Rehearsal Frames and Music Teacher Evaluations:
Highlighting the Look-Fors for Your Administrators
The Inherent Value of the Marching Arts PLUS: Contracted Conference Hotels FOA & Florida ASTA Fall Conference 2018 2018-19 Leadership
Executive Director Florida Music Education Association Kathleen D. Sanz, PhD
Hinckley Center for Fine Arts Education
402 Office Plaza Tallahassee, FL 32301 (850) 878-6844 or (800) 301-3632 (firstname.lastname@example.org)
Contents August 2018
Mark A. Belfast, Jr., PhD Southeastern University College of Arts & Media 1000 Longfellow Blvd. Lakeland, FL 33801 (863) 667-5104 (office) (email@example.com)
Editorial Committee Terice Allen (850) 245-8700, Tallahassee (firstname.lastname@example.org) Judy Arthur, PhD Leon High School, Tallahassee (850) 488-1971 (email@example.com) William Bauer, PhD University of Florida, Gainesville (352) 273-3182; (firstname.lastname@example.org) Alice-Ann Darrow, PhD College of Music, FSU, Tallahassee (850) 645-1438; (email@example.com) Jeanne Reynolds Pinellas County Schools, Largo (727) 588-6055; (firstname.lastname@example.org) John K. Southall, PhD Indian River State College, Fort Pierce (772) 462-7810; (email@example.com)
Advertising Sales Valeria Anderson (firstname.lastname@example.org) Richard Brown (email@example.com) 402 Office Plaza, Tallahassee, FL 32301 (850) 878-6844
Official FMEA and FMD Photographers
F E AT U R E S
FOA & Florida ASTA Fall Conference 2018. . . . . .
2018-19 Board of Directors and Committee Chairpersons. . . . . . . . . . . . . . . . . . 12 Prelude to 2019 Conference.. . . . . . . . . . . . . . . . 16 2019 Contracted Hotels. . . . . . . . . . . . . . . . . . . 17 Sing! Dance! Play! . . . . . . . . . . . . . . . . . . . . . 18 2019 FMEA All-State Elementary Chorus.. . . . . . . 22 June M. Hinckley Music Education Scholarship Recipients.. . . . . . . . . . . . . . . . 24, 26 Rehearsal Frames and Music Teacher Evaluations: Highlighting the Look-Fors for Your Administrators. . . . . . . . . . . . . . . . . . . 28 The Inherent Value of the Marching Arts. . . . . . . . 34 D E PA R T M E N T S
Art Director & Production Manager
Lori Danello Roberts, LDR Design Inc. (firstname.lastname@example.org)
Circulation & Copy Manager
Valeria Anderson, (800) 301-3632
5 Advocacy Report.. . . . . . . . . . . 6 Share Your Success. . . . . . . . . . 7 2017-18 FMEA Donors. . . . . . 10 2018-19 FMEA Donors. . . . . . 14 Academic Partners. . . . . . . . . 20 Corporate Partners. . . . . . . . . 21
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Committee Reports. .
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Executive Director’s Notes. Advertiser Index.
. . . . . . . . . .
Officers and Directors.
. . . . .
38 44 45 52 53 54 3
We Begin Another Trip Around the Sun
Kenneth Williams, PhD
he sun rises on a new academic year! A frustration that teachers of music often encounter
President Florida Music Education Association
is to have worked so hard to make significant progress in their program only to start a
new year feeling that they are back to step one of the journey. Perhaps the key to achieving
excitement for the coming year’s possibilities for you and your students is not unlike the farmer, after spring harvest, preparing the field for planting in expectation of the long growing
season and another bountiful yield. I hope that the summer has allowed you the opportunity to
prepare for your upcoming growing season. Remember that for many students in your charge, the journey is new, and for your own well-being and happiness, you might strive to journey a
slightly different path. Take stock in what went well in past years, and then identify specific
elements of the curricula that require addition or refinement. Be intentional of the why and how
of the changes being made, prioritize what is most important, implement with great care and
It should be one’s sole endeavor to see everything afresh and create it anew. – Gustav Mahler
approach all you do with great ARTISTRY.
I have had the great privilege this summer of meeting so
many fantastic Florida music educators through the FMEA Emerging Leaders Conference, the FMEA Summer Institute and the FBA Summer Conference. I heard rave reviews from the
FMEA Multicultural Network Summer Workshop and the FVA Summer Conference, and I am evermore encouraged about the
future of music education in Florida when I witness these professionals collaborating and sharing their experience and wisdom.
I also spent an exciting week with our FMEA Executive
Committee representing our association at the annual NAfME
National Leadership Conference in Washington, D.C. You would all be proud of the sterling leadership of our new NAfME presi-
dent, FMEA’s very own Dr. Kathleen Sanz. The highlight of the week was joining with Jeanne
Reynolds, our FMEA government relations chairwoman, and two of our Florida collegiate members, Cat Papadopulos and Emma Harmon, and spending the day on Capitol Hill meeting
with our Florida members of Congress to advocate for music education. I remind you that once again state funding for education in Florida is in woefully short supply … register and vote!
I encourage you to add the 75th Anniversary FMEA Professional Development Conference
to your calendar, January 9-12, 2019, at the Tampa Convention Center. It will be spectacular.
I am honored to have the privilege to join with Dr. John Southall, FMEA past president; Dr.
Steve Kelly, FMEA president-elect; Dr. Kathleen Sanz, FMEA executive director; the FMEA
Fortunately, something always remains to be harvested. So, let us not be idle.
– Gustav Mahler
staff; the FMEA Board of Directors; and all of YOU, the members of FMEA, to continue to grow
our ability to meet the mission of FMEA, “to promote quality, comprehensive music education for all Florida students as a part of their complete education.” Respectfully,
Kenneth Williams, PhD, President
Florida Music Education Association
Jeanne W. Reynolds
Vote the Change You Wish to See in the World
Chairwoman Government Relations Committee
his is an important election year. The strength of music edu-
interest. Has volunteered to work for local, state or national
one vote. You can be the change you wish to see in the world by
tions to candidates about their support for music and arts
cation programs in your community might depend on your
simply voting. Truly.
For my entire professional career, I have
written about the importance of voting. And
candidate. Regularly researches candidates and poses queseducation in schools. Is highly engaged in
yet we still have FMEA members who do not
excuses. They go something like this: My vote
Must have been registered by July 30 to vote
vote. It is maddening. I have heard all the is not important because …
… I’m just not interested in politics.
… of gerrymandering. It doesn’t matter if I vote. It’s all rigged.
… my vote can’t compete with big money
August 28, 2018
the democratic process.
Imagine the power of our advocacy efforts
if all FMEA members were distinguished voters.
The August primary is upon us. School
board elections are critically important to
your day-to-day work. If you have not yet
November 6, 2018
contacted candidates to ask them about their
Must be registered by October 9 to vote
support for music and arts education, do so immediately. Just asking a candidate a
… all politicians are corrupt, so it doesn’t
matter if I vote. I would just be voting for the lesser of evils.
… I don’t have time to vote.
… I am too busy with my music program. I don’t have time to learn about the candidates.
… of all of the above (and a host of other unacceptable, ridiculous excuses).
In the past few years, we have seen dramatic examples from
throughout the country about the importance of just one vote. That one vote could be your vote.
At the beginning of the year as you consider your goals for
the year, consider your own voting record and rate yourself on
«« Unsatisfactory: never or rarely votes, typically in presidential election years only. «« Basic: votes in all local, state and national elections. «« Proficient: votes in all local, state and national elections, can
the following scale:
name school board members and all other elected officials
who represent him/her. Has contacted elected officials at
«« Distinguished: votes in all local, state and national elecleast once in the past six months on a topic of interest.
question elevates arts education issues. If
multiple people ask questions about music
and arts education, candidates begin to understand that these issues are important to voters. Consider posing the following two questions:
1. Do you support access to high-quality music instruction for
ALL students? If the answer is yes to this relatively easy softball question, follow up with
2. What specific policies or legislation would you introduce or
support to ensure all students have access to high-quality music education?
In late June, a young candidate in New York upset a very
influential incumbent, who had been in office 19 years, to win the primary election. She will go on to the general election and likely will win that important congressional seat. What is
surprising is that weeks before the election, her own polling suggested that she was behind by 36 percentage points. She went on to win the election by 15 points. How did she do this?
She mobilized volunteers (the distinguished voters as described above) and connected with voters one on one (perhaps some of the unsatisfactory nonvoters as described above).
Just as that candidate had faith in her ability to win the race,
tions, can name school board members and all other elect-
you too need to have faith that your vote matters. Commit today
officials at least once in the past six months on a topic of
ed officials who represent him/her. Has contacted elected
6 F l o r i d a
to make a difference. Vote the change you wish to see in the
ShareYourSuccess Florida Vocal Association High School Choirs of Distinction 2017-2018 At the FVA State Choral Music Performance Assessments, adjudication panels may select high school choirs who present truly exceptional performances for special recognition.
Any high school choir receiving at least two superior with distinction ratings (provided the
final rating is not lower than a superior) is recognized as a Choir of Distinction. This year, 28 choirs have been designated as High School Choirs of Distinction!
These 28 choirs from 17 schools—and their directors—were recognized during this year’s
Awards Ceremony at the FVA Summer Convention in Altamonte Springs. The full list of High School Choirs of Distinction may be found on our website (FVA.net).
