsals, tours, At the same time, artists

jazz standards to wider

Staton contributed to

combines jazz with soul

like Mel Tormé and Dakota

the richness and stylistic diversity of the era.

From the 1970s onward,

jazz vocalists embraced

fusion and global influences.

Al Jarreau blurred genre lines with his innovative vocal

techniques, incorporating

elements of R&B and pop, while Cassandra Wilson drew on blues, folk, and African traditions to

audiences. Gregory Porter and gospel, addressing

themes of identity, love, and social justice. Esperanza

Spalding represents a new

generation of genre-defying artists, blending jazz with

experimental, classical, and global influences while

challenging expectations

of both musicianship and identity.

Across eras, jazz

create a deeply textured

vocalists have done more

Jon Hendricks, a pioneer

have documented history,

and roots-oriented sound. of vocalese, transformed instrumental solos into

intricate vocal arrangements, expanding jazz’s intellectual and creative scope.

In more recent decades,

jazz vocalists have continued to evolve while honoring tradition. Diana Krall

achieved major commercial

success, helping reintroduce

than entertain—they

challenged inequality, and reshaped the possibilities

of the human voice. Their

legacy is not only musical but cultural, reflecting the evolving story of

America itself. So, this Jazz

Appreciation Month, dedicate time to exploring the rich

history and heritage of jazz vocals!

competitions, and exams that come with this time of the semester. For the

seniors, it’s common to find yourself wrapped up in the

“what’s next” question, whether it be grad school, a gap

year, or straight into your first teaching job. At times like these, it’s important to remember your “why” behind

picking music education. For me, my “why” is helping

the next generation find their passion, whether or not it is

music. I believe first and foremost we are teachers of people through music, and the opportunity to shape my future

students through the first thing I found I’m truly passionate about makes the sometimes grueling work of this degree worth it.

All of this said, I would be remiss if I didn’t remind you

to take care of yourself. Treat yourself with the same grace

you show others. If you find yourself getting overwhelmed, eat a snack, take a walk, and then take a step back and

prioritize. If you break your tasks down, they will start to

feel a lot more manageable. The key is to set a schedule and

hold yourself accountable. If you aren’t properly taking care of yourself to keep your body in top form, then your music won’t be in top form either.

Just remember, you do not have to do this alone. The best

music is made through collaboration. You are not an island, and you have a community of students and educators who

all want nothing more than for you to succeed. If you don’t

feel as if you have anyone to turn to, always remember I am here for you. Let’s finish out the semester strong! APRIL 2026

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

Kyle Prescott, DMA, President

Close Those Loops These “open loops”

s a young public-

occupy mental space.

school teacher

They linger in the

in Montana, I quickly

background, creating a

learned that the

kind of cognitive clutter

educator’s year has a

that makes it harder

distinct pace. From the

to focus and harder

brief rest of early July to

to feel accomplished.

the relentless stretches

When everything feels

of October and February,

unfinished, it becomes

each month brings

difficult to fully engage

its own expectations,

with anything.

rewards, and anxieties.

The solution mirrors

Concerts, assessments,

travel, paperwork—the

how we rehearse.

really shrinks.

built on focus: identify a

Effective teaching is

list evolves, but it never

problem, solve it, put it

Now, years later,

working with teachers

across Florida, I’m struck by how consistent that rhythm

So, what are we to do? Among the many

remains. No matter the

strategies available, one

sense that things will ease

close your loops. In other

setting, there is always the up after the next concert,

the next deadline, the next

event. And yet, that moment rarely arrives. At times, the

stands out for its simplicity: words, bring a single task to

completion before moving on to the next.

As educators, we

ladder to excellence in our

are surrounded by

to answer, music to select,

profession feels like it was

unfinished work—emails

on. The same applies here.

challenge is not just the

Then proceed to the next.

with, forms to submit. The volume, but how our minds

Choose one task. Finish it. This might mean

respond to what remains

completing a set of forms in

In music, this is especially

to an email, or making and

incomplete. We fixate on it. true. We remember the one

piece that didn’t land, not the many that did. We dwell on the single mistake, not the dozens of successes.

The Florida College Music Educators Association is pleased to announce the opening of the application window for two new

faculty honors: the Award for Teaching Excellence and the Award for Research Excellence. These awards celebrate the outstanding work of our colleagues across the state, and all members of the Affiliate Council are encouraged to apply through our website at

into context, and move

administrators to check in

FCMEA.org. We also look forward to connecting with you at the FCMEA Spring Business Meeting (virtual), scheduled for Monday, April 20, at 5pm. Zoom details and the meeting agenda will be shared with all members in advance.

one sitting, fully responding committing to a repertoire

decision. It is not about doing less—it is about finishing what you begin.

Will someone occasionally

wait a bit longer? Perhaps. But they will benefit from your

full attention when their turn comes. In a profession where the work is never truly done,

we must create our own sense of completion.

Close the loop in front

of you. Then close the next.

Over time, the noise quiets, the work becomes more

manageable, and we can turn again to teaching music.

FLORIDA MUSIC DIRECTOR

FLORIDA STEELBAND EDUCATION ASSOCIATION

Jared Allen, PhD President

IMMEDIATE

IMPACT Music Educator Spotlight

council within FMEA and could not be more grateful to

Recognizing outstanding accomplishments of early-career music educators.

this possible. This has been a dream of my colleagues

FMEA seeks to spotlight the outstanding work and

t is an honor and privilege to be writing this article as the president of one of FMEA’s newest councils!

The steelbands of Florida are truly blessed to be given a the leadership of FMEA for all of their work in making and me for many years.

accomplishments of music educators in the earlier

Florida Steelband Education Association. I would like to

an “immediate impact” in their

As part of this development, we also established the

stages of their teaching careers who are making

introduce the founding leadership team for FSEA:

schools, communities, and

William Sahely Raa Middle

President-Elect

of music education, these

Matthew Cresswell Blanker K-8

Secretary

influence positive change, create

Shaun Bennett Callahan Intermediate

Elementary Representative

Dorothy Castle Pine School

Middle School Representative

Dr. Troy Thomas Crooms Academy

High School and Collegiate Representative

We look forward to serving the steelbands of Florida

and elevating the Florida Steel Band Festival through our new council.

Please join the Florida Steelband Education

Association when you renew your FMEA membership next year!

students. Through the power ambitious FMEA members

amazing musical experiences for their

students, and help enrich Florida’s music education community.

LET US BRAG ABOUT YOU! Please submit the form and materials for yourself or a colleague who exemplifies these criteria.

SUBMIT YOUR NOMINATION CLICK HERE

INTERESTED IN TEACHING MUSIC IN FLORIDA?

We can help!

Learn more at: TeachMusic.org APRIL 2026

FLORIDA GUITAR EDUCATION ASSOCIATION

Christopher Perez President

New Beginnings s your new FGEA

president, I look

forward to serving colleagues and the FMEA leadership as we continue to provide and support the best in music

education for all students.

Moving forward, I along

with Samuel Ortiz (vice

president) and Ed Prasse

(secretary) look to collaborate

with fellow educators, valuing your input and experience as the FGEA continues to

discover ways of evolving and expanding as an organization. Since its start as the FMEA

Secondary General Music

— Several guitar

In late April/early May, the

ensemble Mini-

2027 FMEA All-State Guitar

President’s Concert

the middle and high school

Concert, Concert, and

w FMEA Guitar Solo & performances

Ensemble Festival (third year and counting)

— Expanded to six sites

w FMEA Professional from three

Learning Conference — Continuous high-

quality professional development

opportunities

Audition packet for both guitar ensembles will be

made available online. Please refer to the link (

FMEA.

org/programs/guitar/) for All-State Guitar Audition updates.

Lastly, I wish to

acknowledge my deepest

appreciation and gratitude to Ed Prasse from Leon

High School (Tallahassee).

I have grown significantly

in Florida has experienced

FMEA Guitar Solo & Ensemble Festival

becoming a respected,

There’s still time for teachers to register guitar students

Committee, guitar education tremendous growth, national leader.

Over time, FMEA has

provided many opportunities for musical growth,

personal development, and performance engagement to thousands of students,

and likewise, for hundreds of teachers, a plethora of

professional development

w Florida State Guitar Festival (10+ years) w FMEA All-State Guitar sessions, including:

Ensembles

— High School (2011

inaugural year, now

16 years and counting)

— Middle School (2026 inaugural year and

a leader through his

example. The immense

depth and development of

guitar education in Florida and FMEA are directly

attributable to his 20-plus

years of dedication, guidance, hard work, leadership, and

vision. I can’t begin to express my sincere thanks for his

support in all he has done and continues to do.

Here’s to collectively

offering the best in music

education for all students!

and ensembles for our three remaining dates and sites.

w April 18, 2026: Florida Gulf Coast University, Ft. Myers (new!) w April 25, 2026: Southwest Middle School, Lakeland w April 25, 2026: St. Augustine High School, St. Augustine (new!) 2026 Festival Sites

w Solo: Perform one piece in a 10-minute timeslot for evaluation, $15 entry fee w Small Ensemble: Perform one piece in a 10-minute timeslot for evaluation, $10 per performer, maximum eight performers w 30-Minute Ensemble Workshop: Perform two pieces in a 30-minute workshop setting, $150 entry fee w 60-Minute Ensemble Workshop: Perform three pieces in a 60-minute workshop

Performance Options

setting, $300 entry fee

Deadline

Checks and signed entry forms must arrive at the FMEA office 14 days prior to the festival date of the site you choose to attend. Credit card payments are not available for the festival entry fees at this time, so please plan accordingly.

counting)

as both an educator and

FLORIDA MUSIC DIRECTOR

AWARDS COMMITTEE

Sondra A. W. Collins Chairperson

appy spring, FMEA fami-

opportunity to read about your

Janine Jones

award recipient is supporting and

“I am truly honored to be named the 2026

music education throughout our

award represents every student who walks

ly! I hope you have had the

2026 FMEA awardees and how each furthering quality and exemplary state, in. If you have not yet seen this impressive spread of your

FMEA awardees, please turn to pages 16–45 of the 2026

February/March Florida Music Director

here. Their collective

dedication to and passion for music education throughout Florida are truly inspiring!

In the coming months I would

like to share with you a little of

the brilliance our awardees have

to offer you, speaking their truth about music education and the

passion that drives them. I share

these words of inspiration to give you confidence to be the light to

your own students, as well as the

drive to help shine a light on others

OSCEOLA MAGNET SCHOOL FMEA Music Educator of the Year. This into a music classroom ready to discover the power of music.

My dream of becoming a music teacher

began in the fifth grade, and the dream continues to grow. Music education changes lives. It gives students a

voice, teaches collaboration, and builds

confidence in ways that few other subject

areas can. Music is not just something students learn; it’s something they live. Through traditions like fine arts celebrations and diverse ensembles, students experience creativity and

community. These opportunities remind us that music connects people in ways

that nothing else can. Early in my career I learned an important lesson from one of

my mentors. He said no music program is an island. Music thrives when it is woven into the fabric of school and community life. Strong programs grow through collaboration, shared ideas, and a commitment to making music accessible to all.