On behalf of the entire association, we offer our sincere congratulations to these choirs and their directors! Alexander W. Dreyfoos School of the Arts (District 14) Belle Chanson & Singers Ken Taylor, Director
Lake Minneola High School (District 6) SoLa Voce Terri Jo Fox, Director
Boynton Beach Community High School (District 14) Dimensional Harmony 18 Sterling Frederick, Director
Lake Nona High School (District 8) Advanced Women, Combined Treble, Lake Nona Singers Justin Chase & Isiah Maxey, Directors
Coral Reef Senior High School (District 16) Concert Women Shanpatrick Davis, Director Dr. Phillips High School (District 8) Concert Choir, Cora Bella, Premier Chris Barletta & Rebecca Hammac, Directors Lake Howell High School (District 6) Men’s Choir Rebecca Senko, Director
Leon High School (District 3) Capital Singers Tabitha Peck & Peter Pursino, Directors Lois Cowles Harrison Center for Performing Arts (District 12) Women’s Chorus T. Jordan McCarthy, Director
Martin County High School (District 13) OPUS 2018 Chorale & OPUS 2018 Women’s Chorus Shane Thomas, Director Niceville Senior High School (District 1) Niceville Singers, Opus One, Select Women Michael Dye, Director Palm Beach Gardens High School (District 14) Pizzazz Ladies & Women’s Chorus Jamie Bryan, Director Paxon School for Advanced Studies (District 4) Concert Choir & Women’s Chorus Samuel Shingles, Director
St. Thomas Aquinas High School (District 15) St. Thomas Chorale Wanda Drozdovitch, Director Titusville High School (District 10) Terrier Sound Combined Women Minnie Orr, Director Wellington Community High School (District 14) Chamber Chorus Bradford Chase, Director West Orange High School (District 8) Bel Canto & Concert Choir Jeffery Redding, Director
8 F l o r i d a
Thank you to our 2017-2018 donors! Thank you to all of the donors who showed their support through financial donations over the past year. These donations represent supporters who are dedicated to the betterment of music education in Florida. Donors had the option to donate to a fund of their choice, including the FMEA Scholarship Fund, the June M.
Hinckley Scholarship, Music Education Advocacy, Professional Development for Members and the General Fund. Please join FMEA and the FMEA Board of Directors in thanking the individual donors from April 1, 2017, to April 6, 2018. Kevin Albright
Katarzyna (Kasia) Bugaj
Dana Burt In Memory of Nellie D. Burt
Florida Music Education Association In Memory of Wade Lipham
John Anderson Valeria Anderson On Behalf of FMEA in Memory of Sally Schiff
Judy Arthur In Memory of Ray Kickliter
Lucinda Balistreri Braun Balsai David Bayardelle In Memory of Matthew Jensen Ernesto Bayola Richard Beckford Shelton Berg Crystal Berner Jessica Blakley In Memory of Mr. John Rose Donna Blyden Mary Bowden Karen Bradley In Memory of Harold Bradley Gordon Brock Richard Brown In Memory of Linda Mann
10 F l o r i d a
Dale Choate Blair Clawson In Honor of Ginny Densmore Don Coffman Fernando Collar David Collings Sherry Cross David Cruz Alice-Ann Darrow In Memory of Mr. & Mrs. O.B. Darrow
Bradley Franks In Memory of Gary W. Rivenbark Charles Fulton In Memory of Wade Lipham Tina Gill In Memory of Gary W. Rivenbark
Dakeyan Graham On Behalf of the Hillsborough County Secondary Music Council
Margaret Griffin In Memory of Richard Francis Brennan & Barbara Parsons Brennan
Virgina Dickert In Memory of Lindsey Keller & Deborah Liles Jodie Donahoo
Dennis Holt Shannon Hull In Honor of Jackie Hails Llewellyn Humphrey Tom Hurst In Memory of Martha Starke Heide Janshon In Memory of Robert Shaw John Jarvis Neydi Jimenez Sydney Johnson Marsha Juday Tracy Katz Gary Keating In Honor of Dr. Brian Busch Steven Kelly Carlton Kilpatrick
Kathleen Sanz In Memory of Wade Lipham
Robert Todd In Memory of Gary Rivenbark
Kaitlyn Sanzo In Honor of Joseph Sanzo
Travelpro Holiday In Memory of Wade Lipham
Lynn Lambert In Memory of Sally Schiff
Daniel Penn On Behalf of MidOcean Partners & the Board of Directors of Travel Pro & KidKraft in Memory of Wade Lipham & In Memory of Wade Lipham
Martha (Marti) Koch
Monroe Lewis Anthony Lichtenberg Tracy Lisi Patricia Losada In Memory of John Rose
Jason Locker In Memory of June M. Hinckley
Audrey Pilafian Jane Plank
Joseph Luechauer Claudia Lusararian Kevin Lusk Alexander MacDonald Clifford Madsen Robert McCormick Susan McCray Carolyn Minear Ronald Miranda Victor Mongillo Mary Morrow Woodrow Nail Ree Nathan In Memory of June Hinckley John Nista Emily Nolan Amy Pagan
Katherine Plank Marie Radloff In Memory of Charles F. Ulrey Katherine Reynard In Memory of Caroline Sine Jeanne Reynolds Theodore Rhoads Russell Robinson Diana Rollo Stacie Rossow John Sacca Jack Salley Mary Catherine Salo In Memory of Gary Rivenbark Steven Salo In Honor of John “Buck” Jamison & Dr. Bill Prince
Donald Scott Jesus Segura Ted Shistle
Michelle Tredway Richard Uhler Karen VanBeek In Memory of Buddy Lampi Jasmin Vilca
Loren Simon John Sinclair James Smith
Nanette Walker Kathy Wassum-Hamel John Watkins
Howard Weinstein In Memory of Barry Weinstein
Karen Smith In Memory of SFC. Alfred C. & Nita Greening, Retired Susan Snyder
Julian White In Memory of Kenneth Tolbert
Harry Spyker In Honor of Fred Miller
Billy Williamson Richard Yaklich
John Stein Bev Sutherland Zenda Swearengin In Memory of Mrs. Doris B. Swearengin Phil Tempkins
Dedications from Anonymous Donors In Memory of Linda Mann In Memory of Frank “Paco” Rivero
Valerie Terry Leiland Theriot
In Memory of Wade Lipham
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.
2018-2019 Board of Directors
If you need information about either the Florida Music Education Association or the Florida School Music Association, please call us at 1-800-301-3632.
Kenneth Williams, PhD President
John K. Southall, PhD Past President
Steven N. Kelly, PhD President-Elect
Kathleen D. Sanz, PhD FMEA/FSMA Executive Director
Cathi Leibinger FBA President
Stacie Rossow, DMA FCMEA President
Jennifer Luechauer NAfME Collegiate President
Shelby R. Chipman, PhD NAfME Collegiate Advisor
Rosemary Pilonero FEMEA President
Jason Jerald FOA President
Thomas Jomisko FVA President
Ted Shistle Member-at-Large
STAFF Kathleen D. Sanz, PhD Executive Director Valeria Anderson, IOM Director of Operations Richard Brown, CAE Business Manager & Special Projects Josh Bula, PhD Technology Director Jenny Abdelnour Public Affairs & Communications Coordinator Jasmine Van Weelden Marketing & Membership Coordinator
Scott Evans FMSA President
12 F l o r i d a
Debbie Fahmie Awards
Kenneth Williams, PhD Budget/Finance,Development
Alice-Ann Darrow, PhD Diverse Learners
Mary Palmer, EdD Emerging Leaders
John K. Southall, PhD Conference Chairman
Fred Schiff â€” Florida Corporate & Academic Partners
David Williams, PhD Contemporary Media
Jeanne W. Reynolds Government Relations
Bernard Hendricks Multicultural Network
Carolyn Minear, PhD Professional Development
Don D. Coffman, PhD Research Craaig Collins, EdD FSMA President
Retired Members Cynthia Berry
Ed Prasse Secondary General Music
Ian Schwindt Student Leadership
Mark A. Belfast, Jr., PhD Florida Music Director Editor-in-Chief
14 F l o r i d a
2019 FMEA Professional Development Conference & All-State Concerts
January 9-12, 2019 Tampa Convention Center
Greetings! It’s that wonderful time of year when we
night fee to the responsible credit cardholder. (Invalid
The Florida Music Education Association has contract-
We urge any guest holding surplus reservations/
start planning for our very special conference event.
credit cards risk a reservation cancellation.)
ed the following Tampa hotels for the Jan. 9-12, 2019,
rooms to cancel excess reservation(s) as soon as pos-
your hotel of choice directly from the list below begin-
must secure a cancellation confirmation number. (This
Professional Development Conference. Please telephone
ning Sept. 22, 2018, at 9 am EDT. Guest rooms at the
contracted rates are available until the room block is full or until the cancellation deadline of Nov. 10, 2018,
at 5 pm. If your hotel of choice is sold out, please con-
tinue to try to make a reservation until Nov. 10, 2018, as
sible and no later than 5 pm on Nov. 10, 2018, and you courtesy will make surplus rooms available to other guests.) In order to receive complimentary rehearsal and meeting space, you should book guest rooms in the hotel you are using for your group functions.
NOTE: FMEA IS NOT offering a housing bureau ser-
FMEA attendees will periodically release surplus guest
vice. All participants MUST call the hotels directly
A maximum of five (5) guest rooms may be reserved
“Florida Music Education Association” room block rate
per teacher and/or parent. Each and all rooms reserved
on Nov. 10, 2018, will be charged a non-refundable, one-
16 F l o r i d a
beginning Sept. 22, 2018, at 9 am EDT and request the and confirm the guest room rate posted in the hotel listing. We look forward to seeing you in Tampa!
2019 FMEA Professional Development Conference & All-State Concerts January 9-12, 2019 // Tampa Convention Center
Hotels Contracted for 2019 FMEA Professional Development Conference
HOTEL â€“ Cutoff date: 11/10/18
Barrymore Hotel Tampa Riverwalk 111 West Fortune Street, Tampa, FL 33602 Courtyard by Marriott Downtown Tampa 102 East Cass Street, Tampa, FL 33602 DoubleTree by Hilton Tampa Airport Westshore 4500 West Cypress Street, Tampa, FL 33607 Embassy Suites Downtown 513 South Florida Avenue, Tampa, FL 33602 Embassy Suites Westshore 555 North Westshore Blvd., Tampa, FL 33609 Four Points by Sheraton Suites Tampa Airport Westshore 4400 West Cypress Street, Tampa, FL 33607 (includes comp internet) Hilton Downtown 211 North Tampa Street, Tampa, FL 33602 Holiday Inn Tampa Westshore Airport 700 North Westshore Blvd., Tampa, FL 33609 (includes comp internet & parking) Marriott Waterside 700 South Florida Avenue, Tampa, FL 33602 Residence Inn 101 East Tyler Street, Tampa, FL 33602 (includes comp breakfast & internet) Sheraton Tampa Riverwalk Hotel 200 North Ashley Drive, Tampa, FL 33602 Westin Tampa Waterside 725 South Harbour Island Blvd., Tampa, FL 33602 Discounted parking: $10/self & $15/valet
(813) 223-1351 Group Code: FMEA (813) 229-1100 Group Code: FMEA (813) 879-4800 Group Code: FMEA (813) 769-8300, ext. 1 Group Code: FMEA (800) 749-2974 Group Code: FMEA (888) 627-8261 Group Code: FMEA
(800) 445-8667 Group Code: FMEA (800) 315-2621 or (813) 289-8200 Group Code: FMEA (888) 236-2427 Group Code: FMEA (800) 627-7468 Group Code: FMEA
(800) 325-3535 Group Code: FMEA (800) 937-8461 Group Code: FMEA
ROOM RATES Double Triple
Sing! Dance! J Play! Join us for another unique and exciting opportunity for you and your students to sing, dance and play. You will
not want to miss it! The conductors for the 2019 FMEA All-State Orff Ensemble are
Przybylowski. Imagine how exciting it
will be for your students to work with
two nationally acclaimed Orff teachers,
editorial board for The Orff Echo and as
Cyndee Giebler lives and teaches in
Elemental Music. Michelle is the course
conductors, authors and composers!
northeast Wisconsin. She is a graduate of the University of Wisconsin-Green
Bay and completed her master’s degree at the University of St. Thomas in St.
Paul, Minnesota. She has presented workshops for American Orff-Schulwerk
a trustee for the American Center for director for the UARTS @ Villanova Orff Teacher Education Program, a Level I, II
and III teacher educator for the AOSA
sion to audition students in September.
and III instructor at Baldwin Wallace
encompass the components of Orff
Teacher Education Program, a Level II
University and an adjunct senior pro-
Association chapters around the country
fessor for the University of the Arts.
conventions. In her spare time, Cyndee
Cyndee’s and Michelle’s expertise,
as well as state, regional and national
Michelle’s major instrument is harp.
enjoys composing and arranging music
excitement and energy will transcend
es, so be sure to make time in your
for classroom use, children’s chorus and Michelle Przybylowski teaches music at
Cheltenham Elementary School, and she served on the American Orff Schulwerk
18 F l o r i d a
by Holly Mullenix FMEA All-State Orff Coordinator
beyond the rehearsals and performanc-
schedule to observe their work. Your teaching practice is sure to be heightened
and enhanced. It starts with your deci-
Auditions, as well as the concert, will Schulwerk with singing, playing both recorder and mallet instruments, body percussion, movement and improvi-
sation. Information is available on the FEMEA website, and audition prepared pieces may be downloaded to use with your students. Go to femea.flmusiced.
packet is online to help navigate the timeline and requirements. The audition
will be a video upload, so please read
tions are available on the website.
programs. We have many people willing
uploading auditions is Friday, September
organization devoted to providing the
contact us if you have any questions
FMEA and FEMEA memberships by
dents and teachers through these all-state
the packet carefully. The deadline for 21. Donâ€™t forget to renew your NAfME,
September 15 to be eligible. Results will
be posted by 5 pm on October 9. The Orff Ensemble teacher check-in will begin Thursday, January 10, at 10:15 am, with the concert at 1:30 pm on Friday, January
11. Jump on board to assist in making this a successful event. Teachers are needed to
serve as adjudicators, to assist at check-in,
to provide student supervision, to help set up and move equipment and more.
Please email email@example.com
to let us know if you are willing to give
your time in service. There will be an online application for adjudicators due by September 1. Qualifications and applica-
to guide you through the process. Please
We are so fortunate to have a state
regarding how you can participate in this
best opportunities to develop both stu-
IMPORTANT DATES August 1
All-State Orff Ensemble information packet on website
Adjudicator application deadline
NAfME, FMEA and FEMEA membership deadline
Orff adjudicators selected and notified
Online audition submissions deadline
Online judging closes at midnight
Audition results posted on website by 5 pm
At Conference Thursday, January 10
Teachers check-in: 10:15 am/West Hall; Rehearsal: 11 am-6 pm
Friday, January 11
Rehearsals: 8 am-12 noon and 12:15-12:45 pm; Concert: 1:30 pm
20 F l o r i d a
2019 FMEA All-State
Elementary Chorus by Robert Todd FMEA All-State Elementary Chorus Coordinator
FEMEA is pleased to announce that Dr.
Ensemble. She conducted the Women’s
All-State Elementary Chorus. Kelly A.
for three years and taught choral music
Kelly Miller is the clinician for the 2019
Miller is coordinator of music education at the University of Central Florida,
where she conducts the Women’s Choir. She teaches introduction to music educa-
tion, secondary choral methods I and II, music learning theory and assessment,
music and the student with exceptionalities and graduate classes in music education, and she supervises student teachers through their internships.
Prior to her appointment at UCF,
Dr. Miller taught at Western Illinois
University as assistant professor of choral
22 F l o r i d a
ing the Concert Choir and Vocal Jazz Music Director
Glee Club at Michigan State University
at the high school level for 13 years in
Michigan, Florida and Nebraska. While in Orlando, Dr. Miller founded the choral/vocal program at Timber Creek High
School, served as chairwoman of District 8 for the Florida Vocal Association and received her national board certification in secondary choral music. Before
directing choirs, Dr. Miller taught band for grades five through 12, music theory and elementary general music in Nebraska.
In addition to her choral directing
and teaching, Dr. Miller has maintained
a large private voice studio and is in
demand to lead choral workshops on
By this time, teachers are well into pre-
80 auditions with three judgesâ€™ scores
uploading and getting paperwork and
complete the tutorial by September 1,
topics including the choral director as
paring students for auditions, recording,
ry, student ownership and team building.
fees in order. There are two important
voice teacher, leadership, creating artistShe frequently serves as a clinician and festival adjudicator. She has been invited
to conduct regional honor choirs and
to provide conference presentations in Missouri, Iowa, Illinois, Nebraska, Florida
and Michigan. Dr. Miller has performed at both divisional and national conventions of the American Choral Directors
Association and at the Nebraska Music
become part of the judging pool, it is sug-
dents for the chorus and September 21,
paring students for auditions. It is a
memberships in order to audition stu-
Nebraska at Kearney.
valuable resource and will answer ques-
be uploaded on the FEMEA website and
tions on how to prepare students for
paperwork postmarked to the district
successful auditions. The tutorial offers
audio examples of the various rubric lev-
Very soon, Past President Marie
service to help select the 200 singers for
music education from the University of
gested that they use the tutorial in pre-
the date that online submissions are to
from Michigan State University, the MM of Nebraska at Omaha and the BA in
Whether or not teachers intend to
join/renew NAfME, FMEA and FEMEA
Radloff will be contacting members from
in music education from the University
please consider it for next year.
deadlines at this point: September 15 to
Educators Association Convention. She holds the DMA in choral conducting
averaged to assign a total. If you cannot
els the judges use to score auditions. Simply go to the FMEA website, open
the judging pool to ask their invaluable
FEMEA, All-State Chorus and click on Become an Endorsed All-State Adjudicator.
the chorus. The judging window is from
All members are welcome and encour-
Saturday, September 22, through Sunday,
aged to use the material. Of course, con-
September 30, with judging closing at
sider completing the exams and becom-
midnight. Teachers typically score 70 to
ing an endorsed judge.
Taylor submitted the following essay with her application for the June M. Hinckley Music Education Scholarship. It appears here with minor editing and the addition of a headline.
The Healing Qualities of Music
by Taylor Koffinas University High School, Orlando, Florida (UCF) June M. Hinckley Music Education Scholarship Recipient
teachers may be forced to be. Art human-
there to guide me and inspire me, and
Music allows us to become more aware of our world and drives us to mend its wounds through the beauty of music …
favor, this time to my own students. I
at this point in time, we were struggling.
for those that looked up to me as well.
for the next generation of music students.
ers, and conflicts sprung out of nowhere
I have always been close with the arts. Music is an outlet of emotions, a way
to escape from the outside world. As a
devoted student, I could never escape the impending assignments, debilitating
stress and constant anxiety—except when I was making music. Being in my band
room or chorus room always seemed to melt away all of my worries, and I felt
at home. My directors have always been
after some time, I decided to return the wanted to do what they all did for me
My growth in my school’s programs is
one of the main reasons I was compelled to go into music. I can use my personal growth as an individual and musician to
help others learn behaviors and utilize such in their musical and their daily lives.