This award matters because it shines a light on the essential role of music in

in our next nomination period.

education. Music IS a core subject. It teaches creativity, discipline, and empathy. It

words from our 2026 FMEA Music

music provides two things that are irreplaceable: creativity and human

We start with some inspiring

Educator of the Year, Janine Jones. Janine Jones, elementary music

educator at Osceola Magnet School in the School District of Indian

River County (nominated by Sherry St.Petery, on behalf of FEMEA),

inspires through passion and proof:

prepares students for life. In a world of advancing technology and artificial intelligence, connection. It magnifies voices that might otherwise go unheard and gives every child

a chance to express themselves. When we collaborate, share ideas, and advocate for music education, we amplify our impact and create opportunities for every child to experience the power of music.

Thank you, FMEA, for believing in music education and the students who make it

come alive. We are stronger together.”

CONNECT FLMusicEd

FLMusicEd

FLMusicEd APRIL 2026

DIVERSE LEARNERS COMMITTEE

Media Multitasking and the Music Classroom: What Educators Need to Know s digital tools become ever present in the

lives of adolescents and

young adults, educators—

especially music teachers—are

educators can understand

tasks involving attention,

rehearsal habits, and musical

memory.

changes in students’ focus, engagement.

Kong et al. synthesized

increasingly observing shifts

data from 43 studies and

The three-level meta-analysis

individuals with high

in students’ attentional habits. conducted by Kong, Meng,

Deng, Wang, and Sun (2023) provides one of the most

rigorous examinations to date of how media multitasking experience (MME) relates

to cognitive control. Their findings offer a valuable

lens through which music

118 effect sizes, comparing versus low levels of media multitasking experience.

Across studies, the authors found a moderate negative association between MME and cognitive control,

suggesting that heavier

media multitaskers tend

to perform more poorly on

Christine Lapka, EdD Chairperson

inhibition, and working

More specifically, the meta-

w Inhibitory control is sig-

analysis concluded that:

nificantly weaker in heavy

MME seems to undermine

precisely the executive

functions most needed for sustained, sequential, and cognitively demanding learning.

Before interpreting the

media multitaskers. This

findings, it is essential to

suppression of distractions

et al. (2023) define media

aligns with tasks requiring

w Working memory perforor automatic responses.

mance is reduced, indicat-

ing difficulty maintaining and using information,

especially over short time spans.

understand how Kong

multitasking experience.

MME refers to the frequency with which individuals use multiple forms of digital

media simultaneously—for example, texting while

watching videos, listening to music while scrolling social media, or switching rapidly

WHY THIS MATTERS FOR MUSIC EDUCATORS

Music learning relies heavily on the same cognitive systems that Kong et al. (2023) found to be compromised among heavy media multitaskers:

Inhibitory Control

w ensemble precision w selective listening w ignoring irrelevant auditory or visual Essential for:

distractions

w have difficulty staying mentally anchored during long rehearsals w are easily drawn off task w struggle to filter out irrelevant cues in Music educators may see students who:

performance settings

FLORIDA MUSIC DIRECTOR

is not simply occasional

multitasking; rather, it reflects attention across overlapping media streams

MME is not about a single

moment of distraction—it

reflects long-term habits that may shape how students

process information, respond to cues, and manage complex learning tasks such as those

w rhythm counting w poor recall of instructions w memorization w difficulty retaining musical sequences w improvisation w challenges coordinating simultaneous w following multistep musical directions musical tasks

and digital tasks. MME

a habitual pattern of dividing

Working Memory Foundational for:

between apps, platforms,

Music teachers may observe:

found in music education. The study therefore

highlights a crucial concern: students’ media habits

outside the classroom may influence their cognitive readiness inside the classroom.

1 2 3 4 5

ACTIONABLE STEPS FOR MUSIC EDUCATORS 1. Create Low-Distraction Rehearsal Environments The study shows a

consistent correlation—

not causation—between

heavier media multitasking and weaker cognitive control. Although the

Since inhibitory control is especially vulnerable to high media multitasking, educators can:

w implement device-free rehearsal expectations w reduce background distractions w frame focused rehearsal as a form of “executive-function training” that directly counteracts MME

study cannot determine whether multitasking

causes these cognitive

differences, the authors

demonstrate that students who frequently switch

between digital media tend to have lower inhibitory control and working

memory. Because these

same skills are essential

for musical focus, sequence tracking, and ensemble

attention, music educators should be aware of how

students’ media habits may influence their rehearsal readiness. By designing learning environments that strengthen focus

and reduce distractions,

teachers can help counteract the attentional patterns associated with heavy

multitasking and support stronger musical growth. Reference Kong, F., Meng, S., Deng, H., Wang, M., & Sun, X. (2023). Cognitive control in adolescents and young adults with media multitasking experience: A three-level meta-analysis. Educational Psychology Review, 35, Article 22. https://doi.org/10.1007/ s10648-023-09746-0

2. Incorporate Focus-Building Warm-Ups

Warm-up strategies can be intentionally aligned with the cognitive domains identified in the meta-analysis:

w Counting and clapping rhythms — Builds working memory and inhibitory control simultaneously w Call-and-response listening drills — Strengthens auditory memory while requiring delayed, controlled responses w Breathing or centering exercises — Mimic tasks used to recalibrate attentional control in laboratory settings

3. Model Single-Task Practice Strategies

w practice in a quiet, intentionally focused environment w use structured (not spontaneous) practice plans w turn off notifications and set aside technology during practice Consider these strategies:

4. Build Working Memory Through Sequenced Musical Tasks Activities

w layered rhythmic construction w cumulative melodic recall w multistep improvisation

Try using sequenced activities, such as:

5. Educate Students About Cognitive Costs

w recognize why multitasking feels productive but reduces accuracy w understand the relationship between focused attention and musical success w take ownership of their learning habits A short conversation about the research can help students:

APRIL 2026

FLORIDA ORCHESTRA ASSOCIATION

Andrea Szarowicz President

s we close out another remarkable season

of music performance

assessments (MPA) alongside the demands of testing

season, I encourage each

of you to pause and reflect on the true impact of your

work. What we do extends

far beyond the stage. In our classrooms and rehearsal spaces, we are shaping

not only musicians, but

young people—fostering meaningful friendships,

building teamwork, and

creating communities where students feel seen, valued,

and connected. The musical growth we hear at MPA is

only one part of the story; the collaboration, resilience, and shared purpose developed along the way are what

truly define our programs.