Everything music has given me has got-
ten me through my darkest storms and helped me grow into a mature, dedicated and caring person.
I had no idea that I would be follow-
ing the path I am now going on today. I thought for the longest time that I would
be going into engineering or biology, but that was before I was exposed to the
beauties and connections that we all find
in our music communities. I was chosen to be section leader for low brass for my sophomore year. Our band was and still
is trying to make a name for itself, but
24 F l o r i d a
High schoolers were being high school-
constantly, and I had to fix all of these. It was then that I appreciated this problem-solving and when I began to realize
that I actually had people start coming to
izes people and everyone is unique and important. Sometimes, like myself, these
students need to take a break from the real world. Life is hard, but nobody needs
to be in pain. For me and many people I know, music helped us take a minute and
just breathe. My teachers helped me get past my walls and inspired me to keep
pushing, even when I did not think I could any longer. Though it has always been hard for me, I always stayed strong
Art and music have helped me and many others just get through the day, and if that was all I could do being a director, I would still be happy with being a music educator.
I have always been someone who can
me for help. I have always loved helping
see the good and potential in others, and
what started to happen then made me
is one of the most rewarding things you
others, but I always had to initiate this; start to think that I was doing something
right. I guess I was, as the following year I remained low brass section leader, and my senior year, I was promoted to brass captain. In these positions, I learned how to love my friends and care for them.
I started to help everyone that needed guidance, either with music, or school-
work, or even someone who just needed a hug. I actually became the mother that people looked at me as.
One of the beauties of teaching music is
that you are more human than what other
allowing others to find what I see in them can do as a leader, teacher or even a per-
son. Music education allows for a greater
connection between student and teacher than basic curriculum, and because of
this, we are able to prepare them more for the real world using skills like empathy,
discipline and appreciation for the arts. I
wish to become a music educator to make
the world a better place for everyone. Every young adult has that little bit of
them that wants to save world, and for me, I want to accomplish this by inspiring
our children. Our world currently has a
In todayâ€™s society, it is more common
for people to be properly diagnosed with mental illnesses, from ADD to depres-
sion, thanks to continuously advancing medical fields. The lessening stigma
around mental illness has allowed others
to seek treatment or better cope with their
issues. One treatment for many, like
myself, is enjoying music. Everyone heals differently, but the science of music has
been proven time and again to fix others,
even with the littlest of conflicts. You never can know what may be happening
inside someoneâ€™s head, or in their personal life, but music does have its healing qualities. Arts education should be readily available to anyone because of the
importance it holds in many studentsâ€™ terrible disease, and that is selfishness
I was already well into high school, the
more aware of our world and drives us
dents and educators hit me like a truck.
of music, through bringing us together
the bad things, but you can know when
and hatred. Music allows us to become
to mend its wounds through the beauty to appreciate the one thing that keeps us truly human.
All of my life, I have dreaded losing
my music classes. As a small child, this was one of my greatest fears; what would I do without it? How could I get through
the day? No child should have to worry about losing their outlet of self-expression and creativity. Sadly though, this
did happen to my middle school band director, and though it happened after
lives. Art and music teaches the unteachable: empathy, individuality and self-confidence. Many people do not have access
idea that people cared so little for the stu-
to learning these essential qualities, but simply experiencing the beauty of such a
As a child, you are not really aware of
unique field of knowledge opens a new door for those that did not know that
something is wrong. My old school was
door existed at all. Everyone learns differ-
a K-8, so I knew many of the students
ently, but with music, we are all the same;
that had to go through this change, and
we are human. Humankind learns
it was heartbreaking watching it happen;
through compassion, intensity and devo-
they just did not understand why we had
tion. It is through music education for all
to get rid of something so important to
individuals, of all backgrounds, of all
them. It is imperative that the next gen-
races, of all families, that the human race
eration of teachers and students fights to
can truly become one. We can find this
keep something so integral to the fabric
peace we so deeply long for. We can find
of society. It is through arts education that
this unity we so desperately need.
we can accomplish this.
Zachary submitted the following essay with his application for the June M. Hinckley Music Education Scholarship. It appears here with minor editing and the addition of a headline.
Providing a Musical Education for the Next Generation by Zachary Lindsay F. W. Buchholz High School, Gainesville, Florida June M. Hinckley Music Education Scholarship Recipient
There is no feeling more rewarding than knowing that you will forever be remembered by each person you impact throughout your career.
When I first started playing piano in elementary school, it was me merely playing
an instrument. Every lesson I sat through
I was getting better, but it still was noth-
ing more to me than a piano. When I first started playing saxophone in middle school, it was just yet another object I
was merely “making music” with. It was
not until the years after that I knew what music really meant to me.
For a lifetime, every musician will
remember their educators. It is up to the music educator to make that lifelong impression a negative one, or for it to have
one of my first reasons I wish to become
students. Looking back at elementary
of playing instruments, I can surely say
a positive and everlasting effect on those school, there aren’t very many teachers I can even remember the name of, yet I will
never forget the music teacher I had for years, Ms. Phillips. Looking back at mid-
dle school, there are not many teachers I can remember aside from my band direc-
tor, Mr. McConn. And in the future I will surely wipe all of my high school teachers
from my memory, yet never forget one
a music educator. Throughout my years I have received nothing but the finest
music education. Though they have all
26 F l o r i d a
selves, but the future of this world as
well. Children in grade school (K-12) are young and impressionable and soak up
information like sponges. I wish to be a role model for every person or student that I impact in my career. It is yet another rewarding feeling to know that you are making a large difference in the world,
one generation at a time. Especially in these troubled times around the world, a
proper education that shapes the young future leaders of the next generation is more than just called for. It is needed.
Another very important reason I wish
more years to come, for not only the
me. While of course they taught me how
to effectively play my instrument, there is
so much more to being a music educator than just the “music” parts. I am now get-
student that did not receive a music edu-
throughout your career. I believe that is
not only benefitting the students them-
them and the countless things they taught
something in common: I will never forget
There is no feeling more rewarding
remembered by each person you impact
pass through their programs, they are
to become a music teacher is to preserve
ting ready to leave high school with life
than knowing that you will forever be
shape the young men and women that
taught me different things, they all have
moment of my three years with my band director, Mr. Barat.
As good music educators refine and
skills one would not be able to find in a cation. I would like nothing more than to become this kind of music and life coach
for hundreds of young musicians one day.
arts and arts education through many
future generations I plan on teaching, but for the world for years that follow, too. As previously stated, the world can be a scary place. It is important that in the heat
of the world’s problems, we don’t lose sight of the wonderful act of preserving
the arts. There are countless instances of
programs across the country getting cut,
as the consequence of budget cuts and other “financial issues.” I believe that as
capacity of the human memory. Music improves math ability, improving the grades of every music student significantly. The list goes on and on. Why wouldn’t
we want every child to reach the level
of intellectual success that music chil-
dren have? As previously stated, music
and music teachers have very valued
lessons to share, and I believe every child deserves to have these life lessons if they don’t have the access to it.
Of course, there is no way to tell what
is going on in a person’s life by just look-
ing at them. They could be succeeding, hurting, failing or anything, and sometimes there’s just no way to tell. For exam-
ple, when a student is in a band program, they are most likely similar to a real family by the end of each year. Through all
the hours of rehearsal, all the time spent
on trips and all of the hard work and dedication each member puts in, every band
room becomes like a second home. Many
kids fortunate enough to be in said program find their sense of belonging, and I dive into our world’s troubled waters
we to decide who should and who should
lives of hundreds of children while at
When a school in particular is looking at
ahead, I will make a lasting effect in the the same time showing the world what
a good musical education can achieve for young musicians as they become our world’s future.
As many programs are terminated as
the consequence of budget cuts around the country, many children are deprived
of learning music. As I will fight for the
preservation of arts, I will be fighting for
is not meant for everyone, but who are
fight with the emotional troubles and
instability of adolescence, they don’t have
many people to turn to sometimes. In a
the arts and take some money away, if
musical community, there is much more
not all (in some cases). It will be my job as
support that isn’t always common in plac-
an effective music teacher to show those
es that aren’t close-knit groups like a
looking at the budget that music is so
musical group. Every child deserves to
much more than just making sound.
know they belong somewhere, and as sad
There are countless studies and stories
as it is, not every child feels they have
about the effects of the music on its par-
playing an instrument. It is proven both
teaching. There is no denying that music
some more than others. As many kids
are now so quick to immediately turn to
of all the people who have such amazing
great gift of theirs for a simple lack of
has their own battles to deal with, but
their budget and economic status, they
ticipants. To be more specific than just
and raw talent, and never discover this
adult, or real, world. Obviously everyone
not have access to a music education?
every student who doesn’t have the access to a music education. It is terrible to think
who they really are, as they head into the
people to even truly call a family. Those
children do not deserve to be deprived of
“music,” this is more specifically about
a musical education, and I promise to do
everything in my power as an aspiring
in and out of science labs that playing an
music educator to change every life I
instrument does so many positive things
impact for the better, through music edu-
for you. It can actually do things physi-
cally to your brain, like even extend the
REHEARSAL FRAMES AND MUSIC TEACHER EVALUATIONS:
Look-Fors for Your Administrators by DaLaine Chapman
Teachers in primary and secondary
to observe. Many districts statewide have
Ovando, 2001; Papay, 2012). Although
ic evaluations in an effort to improve
what the evaluator is looking for during
nel assist principals and assistant princi-
schools routinely undergo systemat-
instruction. Many of these evaluations
include live observations of classroom
instruction by administrators and other trained professionals (Danielson, 2001; Ovando & Ramirez, 2007). The evaluation
termed these skills look-fors, meaning
an observation. Look-fors are particu-
larly important if the skills are listed on an observation form/checklist; however, music teaching/learning skills (i.e., music skill building) are not typically found on
there are cases in which district personpals, most often it is the responsibility of
the school-level administrators to evaluate the teachers under their supervision.