Take time to celebrate these

timelines—

they matter more than any

since course

moments with your students; rating.

As we begin looking

ahead, now is also the time to connect with your guidance teams and curriculum

particularly

selections for

full four-year

experience. Help

them see the long-term

FOA Executive Board

excitement about continuing

If you have any motions

the Fine Arts Seal, and build

October.

their musical journey.

High school directors,

For those preparing for

administrators to review

this is a critical time to

upcoming events, best of luck

Identify which students are

programs and strengthen

in State Solo & Ensemble

enrollment for next year.

currently signed up for your

program and begin building relationships with those

students and their families

early. Equally important, take time to identify students who may be missing from your roster. In many cases, this

comes down to scheduling

connect with your feeder

those relationships to support retention from eighth to

ninth grade. Middle school

directors, your role is equally important—continue to

emphasize the value of at

least one year in high school

orchestra while encouraging students to commit for the

FLORIDA MUSIC DIRECTOR

2025–26 school year.

benefits, including earning

the 2026–27 school year

were completed as early as

enjoy these final weeks of the

to all students participating MPA at Florida Southern

College on March 28 and

State Concert MPA, April 13–15 at Titusville High

Motions & Concerns

or concerns for the FOA Executive Board, please

communicate them with your district chairperson so they

can be discussed at your next district meeting and brought forward to our May 2026 board meeting.

Please also remember to

School. We are looking

complete your adjudicator

on stage.

process is essential for

forward to hearing your work Continue to work hard,

take care of yourselves, and

improvement surveys. This both adjudicators and our training teams. Whether

you experienced something

IMPORTANT REMINDERS AS WE APPROACH YEAR-END:

for growth, your feedback

Becoming a Component Board Approved Adjudicator (CBAA)

and consistency of our

Handbook (pp. 13–14) on the FOA website. Please watch for communication regarding FMEA Professional Learning Conference in Tampa.

any intent to host state MPA

LOOKING AHEAD:

district is able to host April

2026 FOA/ASTA Fall Conference

our executive director at

We are excited to welcome Professor Bruce Walker

12–17, 2027, please reach out to exdirfoa@myfoa.org ASAP. If you have any questions

or concerns, please don’t hesitate to reach out to a

board member. This is your

organization, and your voice

matters—we can only make it stronger with your input.

I look forward to seeing

many of you at the state MPA Until then, may your

continue to inspire long after the final note has faded.

and more. A full schedule and additional announcements will be shared soon. We are also especially excited to collaborate with the Collegiate Committee as we launch the FOA’s Inaugural Intercollegiate Orchestra Ensemble, set to debut at the 2026 Fall Conference. More details to come on this exciting new initiative. 2027 FMEA Professional Learning Conference

Mark your calendars! The 2027 FMEA Professional Learning Conference will take place January 13–16 in Tampa, Florida.

If you are interested in presenting a clinic, please ensure you

are available to attend in person before submitting a proposal. All presentation and performance proposals are due by May 8, 2026. Additional information can be found on the

website.

FMEA

OUR PRO ER IN FES OW

s si

the music you create together

will include Mark Thielen, Dr. Keith Dodson, Excelcia Music Publishing, J. W. Pepper,

Pro

with expression, and may

Engagement, Care, and Building Programs That Last. Additional presenters and exhibitors

your performances be filled

WALKER

year’s conference theme is The Orchestra Classroom That Matters:

F M E A 20

rehearsals be full of purpose,

(Columbia Basin College, Wash.) as our keynote speaker. This

N SIO

events.

October 15–16, 2026 | Hilton Orlando

n c e r ts

for 2027. If your school or

e Co

Currently (as of March 19,

2026), we have not received

sign-ups for adjudicator training sessions at the Fall Conference in Orlando or at the

tat

evaluation process.

If you are interested in becoming a CBAA, details can be found in the Adjudicator

ona

ll - S

helps strengthen the integrity

THE P

exceptional or noticed an area

l Lea

r nin g C o nfer e

nce

Help Us Support Music Education in the Schools!

Donate today for a stronger tomorrow.

Your FMEA is working to advance music education by encouraging the study and making of music by all. With your support, FMEA will continue to grow its programs for teachers and students, strengthen united advocacy efforts, and improve your professional learning opportunities. D O N AT E T O D AY !

The donor levels are: Friends.......................................up to $24 Patrons....................................$25 to $99 Sustainers...........................$100 to $999 Artist’s Circle.............. $1,000 to $9,999 Maestro’s Circle........................$10,000+ APRIL 2026

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Meghan Alfaro President

pril is here, and spring is in full swing! I want to

thank all of you that submitted content for FEMEA’s Music

In Our Schools Month social media campaign and shared our posts on social media!

The ideas, stories, and student quotes served as a reminder of the amazing work that

elementary music teachers do

every day, and it demonstrated

2027 All-State Elementary Chorus

Rollo Dilworth is the Elaine Brown choral chair, vocal arts department chair and professor of choral music education in Temple University’s Center for the Performing and Cinematic Arts in Philadelphia. He also serves as conductor for the Temple University Singing Owls

Campus/Community Chorus, as artistic director for Singing City,

and as conductor for the School District of Philadelphia High School

All-City Chorus. More than 200 of Dilworth’s choral compositions and

arrangements have been published. He has conducted more than 70 all-state

choirs at the elementary, middle, and high school levels, and he remains an active clinician and frequent guest conductor of festival, community, church, and professional choirs.

the impact that music

2027 All-State Elementary Orff Ensemble

posts together received more

of Nebraska-Lincoln. She recently retired from her work as an

education has on students. The than 20,000 views! Keep telling the good news of elementary

music education. We can make a positive difference.

At the January business

meeting, we mentioned that

FEMEA, in collaboration with FMEA, would be creating an

Shelly Smith received her BME and MM from the University

elementary music specialist for Millard Public Schools in Omaha.

Shelly has taught movement and recorder at AOSA Teacher Education courses since 2002 and has served as a workshop clinician at

numerous professional development music conferences, school districts, and AOSA regional chapters. Published in 2015, she was a contributing Trustees and several AOSA subcommittees.

Kristine Wolfe has been teaching preK–6 music and band in the

elementary music leadership

announce that we have dates

University of Nebraska-Omaha. In addition to her Kodály training,

for this summer! The workshop will be held June 10–11, 2026, in Orlando. Access to elementary music looks different across the state, depending on the district where a child lives.

SMITH

author to Artful-Mindful-Playful in Action. Shelly has served on the AOSA National Board of

Papillion-La Vista (Nebraska) Community Schools for over 25 years.

workshop. We are excited to

DILWORTH

She earned a BM from Iowa State University and an MM from the

Kristine is a Level I & II Orff Schulwerk instructor and is an active

clinician at workshops throughout the United States. She has been on

the GPOC (Great Plains Orff Chapter) Board since 2005, having served

as president, vice president, and membership chair before taking over as program chair in 2015.

WOLFE

Our hope is to build a

Participants will be selected by

between the start of the year

making practice recordings

for elementary music

As we look forward to next

helpful to introduce the skills

summer. There are lots of

leadership support system

nomination.

educators to further the

year, I am excited to announce

unite and support music

(Take a look above.)

mission of FEMEA—to

educators in order to provide

our 2027 all-state clinicians! With these fabulous

a high-quality, comprehensive

clinicians, the 2027 all-

children, and the mission of

be unforgettable. If you’ve

music education for all

FMEA—to promote quality, comprehensive music

education in all Florida schools.

state experience is sure to

never auditioned students, I encourage you to try! With

such a fast turn-around time

FLORIDA MUSIC DIRECTOR

and audition deadlines, it is

to your students now so they

can be ready to audition. This can include practicing short pitch matching excerpts of

your choosing, working on

for students to use over the creative ways to prepare

early so you and they can

feel confident auditioning in September.

I hope you all have a great

technique and breathing,

month preparing for your

pattern and words, and

creating meaningful memories

teaching the body percussion practicing part independence. You may also consider

spring performances and

for your students and their families. Happy April!

FLORIDA VOCAL ASSOCIATION

Jeannine Stemmer President

A Line to the Heart

usic has always been the place where my

emotions find their voice. Music is powerful.

As educators, we hold a

unique tool in our hands.

direct route to the heart. It carries meaning, memory,

same month hurts deeper

place where, again, healing

imagined.

and emotion straight to the can begin.

and this week I lost my

would tear up, imagining

affectionately known as Big

my grandmother was gone.

directly to the heart. And

father. My grandmother,

when something reaches

the heart, there are fewer

obstacles and fewer barriers

to inspire, to comfort, and to heal.

Years ago, when I had

my first baby, I became very sick. I developed sepsis and

appendicitis at the same time. My body was exhausted, and eventually my IVs stopped

Mama, although she weighed about 100 pounds, was

my person. She taught me

everything I know. My dear

the day I would hear it after

burdens we cannot always

Recently, that moment came. I listened again, and I couldn’t stop crying.

This week, I have listened

He loved my sister and me

It Is Well With My Soul, the

world.

When I was born, I was

Narverud and of course,

memories and the hope

Whenever I was feisty with

understanding straight to

So, the doctors inserted a PICC line.

A PICC line bypasses the

smaller, damaged veins and

gata, which means “the cat.”

my father, he called me la gata part 2. The one thing they had in common was how much

quiet fears, and difficult decisions. Sometimes

lectures, advice, or even

conversations cannot break through, but music can. Every rehearsal is an

tell through a piece of

bickered a lot. He called her la

what my body needed to heal.

complicated relationships,

deep inside me, and they are

times. They were bruised, tired, and unable to carry

see, unresolved feelings,

opportunity. Every phrase

the lyrics open something

the little princess of the

family. Big Mama and Papi

much as we do. They carry

classic hymn. The music and

working. My veins had

simply been used too many

Our students need that

kind of connection just as

to Love Never Leaves by Jacob

more than anything in this

That is the power of music.

from In the Heights and

father, Papi, was the hardest

worker you could ever meet.

bypasses every defense and where it needs to go.

For years, I listened to

the song Everything I Know

grandmother passed away,

like that PICC line, the music delivers the emotion exactly

than I could have ever

A few weeks ago, my

Music reaches a place of vulnerability. It speaks

Losing them both in the

helping me heal.

we shape, every story we music, every moment we

ask students to sing with

These songs carry

honesty. These moments

create connections that go

of a peace that surpasses

the center of who I am. Just

far deeper than pitches and rhythms.