What should be evaluated? Evaluators
need to know where to look and what
servation conference and one or two
Frequently Asked Questions
work. Often evaluators use assessment
post-observation conference (Clements-
tiveness of teacher evaluations raise ques-
processes for teachers vary from state to
state, but most often include a pre-obfull in-class observations, followed by a
Cortès, 2011). These evaluations typically
lead to formal assessment reports delivered to the teachers by the evaluators.
Most current evaluation systems are
designed not only to document the com-
petence of teaching faculty, but also to
provide individual feedback that may be used to improve a teacher’s skills; howev-
er, it remains to be determined whether the feedback conveyed in formal teacher
evaluations contributes to increasing a teacher’s effectiveness (Croft et al., 2011;
Efforts to optimize the quality and effections about the nature of the assessment
procedures and the means of conveying their results. Current debates surrounding the improvement of teaching assess-
ments often center on the who, what and how of teacher evaluations. Who evaluates? What are we evaluating? How
often should we evaluate? And finally, what are the intended consequences of the evaluation?
individual indicators of effective teach-
ing. As such, they define which aspects of teaching should be examined and where evaluators should focus their attention. This is typically a “one size fits all” evaluation tool, and as is often the case, eval-
uators do their best trying to align the
indicators with what they are observing in a music classroom.
How often should teacher evaluations be
cipals serve as the primary evaluators
ly; once during a full class session during
determine the level of expertise of a
of teachers in public schools (Danielson,
28 F l o r i d a
of education that comprise a great many
conducted? The most widely accepted
Typically, principals and assistant prin-
teacher, there are certain skills they wish
tools adopted by state and local boards
Darling-Hammond et al., 2012).
When evaluators are attempting to
to assess when they observe teachers at
2001; Darling-Hammond et al., 2012;
practice is to evaluate teachers twice year-
the first semester (formative observation)
and once during the second semester
(summative observation). Schedules may
districts, evaluation results are linked to
cation and other elective areas undergo
et al., 2012), and the timing and fre-
remedial programs and termination.
This common approach to evaluations
vary among districts (Darling-Hammond
quency of evaluations vary with the teacher’s experience and expertise. For
perienced teachers, and teachers whose
into account as a component of teacher
example, some districts evaluate inexperformance in the past has been deemed
unsatisfactory, more frequently than they evaluate more experienced and successful teachers.
What should be the consequences of teacher
evaluations? Although the stated goal of teacher evaluations is to improve stu-
dents’ instruction, there is little research to support this premise. Instead, it is often
the case that evaluations merely serve to classify teachers according to their levels of perceived competence. In many
the same evaluations as their colleagues.
decisions about teacher salary, tenure,
is important to note since elective areas
typically do not have standardized tests, and school districts have yet to deter-
When student accomplishment is taken
mine how best to handle the absence of
these data in their evaluations for elective
evaluation, accomplishment is most often
teachers. As a substitute for standard-
defined in terms of scores on annually
ized test scores in elective areas, schools
administered standardized tests, even
sometimes use an average of the school’s
though the connections between specific
reading scores for the elective teachers’
teacher behaviors and student test scores
standardized test score portion of their
have yet to be clearly defined. In fact,
evaluations. Few people think this is a
assessments of student progress are often
far removed from the act of teaching itself, and there are innumerable variables that
affect student progress in school, many of
Recognizing Effective Instruction
effective teaching in every academic
It is important to be able to recognize
which exist quite apart from the behavior
Teachers of art, music, physical edu-
Continued on page 30
Look-Fors Continued from page 29
domain, from physics to physical edu-
moment in every classroom every day.
focuses on intervals of instructional time
to music. Evaluators of music teachers
information intermittently throughout a
goals, which he labeled rehearsal frames.
cation, anatomy to art, mathematics
sometimes evaluate only behaviors they understand, such as classroom manage-
ment and organization; however, these aspects of teaching have little to do with
music making. Behaviors such as class-
Music teachers produce instances of high class period, and it may be that effective
teachers evidence more of these high-information intervals than do their less effective colleagues.
Instances that are devoted to bringing
room management and organization are
about changes in student behavior in
typically do not demonstrate the teacher’s
mation about student learning than do
very important to effective teaching, but skill level of error correction in music.
Defining the attributes of good teach-
ing in any domain is often a difficult process. School districts nationwide have
employed the use of evaluation forms that often have a multitude of individual
components (sometimes as many as 60) for evaluators to mark when attempting
to determine a teacher’s effectiveness;
however, the ability to demonstrate individual components of effective teaching
may not necessarily be a reliable predic-
tor of successful learning in the classroom, particularly the music classroom. It is the effective combination of the components, applied at the appropriate time and in the
appropriate contexts, that lead to changes in student behavior. When thinking about
the complexities of music teaching, being
the moment provide much more infor-
other instances when students engage in
an ongoing activity, such as playing or singing through a piece with no stops for
error correction. While rehearsing a piece of music in its entirety is important, these
instances elicit no behavior change that
would be discernible to an observer. We are fortunate that in music, a subject in
which students are engaged in observable behaviors nearly all the time, there are potentially many instances that elicit a change in academic behavior. An observ-
er may see a music teacher changing an
When music teachers are observed,
evaluators may become overloaded by
the number of variables they are expected
to assess on the required form and, as a result, may miss important aspects of a
all of which are readily observable in the moment.
High-information intervals that reveal
may assist evaluators with their focus of
also be that these instances best exemplify aspects of teaching that differentiate levels of teaching effectiveness. Is it
possible to increase the incisiveness and
efficiency of music teacher evaluation by focusing on intervals of instructional time?
teacher’s behavior. Not all moments in
mative. In fact, it is likely that the qual-
and learning in music, Robert Duke (1994)
a class or a rehearsal are equally infor-
ity of teaching varies from moment to
30 F l o r i d a
goal (target), and typically ranges in duration from several seconds to several min-
utes. The frame begins when a target goal
is identified (either explicitly or implicit-
ly) by the teacher and ends when the goal
is either successfully accomplished or abandoned. Observing rehearsal frames of teaching reduces the number of variables viewed by an observer and focuses
on the extent to which teachers bring about changes in student performance in
the moment. Rehearsal frames have been applied in different contexts of music
teaching, such as observing error cor-
rection in band rehearsals (Cavitt, 2003) and determining the level of expertise of wind conductors (Worthy, 2006).
Given the importance and sometimes
teacher, it seems appropriate to begin
attention during an evaluation. It may
plishment of a proximal performance
ing vowel placements in a choral class,
a bow hold of a string student or address-
effective teaching is necessary for evalu-
feedback that leads to improvements in
instructional time devoted to the accom-
difficulty of recognizing effective instruc-
evidence of successful behavior change
ators to provide accurate and meaningful
A rehearsal frame is a brief interval of
embouchure of a wind player, correcting
able to recognize and articulate the interdependencies among the components of
devoted to identifiable proximal learning
To facilitate the observation of teaching devised an approach to assessment that
tion during an evaluation of a music
using rehearsal frames during the teacher
evaluation process. Rehearsal frames for teacher evaluation purposes are video recorded, and it is important to remember
that they would not be the only aspect of a teacher’s work that is being evaluated.
Evaluators would still make classroom
visits to document relevant concerns,
such as the physical environment of the classroom, how students interact with one another during an extended period of time and classroom management
(although one could argue that in a suc-
cessful rehearsal frame a teacher could not accomplish targeted goals if it were
not for positive classroom management skills).
People who are unsure of what
post-evaluation conference and record
the class that the administrator is evaluating. During the post-observation conference the teacher could explain to the evaluator exactly what she was doing
when making changes in the individu-
al sound of a student or an ensemble; how she changed the bow hold and why it is important; or the difference in the sound of a vocal student when
correct vowels are employed. All of
these conversations allow the teach-
er to have an active voice in the
rehearsal frames are sometimes compare
them to classroom walkthroughs. There is one distinct difference: unlike a class-
room walkthrough, rehearsal frames are not chosen arbitrarily. During classroom walkthroughs, administrators observe
evaluation. These conferences now
have the potential to become a two-sided
Again, one of the advantages we have
conversation, as opposed to a â€œyou-saw-
in music over other subjects is that we can
hear changes taking place throughout an entire class session, moment to moment.
show an evaluator look-fors using vid-
Convincing Your Evaluator
by their definition, rehearsal frames are
salient point of this procedure is that it
Therefore, it is likely that a teacher could
teachers in their classrooms in brief, ran-
eo-recorded rehearsal frames because,
It is important to remember that the
al frames and classroom walkthroughs
devoted to target goals. The logistics of
may be unnecessary for evaluators to
dom selections of time. While rehears-
are both brief, rehearsal frames are not random and are purposely selected to highlight evidence of the intermittently
high information moments that show the teacher making positive changes in
to demonstrate where to focus attention
short term (i.e., in a two-minute rehearsal
the formal evaluations of teachers (n =
12). No evaluator stated that it should be
the sole source of evaluation; however, all
stated that they would like to see it as a complement to live observations.