Music allows us to go past the walls.

they loved me.

Past the noise.

near the heart. It creates a

my son was born, Big Mama

Past the defenses.

can get where it needs to go,

six o’clock and stayed with

goes straight to a larger vein direct path so the medicine

with no detours, no obstacles. It’s a clear line straight to the center of the body, where healing can begin.

I often think about how

similar that is to what music can do.

Music has a way of

bypassing those barriers.

Like a PICC line, it finds a

When I became sick after

showed up every morning at

It creates a path straight to the heart.

my newborn and me until

A line to the heart.

my husband came home from work. That was who she was, steady, loving, and always

there. My father always went above and beyond to make

sure we had everything we needed. He would sacrifice

And sometimes, that line is exactly where healing begins.

Yes, music is powerful.

The only thing greater is love.

his own needs for us all the time.

APRIL 2026

FLORIDA BANDMASTERS ASSOCIATION

Jeff Cayer, EdD President

his past winter brought

unusually harsh weather

to Central Florida, with temperatures plunging below

freezing for days at a time.

Much of our newly planted

landscape appeared to have completely died due to the

extreme cold. Each day, our

front yard became more and

I am beginning to see new

more discouraging to look at.

growth in my students, not

Spring has finally sprung,

but also in their aesthetic

Then came April.

revealing new life that quietly endured the difficult season. It has been encouraging to witness new growth

emerging from trees and

flowers that once seemed

beyond recovery. This new

growth has led me to reflect on my own life, particularly

only in their musical abilities appreciation for the arts. The hard work my students and

I have invested over the past

posts of bands celebrating

bands who participated in

meaningful development,

and ensemble, jazz band, and

in New York City, including

few months has resulted in shaping them not just as musicians but as young artists.

I have observed this

as I experience a sense of

growth happening all across

season.

highlight to see social media

relief following assessment

our great state. It is always a

positive experiences at solo concert band MPAs. Many directors have shared the

progress of their students

and programs, reinforcing

the impact of consistent effort and thoughtful instruction. While most district

MPAs are now behind us, our work is far from over. This is a critical time to

reflect on and apply the

Pride of the Patriots from

Orlando and the Ocoee High School Marching Knights

from Ocoee. Thank you for representing our state on a national stage. Kudos to

Dr. Michael Antmann and

Mr. Bernie Hendricks for this outstanding achievement.

This is a pivotal time to

inspire students to pursue

prepare for spring concerts,

level. There is still much work

graduation ceremonies, and

the many events that fill the end-of-year calendar, these

insights will guide us toward continued growth and excellence.

MPAs are not the only

events to celebrate this time

music-making at the highest to be done. Keep a growth mindset at the forefront of

your teaching, and remember that even when you feel run down and worn out, new

growth is happening within each of your students.

As my principal often says,

of year. Bands across the

“Place students in the proper

growth in incredible ways.

with what they need, and

state are showcasing their

For example, congratulations to the Florida high school FLORIDA MUSIC DIRECTOR

the Freedom High School

valuable feedback provided by adjudicators. As we

the St. Patrick’s Day Parade

environment, equip them watch them grow.” Go, Band!

Research Puzzles

FMEA RESEARCH COMMITTEE

D. Gregory Springer, PhD, Chairperson Florida State University

FOR MUSIC TEACHERS

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

Stayers, Movers, and Leavers in Music Education

n music education, teacher retention and attrition remain

critical issues in the livelihood of the profession. Teachers

who remain in teaching positions might be referred to as

“stayers,” whereas those who move to other schools might be referred to as “movers.” Those who leave teaching altogether

a. were written in English;

b. were published between 1992 and 2022; c. referred to in-service music educators;

d. addressed some aspect of teacher retention, attrition, or turnover;

would be classified as “leavers.” There is a need to understand

e. referenced some aspect of K–12 music education settings

cation, and Dr. Tyler Goehring (University of Georgia) recently

f. provided results or implications related to K–12 teacher

in Music Education that examined the research on these differ-

4. Charting the data. This involves extracting certain pieces of

purpose of the study was “to identify relevant literature, to

Goehring’s charts are available in the online supplemental

the characteristics of stayers, movers, and leavers in music edu-

conducted a study published in Update: Applications of Research ent constituents (Goehring, 2026). According to the author, the

summarize the current research, and to identify potential gaps regarding the factors that influence music educators’ retention

in the United States; and retention or attrition.

data regarding each study and summarizing them in a chart. file accompanying the article.

This scoping review highlighted much important

and attrition” (p. 14).

information about teacher retention and attrition. Among

specific type of literature review. According to Rodger et al.

of the literature focused on personal or school factors

The study was written as a scoping review, which is a

(2024), “the purpose of a scoping review is to identify the

types of available evidence in a given area; summarise the

existing evidence; identify gaps in the literature; and make

recommendations for future research” (p. 84). For this scoping review, Goehring (2026) completed the following steps:

1. Identify research questions. Goehring used the following research questions to guide his study:

a. What aspects of teacher retention and attrition have been examined by music researchers?

b. What factors (personal, school, and external/policy

factors) have researchers identified related to music teacher retention and attrition?

c. What are the gaps and limitations in the literature

regarding retention and attrition of music educators? (p. 14)

2. Identify relevant studies. Goehring used search terms like “music teacher” and “attrition” and “turnover” in various

combinations when searching library databases to identify relevant studies.

3. Select studies. For this study, Goehring selected studies from the broader list that met the following inclusion criteria:

the 25 studies selected that met the inclusion criteria, much influencing teachers’ decisions to stay, move, or leave. There is limited research available on external and policy factors

influencing teachers’ decisions. The need for administrative support emerged as a common theme across the literature,

but Goehring (2026) pointed out that there is no established

definition of what “administrative support” actually means.

Goehring also noted certain gaps in the literature, including a lack of literature examining movers. There are many other important findings reported in this scoping review, and I

encourage teachers to read the entire article. All members of NAfME can access NAfME journals such as Update. To stay

informed about future articles published in that journal, be sure to sign up for free email alerts at the journal’s website. References Goehring, T. J. (2026). The stayers, movers, and leavers in music education: A scoping review. Update: Applications of Research in Music Education, 44(2), 13–23. https://doi.org/10.1177/87551233251322804 Rodger, D., Admani, A., & Thomas, M. (2024). What is a scoping review? Evidence Based Nursing, 27(3), 84–85. https://doi.org/10.1136/ ebnurs-2024-103969

Email your questions and feedback to dgspringer@fsu.edu with a subject heading Research Puzzles. APRIL 2026

Executive Director’s

Scott Evans Executive Director Florida Music Education Association

NOTES

The mission of The Florida Music Education Association is to promote quality, comprehensive music education in all Florida schools.

Florida Music Education – Cultivating Joy, Resilience, Voice, and Connection

pon becoming executive director in March, I

immediately recognized what makes Florida

music education exceptional: teachers who turn

classrooms into places of discovery, rehearsal rooms into spaces for growth, and performances into cele-

brations of student voice. I’ve loved observing these recurring classroom practices—cultivating joy,

building resilience, giving voice, and creating con-

nectivity—and I’m continually inspired by how you

Giving Voice

You provide opportunities for students to express themselves through music. You choose repertoire

and design learning that reflect diverse cultures, eras, and genres so students see themselves in the music and are heard through it. That repertoire broadens perspectives and deepens musical understanding, helping students craft informed, authentic voices.

nurture well‑rounded, engaged young people.

Creating Connectivity

Cultivating Joy

families, community partners, higher education, and

You design lessons that make music irresistible: a

and eras through music. Those connections expand

You recognize that joy is the gateway to learning. moment when a student successfully navigates a

difficult phrase, discovers the power of collective music-making, or shares a spontaneous laugh in

an ensemble. That joy sustains curiosity and fuels

practice. Keeping student-centered joy at the heart

of your classroom sets the stage for deeper growth.

You are connectors—linking students to peers,

to the perspectives and feelings of other cultures

opportunity, foster mentorship, and strengthen the social fabric of schools and communities, creating

spaces for shared meaning, mutual understanding, and belonging.

These practices—cultivating joy, building

resilience, giving voice, and creating connectivity—

Building Resilience

ground a student‑centered approach to music

perseverance. Whether refining technique,

and community engagement. Woven into daily

You utilize music to strengthen students’

bouncing back from mistakes, or performing under pressure, they develop stamina, problem-solving skills, and confidence. You model resilience by setting achievable goals, offering constructive

feedback, and celebrating incremental gains so students are allowed to thrive.

education, guiding instruction, repertoire, feedback, practice, they do more than develop musical skill: they nurture curious, confident, and connected

young people. I look forward to learning from your

classroom work and partnering with you to deepen and expand music education across Florida. It is an honor to serve and a joy to witness your work.

Scott Evans

FLORIDA MUSIC DIRECTOR

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

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

EXECUTIVE BOARD President

Harry “Skip” Pardee, EdD Collier County Public Schools 5775 Osceola Trail; Naples, FL 34109-0919 (239) 377-0087; pardeh@collierschools.com FBA President

Jeff Cayer, EdD FCMEA President

Kyle Prescott, DMA FCMMA President

Clint Randles, PhD FEMEA President

Meghan Alfaro FGEA President

Past President

Jason P. Locker

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

Grace E. Wieckowski FMSA President

John J. Dupuis FOA President

Andrea Szarowicz FSEA President

Jared Allen, PhD

Christopher Perez

EX-OFFICIO MEMBERS President/CEO.........................................................................Scott Evans Hinckley Center for Fine Arts Education 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793; scottevans@flmusiced.org Editor-in-Chief................................................................Kelly Miller, DMA University of Central Florida; 12488 Centaurus Blvd.; Orlando, FL 32816-8009; (407) 823-4545; kelly.miller@ucf.edu

President-Elect

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

Ocoee High School 1925 Ocoee Crown Point Pkwy.; Orlando, FL 34761 (407) 905-3009; berniehendricks@fmea.org

FMEA COMPONENTS

Bernard (Bernie) Hendricks, Jr.

FLORIDA BANDMASTERS ASSOCIATION President............................................................................Jeff Cayer, EdD president@fba.flmusiced.org

FVA President

Past President..........................................Bernard (Bernie) Hendricks, Jr. Ocoee High School; 1925 Ocoee Crown Point Pkwy.; Ocoee, FL 34761 berniehendricks@fmea.org

Multicultural Network Chairperson

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

Jeannine Stemmer Arnekua Jackson, PhD Member-at-Large

Steven N. Kelly, PhD

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

FLORIDA MUSIC SUPERVISION ASSOCIATION

President.............................................................................John J. Dupuis Volusia County Schools; 200 N. Clara Ave.; DeLand, FL 32720-4207 (813) 787-6790; jjdupuis@volusia.k12.fl.us

FLORIDA NAFME COLLEGIATE

President.................................................................. Grace E. Wieckowski Stetson University; gwieckowski@stetson.edu

FLORIDA STEELBAND EDUCATION ASSOCIATION

Conference Planning Committee Chairperson....... John K. Southall, PhD Indian River State College; 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 418-9133; johnsouthall@me.com