It may take some convincing before
during an evaluation. This conversation can be used to alert the evaluator to what
you are able to persuade your evaluator
during an observation in a music class-
your best teaching is a viable procedure
to think that using recorded samples of
positive changes look and sound like room.
school year; although this assertion has
the pre-observation conference, a teach-
yet to undergo empirical scrutiny.
imagine using brief video recordings in
evaluator and use the rehearsal frames
frame) is unlikely to effectively change student behavior over the course of a
uators (n = 10) were asked if they could
an embouchure, refining tone production
ly change student performance in the
video recordings (Chapman, 2014), eval-
identified and positive changes are
ference, the teacher would sit with the
that a teacher who cannot successful-
observations of rehearsal frames to full
locate rehearsal frames.
moment, teachers effecting productive
or correcting a rhythm. It could be argued
observation time. In a study comparing
3. Extract excerpts where goals are
changes in student behavior: reshaping
erâ€™s effectiveness in a shorter amount of
1. Video record a class session of your
Look What I Can Do
because evaluators can observe, in the
the same information about the teach-
2. Watch the video (multiple times) to
opportunities for teacher assessment
of time, when they can acquire much of
uation process may look something like
Music education provides important
observe music teachers for longer periods
using rehearsal frames during the eval-
for an evaluation. Here are two talking
points to consider: (1) There is no inherent
If rehearsal frames are not used during
bias in selecting your own best work to
er may follow the steps above for the
Continued on page 32
Look-Fors Continued from page 31
Given the importance and sometimes difficulty of recognizing effective instruction during an evaluation of a music teacher, it seems appropriate to begin using rehearsal frames during the teacher evaluation process.
be evaluated. During a full class session there will be many moments when effec-
tive teachers set goals; some goals will get accomplished and some will not. All
teachers have good days and bad days of teaching, but it is unlikely that an ineffective teacher can suddenly, for the brief
length of a rehearsal frame, become effective and make an accomplished, goal-directed sample of work. (2) An import-
selected rehearsal frames does not dif-
Cavitt, M. E. (2003). A descriptive analysis of error correction in instrumental music rehearsals. Journal of Research in Music Education, 51(3), 218. doi: 10.2307/3345375
ant aspect to convey is that evaluating
fer substantially from evaluating entire
rehearsals; however, evaluating rehearsal
frames may provide a more succinct and meaningful view of a teacher’s skills.
An unintended, yet positive implica-
tion of this process happens when the teacher is watching the video multiple
times searching for rehearsal frames. During this time, a good amount of
reflection and self-assessment likely takes
place. When engaged in any type of skill building (e.g., music, sports or teaching), it is necessary to watch or listen to record-
ings of our own work. Self-reflection is an important tool for self-improvement.
Duke, R. A. (1994). Bringing the art of rehearsing into focus: The rehearsal frame as a model for prescriptive analysis. Journal of Band Research, 30(1), 78–95. Duke, R. A., & Simmons, A. L. (2006). The nature of expertise: Narrative descriptions of 19 common elements observed in the lessons of three renowned artist-teachers. Bulletin of the Council for Research in Music Education, 170, 7–19. Worthy, M. D. (2003). Rehearsal frame analysis of an expert wind conductor in high school vs. college band rehearsals. Bulletin of the Council for Research in Music Education, 156, 11–19. Worthy, M. D. (2006). Observations of three expert wind conductors in college rehearsals. Bulletin of the Council for Research in Music Education, 168, 51–61.
Evaluating music teacher effectiveness
by observing brief excerpts of instruction
may be a way to create an evaluation system for music teachers that will be
meaningful and efficient. As a result, observing recorded rehearsal frames
as a portion of teacher evaluations may ensure that evaluators are not only seeing
what they are required to observe, but also
References Cavitt, M. E. (2003). A descriptive analysis of error correction in instrumental music rehearsals. Journal of Research in Music Education, 51(3), 218. doi: 10.2307/3345375 Chapman, D. (2014). Effects of Observation Duration on Evaluations of Teaching in Secondary School Band and Choir Rehearsals (doctoral dissertation). The University of Texas, Austin, Texas.
what is important to observe.
Clements-Cortès, A. (2011). Designing an effective music teacher evaluation system (part one). The Canadian Music Educator, 53(1), 13.
understanding of how rehearsal frames
Croft, M., Glazerman, S., Goldhaber, D., Loeb, S., Raudenbush, S., Staiger, D., & Whitehurst, G. J. (2011). Passing muster: Evaluating teacher evaluation systems. The Brookings Institution. Retrieved from http://www.brookings.edu/
If you would like to gain a better
have been used in different contexts,
please consider reading the articles listed below. Although none make a connection
to music teacher evaluation, these articles
Danielson, C. (2001). New trends in teacher evaluation. Educational Leadership, 58(5), 12–15.
stand rehearsal frames and their value to
Darling-Hammond, L., Amrein-Beardsley, A., Haertel, E., & Rothstein, J. (2012). Evaluating teacher evaluation. Phi Delta Kappan, 93(6), 8–15.
provide opportunities to better undermusic education.
32 F l o r i d a
Duke, R. A. (1994). Bringing the art of rehearsing into focus: The rehearsal frame as a model for prescriptive analysis. Journal of Band Research, 30(1), 78–95. Ovando, M. N. (2001). Teachers’ perceptions of a learner-centered teacher evaluation system. Journal of Personnel Evaluation in Education, 15(3), 213–231. Ovando, M. N., & Ramirez, A. (2007). Principals’ instructional leadership within a teacher performance appraisal system: Enhancing students’ academic success. Journal of Personnel Evaluation in Education, 20(1), 85–110. Papay, J. P. (2012). Refocusing the debate: Assessing the purposes and tools of teacher evaluation. Harvard Educational Review, 82(1), 123–141. https://doi.org/10.17763/ haer.82.1.v40p0833345w6384 Worthy, M. D. (2006). Observations of three expert wind conductors in college rehearsals. Bulletin of the Council for Research in Music Education, (168), 51–61.
Dr. DaLaine Chapman is an assistant professor of music education at Florida Atlantic University. Her research interests are music teacher evaluation and assessment, as well as the supervision of student teachers. Dr. Chapman is an active conductor/clinician, presenting at numerous clinics and conferences nationwide. Her professional affiliations include Florida Music Education Association, Florida Bandmasters Association, Texas Music Educators Association and the National Association for Music Education. She is a member of the Omega chapter of Phi Beta Mu. She holds bachelor’s and master’s degrees from Florida State University and the PhD from the University of Texas at Austin.
The Inherent Value of the
34 F l o r i d a
by Brian Blume
“What are your plans for this summer?”
I was a freshman percussion major at Indiana University
when my teacher, the legendary Tony Cirone, asked me this question.
“Well, I’ll be marching another season of drum corps with
the Glassmen,” I said.
He replied with disappointment, “Oh, man. Really? You
shouldn’t waste your summer doing that. You need to be going to a music festival or performance camp.”
My decision had already been made, and I went on to march
my second season with the Glassmen as a snare drummer. About a year later, a similar conversation ensued in my lesson
with Mr. Cirone. This time I asked him, “Have you seen a
show lately?” He had not seen a drum and bugle corps show
for decades. Based on this conversation and others, I was convinced he simply had no idea what happened in a 21st century
drum corps percussion section.
After sharing with Mr. Cirone that some of the Glassmen
members I marched with were percussion students at Juilliard
(where he went to school), Manhattan School of Music and other reputable music schools (including another Indiana stu-
dent who studied with him), I convinced him to attend a show. My parents were kind enough to purchase Mr. Cirone a ticket to the DCI Indianapolis show that summer. Demonstrating
his humility and willingness to learn, he attended. Upon returning to IU that fall, Mr. Cirone expressed his surprise and delight at how musically and technically advanced the
percussion ensembles were, especially the front ensembles. (“They’re all playing with four mallets!”) Mr. Cirone’s respect
for the marching activity began to grow as he saw the connections between what happened on a drum corps tour and the progress students made as performers and musicians.
Perhaps the number of educators who find little to no value
in the marching arts has decreased in the last 10 to 15 years,
but certainly many remain who may not understand the immense benefits of a well-led marching activity––marching
band, drum corps or indoor marching ensembles. While the Continued on page 36
Marching Arts Continued from page 35
following list is not exhaustive, I hope
3. Chops. The ability to control and
clicks, but it keeps them from wandering
(for percussionists) or to play with vol-
5. Understanding the process of
too far from a consistent pulse.
to highlight a few ways the marching
use your implements at a very high level
ume and control for long periods (for
achieving excellence. The nature of a
ing in a high-level marching ensemble.
that students rehearse in great detail,
arts can help to shape better all-around
1. Listening. Of course, listening is
a part of all music, but nowhere in my
life have I had to focus my listening more than while marching in or teaching
marching ensembles. I believe excellent listening skills may be learned outside the marching activity, but the large number of musicians who participate in marching
programs each year merits giving careful consideration to this important curricu-
lar goal and musical skill. The listening skills developed during marching activi-
ties––clarity, balance, rhythmic accuracy,
timbre, blend––can then be applied and
winds) is a prerequisite for participat-
Students continue to develop even greater strength, stamina, consistency and control throughout the course of a season
and a marching career. The competitive nature of the activity continues to drive
technical skill levels higher, and when good teachers help students translate the
technical skills/chops they develop in the marching arena to the concert stage,
silent? Then I need to be set and silent.