President......................................................................... Jared Allen, PhD Matanzas High School; 3535 Pirate Nation Way; Palm Coast, FL 32137 (386) 447-1575; allenja@flaglerschools.com

FSMA President................................................ Benny L. Bolden, Jr., EdD laruemusic99@gmail.com

MULTICULTURAL NETWORK

Hall of Fame Chairperson.............................................. Mary Palmer, EdD (407) 252-5172; mpalmerassoc@aol.com

Chairperson............................................................Arnekua Jackson, PhD St. Thomas University; 16401 NW 37th Ave.; Miami Gardens, FL 33054 arnekuajackson@gmail.com

Florida NAfME Collegiate Advisor.......................Mark A. Belfast, Jr., PhD (850) 644-3424; mbelfast@fsu.edu

COMMITTEES

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

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION President............................................................................ Meghan Alfaro Pinellas District Office; 301 4th St. SW; Largo, FL 33770-3536 (727) 588-6055; meghan@femea.flmusiced.org Past President........................................................................ Ashley Peek Holley-Navarre Intermediate; 1936 Navarre School Rd.; Navarre, FL 32566-7504; ashley@femea.flmusiced.org Executive Director.......................................................... Jennifer Sullivan 1750 Common Way Rd., Orlando, FL 32814; (321) 624-5433; slljenn@aol.com

FLORIDA ORCHESTRA ASSOCIATION President....................................................................... Andrea Szarowicz Steinbrenner High School; 5575 W. Lutz Lake Fern Rd.; Lutz, FL 33558-9234; (813) 792-5131; aszarowicz@myfoa.org Past President....................................................................Matthew Davis Harrison School for the Arts; 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 499-2855; matthew.lawson.davis@gmail.com Executive Director........................................................... Cheri A. Sleeper 1915 S. 47th St.; Tampa, FL 33619; (813) 363-4139; csleeper@myfoa.org

FLORIDA VOCAL ASSOCIATION President......................................................................Jeannine Stemmer Florida Christian School; 4200 SW 89th Ave.; Miami, FL 33165 (305) 226-8152; jeannine@fva.net

DOE Arts Education Consultant...........................................Erin O’Connor Florida DOE, Bureau of Standards & Instructional Support 325 W. Gaines St.; Tallahassee, FL 32399-0400 (850) 245-0762; erin.o’connor@fldoe.org

Advocacy........................................ Jeanne W. Reynolds, Co-Chairperson (727) 744-7252; jeannewrey@gmail.com

Past President...................................................................David Pletincks Powell Middle School; 4100 Barclay Ave.; Brooksville, FL 34609-0860 (352) 403-8437; david@fva.net Executive Director...............................................................David Verdoni verdoni@fva.net

FMEA COMMITTEES & COUNCILS

Advocacy...........................................Angela Hartvigsen, Co-Chairperson School Board of Sarasota County; 1960 Landings Blvd.; Sarasota, FL 34231; (941) 927-9000; angela.hartvigsen@sarasotacountyschools.net All-State Eligibility............................................Harry “Skip” Pardee, EdD Collier County Public Schools; 5775 Osceola Trail; Naples, FL 34109-0919; (239) 377-0087; pardeh@collierschools.com

COUNCILS FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

President.....................................................................Kyle Prescott, DMA Florida Atlantic University; 777 Glades Rd.; Boca Raton, FL 33431-6424 (561) 297-3826; kpresco2@fau.edu

FLORIDA CONTEMPORARY MUSIC & MEDIA ASSOCIATION

President......................................................................Clint Randles, PhD University of South Florida; 4202 E. Fowler Ave.; Tampa, FL 33620-9951 (813) 974-2311; randlesc@usf.edu

FLORIDA GUITAR EDUCATION ASSOCIATION

President.......................................................................Christopher Perez Freedom High School; 2500 W. Taft Vineland Rd., Orlando, FL 32837 (407) 816-5600; christopher.perez@ocps.net

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

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

CENTER FOR FINE ARTS EDUCATION

Budget/Finance, Development.........................Harry “Skip” Pardee, EdD Collier County Public Schools; 5775 Osceola Trail; Naples, FL 34109-0919; (239) 377-0087; pardeh@collierschools.com

President/CEO............................. Scott Evans (scottevans@flmusiced.org)

Diverse Learners...................................................... Christine Lapka, EdD University of Central Florida; 12488 Centaurus Blvd.; Orlando, FL 32816-2372; christine.lapka@ucf.edu Emerging Leaders......... Jason P. Locker/Bernard (Bernie) Hendricks, Jr. jasonlocker@fmea.org; berniehendricks@fmea.org Florida Corporate & Academic Partners..................................Fred Schiff All County Music; 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fred@allcountymusic.com Professional Learning.......................................................... Ajori Spencer Pinellas District Office; 301 4th St. SW; Largo, FL 33770-3536 (727) 588-6055; spencera@pcsb.org Research............................................................D. Gregory Springer, PhD FSU College of Music; 122 N. Copeland St.; Tallahassee, FL 32306 (850) 644-2925; dgspringer@fsu.edu

402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793

Director of Operations....................Valeria Anderson, IOM (val@fmea.org) Technology Director................................. Josh Bula, PhD (josh@fmea.org) Marketing & Membership Coordinator..................... Jasmine VanWeelden (jasmine@fmea.org) Administrative Assistant.......................... Siena Deaton (siena@fmea.org)

PROFESSIONAL LEARNING CONFERENCE Exhibits Manager................................................... fmeaexhibits@fmea.org Local Chairperson.....Jon Sever (813) 272-4861; jon.sever@sdhc.k12.fl.us

APRIL 2026

FLORIDA MUSIC DIRECTOR

Florida Music Director April 2026