Does the trumpet section leader bring
her horn up on count three? Then I need
to bring my horn up on count three. Does the drum major tend to start that accele-
rando a couple of beats early? Then I must
be aware and go with him. Awareness of details is highly valued in this activity, and it’s a great place to teach it to students
who have not often had to think about
such things. This awareness transfers to
indoor musical ensembles when a student
takes notice of small conductor cues, the
sounds of another section, how a principal player bows a passage, etc. I also
believe this awareness can extend to daily life. As students become more perceptive in interpersonal interactions, they may become more aware of the needs of others and find themselves with opportunities to demonstrate greater empathy.
36 F l o r i d a
Peak, leading researcher in expert performance Anders Ericsson asserts that “having students create mental representa-
tions in one area helps them understand exactly what it takes to be successful not only in that area but in others as well.”1 A
that becomes increasingly detailed and
mer than a student who does not. The
to consider. Is the center snare set and
ers who guide their practice. In his book
4. Tempo control. I would guess that a
2. Awareness. Related to listening, the
in the marching activity is important
again, with constant feedback from teach-
mental representation is a structure held
students to meet high musical demands.
student who marches drum corps hears
level of awareness encouraged and taught
repeating and refining, over and over
the result is an ever-increasing ability of
reinforced in a chamber ensemble, band or orchestra setting.
competitive marching ensemble is such
more metronome beeps in a given summarching student learns how to inter-
nalize the pulse and occasionally move
in a performer’s mind, much like a map, sophisticated through practice. “These representations allow [expert performers] to make faster, more accurate decisions
and respond more quickly and effective-
ly in a given situation.”2 Ericsson claims
around it, adjust to it, feel it in his or her
(and I agree) that “generally the only
what that tempo sounds and feels like.
tations are those who are pursuing some
feet or entire body and memorize exactly I have taught many students who had
little understanding of how to work with
students who do develop such represenskill outside of school––playing a sport or
a musical instrument, for instance.”3 As
a metronome and others who came to me
the marching arts are a fusion of sport
making us play with a click track now,
to learn the high-quality practice habits
saying, “My worship leader at church is
and it’s really weird!” If these students
had participated in marching band or drum corps, it is likely they would have
been more comfortable working with a
metronome or a click track. Through techniques implemented in rehearsals,
and music, they provide opportunities
of planning, execution and evaluation of
performance. A good teacher ought then to help students transfer and apply these
skills to other areas outside the marching activity.
6. Rehearsal/practice habits. A stu-
students may also learn how to move
dent participating in the marching arts
forming click-free. For example, instead
do in terms of rehearsal habits. One might
away from the metronome toward perof setting a metronome to sound on every beat, one may set it to click every other
beat, every third beat in 3/4 time or every
fourth beat in 4/4 time. This requires
students to maintain the pulse between
might learn what to do and what not to learn how to use a metronome in various
ways to help with rhythm, or that a segment isn’t really ready for performance
until it can be executed well 10 consecutive times. A student might discover that
performing a run-through with minimal
rehearsal that day is a good indicator of where she stands with that segment, or simply that getting good at something
takes many hours and lots of disciplined work. These are things I learned from my marching experience. I also learned that rehearsing too long without a mental break becomes counterproductive.
Efficiency and quality are far better than quantity.
7. Teamwork. Working in a marching
ensemble to create a meaningful musical
and visual experience for an audience is a powerful thing. Spending hundreds
of hours with your section mates can be trying, but rewarding, as you learn
to work with diverse personalities and demonstrate respect for those in lead-
ership positions. I remember my corps
feel like it. They learn to dig deep and find
in a season of marching band or indoor
everyone in our section, but we had to get
music. The many benefits of frequently
gained through the marching arts can
director telling us we didn’t have to like
along with them, respect them and work well with them. That’s a good lesson for students to learn, and it prepares students
to be better suited for life as professionals.
8. Performance experience. A member
of a drum corps might perform pub-
licly 40-plus times in a summer. What
an opportunity to grow as a performer! What other group enables high school or college students to perform in front
of thousands of fans four or five nights a week for an entire summer? As a comparison, in a high school marching band or
an indoor percussion ensemble, students
ways to express themselves through the performing under pressure in a marching
to handle pressure situations, to control nerves and to perform at a high level night after night, even when they don’t
better all-around musicians.
and a strong stage presence, which may help mitigate the effects of performance
cal events. I have certainly witnessed
sor of percussion
anxiety both within and outside of musi-
somewhat reserved students develop a
more confident demeanor through the
University, where he
course of a season, and I have also seen
that confidence manifest in their daily
world music and the
lives and personal interactions.
SEU Fireline. Mr.
Again, I do not wish to say that I
or to other musical experiences. There are
ple is extremely valuable. Students learn
ness, teamwork, etc., ultimately shaping
marching arts often develop confidence
formances, football or basketball games, times students perform in front of peo-
els of musicianship, discipline, aware-
stage. Performers who participate in the
believe the marching arts are the best
competitions, etc.). The sheer number of
elevate participating students to new lev-
ensemble may also transfer to the concert
may perform as many as 20 times through the course of a season (e.g., parent per-
percussion to the stage. The experiences
Blume regularly performs, presents clinics and judges at events around the country, and
thing in the world or that they are superi-
he has published more than 30 compositions for percussion.
certainly opportunities for improvement
in the culture and practices of the march-
1. Anders Ericsson, Peak: Secrets from the New Science of Expertise (Boston: Houghton Mifflin Harcourt, 2016), p. 255.
ing arts, but I’ll save that discussion for
another time. For now, I hope that consid-
ering these benefits will encourage you to make the transfers from what students do
Ibid., p. 62
Ibid., p. 254.
reetings, everyone, and welcome
back! I hope your summer was
restful and rejuvenating as we prepare
for the 2018-19 school year. As I enter
my second year of service to you as
president, I continue to be amazed at the incredible commitment of FOA to empowering our members and students
statewide. This cannot be done without the outstanding work of our FOA board
members. We extend a special thanks
to the following district chairpersons leaving the board: Stephanie Sandritter, Michelle Eggen, April Queen and Angel
Colon. We will certainly miss your presence and thank you for your excellent
FLORIDA ORCHESTRA ASSOCIATION
Jason Jerald, President
year, please review the upcoming reg-
are sufficient slots in the two training
FOA membership dues need to be post-
attend the training; however, the avail-
marked by August 25 or paid online by September 1. All-state registration/
eligibility information can be found on the FMEA website (FMEA.org) or the FOA website (myfoa.org). The all-state
School Orchestra. Thank you for your commitment to serve our association.
As you prepare for the new school
registration form at myfoa.org.
I would like to encourage each of you
2018 FOA/FLASTA Fall Conference to be
addition to your FOA/FMEA dues, please ensure that your FSMA dues are paid so
that your students are eligible to participate in MPAs this year.
All current adjudicators are required
will be implemented in the 2018-19 school
mation, see the information page and
for the recording date in your district. In
board: David Cruz, District 16; Jenna 18; Paul Jackson, District 10; and Vivian
first-served basis. For additional infor-
to get involved with our association. One
Check with your district chairperson
to attend a training session in the use of
Vincitore, District 8; Kayla Lisa, District
able slots will be filled on a first-come,
recording window is September 10-15.
service to FOA. I would like to welcome
the following incoming members to the
times to allow all current adjudicators to
the new FOA adjudication forms, which year. Should an adjudicator not partic-
ipate in the training, he or she will no longer be an approved FOA adjudicator. There are two sessions available for this
required training on September 26 and 27, just prior to the Fall Conference. There
way of participating is by attending the held at the Hilton Orlando on September 27-28. Our keynote speakers will be Peter
L. Boonshaft and Carrie Lane Gruselle. Attending this conference is a wonder-
ful way to obtain teaching ideas and to network with fellow educators in a
relaxed atmosphere. Be sure to check out the exciting sessions being offered.
Registration information is included in this edition of Florida Music Director (see page 8) and on our website.
Another way to get involved is to
participate in the all-state adjudication
on Saturday, September 29, following the Fall Conference. Breakfast and lunch will
be provided. Listening to the recordings will give you insight into the level of
preparation invested in these auditions. Please contact your district chairperson if you are interested in participating in this activity. We look forward to seeing you in September!
Please stay involved and informed in
your district by attending your district
meetings, starting soon! If you do not know your district chairperson, visit our website (myfoa.org). I would like to welcome our new teachers to the profession and encourage you to reach out to your
peers for insight and support. In the
midst of the daily unforeseen challenges, I want to thank you, my fellow educators, for choosing the greatest profession in the
world. Keep changing lives one note at a
38 F l o r i d a
time. I hope to see you soon. Music Director
FLORIDA COLLEGIATE NAFME
Shelby R. Chipman, PhD, Advisor
reetings! Those who have a pas-
sion for music education and the
Music is the purest form of art … therefore true poets, they who are seers, seek to express the universe in terms of music. – Albert Einstein
valuable role it plays must stand up and
be a speaking voice for their profession
through their interactions with the world. The 21st century educator must acquire the skill set that enables teaching all students in a global society.
dent experiences under the leadership
Whether your concentration is in elemen-
Luechauer (FSU). Some of the discus-
musical area, increasing your base of
tary music, voice, instrumental or another
of our 2018-19 president, Ms. Jennifer
learning is the cornerstone of becoming
sions from the recent FCNAfME execu-
an effective teacher.
tive board meeting in Orlando included The theme during the 2018 NAfME
National Conference to be held November 11-14 in Dallas, Texas, is AMPLIFY: Lead.
Engage. Inspire. One type of creativity
can be defined as the ability to modify a traditional idea or pattern or to find a
new meaning or process of application. As musicians, we do this on a daily basis; however, it is imperative that both novice
and veteran music educators plan for professional growth and work tirelessly
to refine their knowledge of teaching and learning in the classroom setting.
In addition to the aesthetic qualities
of engaging in music as either a listener
or a performer, music has unique qualities that can only be experienced as a
performer. Reading music requires stu-
sional development outcomes. We will
Florida Music Education Association is
maintain active chapters that should
education for all Florida students as a part
FCNAfME is continuing to provide
resources to enhance our collegiate stu-
has outlined the following theme as a
standing presenters/clinicians; (4) create
means of direction for 2017-19: ARTISTRY:
strong professional ties with the univer-
Teaching & Performing. We are so excit-
sity/college; (5) establish special projects
ed about the 75th Anniversary FMEA
on and off campus; (6) promote/advocate
for music; and (7) maintain good records
Professional Development Conference,
of minutes, finances, membership, etc.
January 9-12, 2019, in Tampa. I am happy
Chapter presidents should lead the way
to share with everyone that I recently was
in encouraging their members to visit the
appointed chair-elect of the NAfME’s
FCNAfME website to acquire firsthand
Collegiate Advisory Council (2018-20). I
knowledge of the objectives and expec-
am humbly grateful to have been select-
tations we are striving to achieve as a
ed and to have the opportunity to work
with various chapters from around the
Collegiate students, chapters and
music’s role in today’s society as devel-
become more efficient in their learning
Ken Williams, PhD, our FMEA president,
of NAfME and FMEA; (3) select out-
to understand themselves and the world
yourself to inspire your students to
of their complete education. Additionally,
set realistic goals; (2) review the vision
around them better. This year, challenge
to promote quality, comprehensive music
continue to emphasize the need to (1)
dents to use the critical thinking process.
Critical thinking should help students
As a reminder, the mission of the
finding ways to improve our profes-
country as we collaborate for excellence
in music teaching. Many thanks to mem-
should acknowledge the importance of
bers of our FMEA Executive Board and others who support the initiatives of the
oped by Vision 2020: The Housewright
collegiate students in this state, as well
Declaration. University settings provide
as those who give so unselfishly to our
the initial learning outcomes, but the best
profession. In closing, continue to build
and most inspiring teaching comes when
relationships, foster communication, stay
book knowledge is applied to live scenari-
active, plan accordingly and be creative.
os in great teacher-student environments.
Best wishes for continued success.
FLORIDA COLLEGIATE NAFME
Jennifer Luechauer, President
Music Education in the Preschool Years by Emma Harmon
he National Association for Music
class, he or she is likely not certified and
natural and important part of a young
a classroom teacher is teaching music, he
Education believes that “music is a
child’s life.” How young does a child have to be for music to be natural and
important? Early childhood education is described as activities and/or experienc-
es that are intended to effect develop-
mental changes in children prior to their
trained in early childhood education. If
for a quality music education for all stu-
in a child’s life for all types of devel-
ers should be ready to teach music. A
in music to teach it. If NAfME is fighting dents, we might as well start with our Implementation of a quality music edu-
for a young child, then early childhood
NAfME and the Florida Office of Early
which we as music educators should be aware and knowledgeable.
The years prior to kindergarten have
been noted to be the most critical to a
child’s musical development. Early interaction with music in a positive way can
help children grow both emotionally and intellectually, as brain development
is the most significant from birth to age 3, and the brain develops to 90% by the time a child reaches age 5. NAfME pro-
possible as the curriculum, guided by Learning in the “Creative Expression Through the Arts” learning area, is very
similar to kindergarten with substantially more guidance. Prekindergarten
music classes should be play centered and exploratory with a variety of activ-
ities and objectives within one class
period. It is also important to collaborate with the classroom teacher so as poten-
tially to teach a variety of objectives through music.
A 30-minute prekindergarten music
vides an extensive list of standards for
class could look like:
the Florida Sunshine State Standards do
2. One-minute transition
music education in prekindergarten, but not.
One of the key issues with music
1. Welcome song (3 minutes) 3. Sound center explorations - students explore the musical instruments with
education in early childhood educa-
supervision from the music educator
tion is the lack of training. In the state
or classroom teacher (3 minutes on
of Florida, music educators are certi-
each station/9 minutes total)
fied to teach kindergarten through 12
• Small hand drums
grade. Early childhood educators are
not required to learn anything about music in their training. Voluntary prekindergarten (VPK) was funded by the
state in 2005, and some of these VPK programs have music classes. The teach-
ers of those classes can be a variety of
educators, certified or not. If a certified
• Unpitched percussion instruments
4. One-minute transition
5. Rote song using hand motions focusing mostly on sol-mi (5 minutes)
6. One-minute transition
7. Movement activity that allows for
music educator is teaching a VPK music
40 F l o r i d a
(e.g., nursery rhymes) (3 minutes)
10. Goodbye song (3 minutes)
cation in early childhood education is
music education is something about
9. Word poems taught by rote
or she may not have the correct training
entry into elementary school. If NAfME says that music is natural and important
8. One-minute transition
creativity (e.g., scarves, freeze dance, etc.) (5 minutes)
As early childhood is a crucial time
Prekindergarten music classes should be play centered and exploratory with a variety of activities and objectives within one class period.
possible way to implement this could be
class could be if the students already had
in early childhood education for elemen-
and hearing sounds. What a wonderful
an extra certification in music education tary music teachers, as well as a music
education course included in certifica-
tion for prekindergarten teachers. As an aspiring elementary music educator, I imagine how wonderful a kindergarten
knowledge of steady beat, creating songs
Florida Office of Early Learning. (2011). Florida Early Learning and Developmental Standards for Four-Year-Olds. Retrieved April 20, 2017, from Florida Early Learning: http://flbt5. floridaearlylearning.com/BT5_Uploads/ ListofStandardsandBenchmarks.pdf
basis it would be for children to have a
positive and beneficial music education during their critical development years,
Hulburt, C. (2014, September 10). The Place of Music Education in the Pre-K Movement. Retrieved April 21, 2017, from NAfME - The Advocacy Bulletin: http://www.nafme.org/ the-place-of-music-education-in-the-pre-kmovement/
guiding them to continue to create music in the future.
Jay, E. F. (2015, July 21). Why Preschool Teachers Need Music Education in Their Classrooms. Retrieved April 21, 2017, from Concordia University Portland: http:// education.cu-portland.edu/blog/news/preschool-teachers-music-education/ Kelly, S. N. (2016). Teaching Music In Amercan Society (Second Edition ed.). New York, NY: Routledge. Kenney, S. (2004). The Importance of Music Centers in the Early Childhood Class. General Music Today, 28-36. May, B. N. (2013). Public School Early Childhood Music Education: Challenges and Solutions. General Music Today, 23 (1), 40-44. National Association for Music Education. (2014). 2014 Music Standards (PK-General Music). Retrieved April 19, 2017, from National Association for Music Education: h t t p://w w w. n a f m e. o r g/w p - c o n t e n t/ files/2014/11/2014-Music-Standards-PK-8Strand.pdf National Association for Music Education. (1991, July). Early Childhood Education Position Statement. Retrieved April 19, 2017, from National Association for Music Education: http://www.nafme.org/about/ position-statements/early-childhood-education-position-statement/early-childhood-education/ Scott, L. K. (2004). Early Childhood Brain Development and Elemtnary Music Curricula: Are They in Tune? General Music Today, 20-27. Suzuki Association of the Americas. (2017). About the Suzuki Method. Retrieved April 20, 2017, from https://suzukiassociation.org/ about/suzuki-method/ U.S. Department of Education. (n.d.). Children’s Brain Development. Retrieved April 20, 2017, from Education Matters: https:// sites.ed.gov/fbnp/files/2013/07/EducationM at t e r s - C F BN P- C h i ld r e n s - Br a i n Development.pdf
FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION
Rosemary Pilonero, President
ello, Florida’s fabulous elementary
with choir conductor Barbara Sullivan-
music, work with master teachers for the
a wonderful summer break and have
tors Le Ann Hasker and Eldean Hagans.
FEMEA members are invited to attend
spend time with family and friends and
3 at Florida Southern University, with
music educators! I hope you’ve had
had a chance to have some fun, relax, recharge your batteries for another great
school year. Your FEMEA board has been working hard to bring you exciting, new opportunities this fall.
I am very excited and proud to
FEMEA Regional Honor Choir and Orff Ensemble! North Regional will be held
October 27 at the University of Florida,
Mansfield and Orff ensemble conduc-
South Regional will be held November
choir conductor Lu Anne Leone and Orff ensemble conductors Sandy Lantz and Gretchen Wahlberg. We look forward
to serving more teachers and students through these ensembles and programs. Participating students will be invited to
attend through the all-state audition pro-
cess. Each regional will be a one-day event where students pick up a packet of
day and perform a concert that evening. at no cost, whether or not you have
participating students. Come see master
teachers work with Florida students and observe wonderful teaching processes.
Please stay tuned to our website and
newsletters for details and further infor-
mation. Be sure to renew your FEMEA/ FMEA membership by September 15 so your students can be a part of this new
event. All audition information can be
found at femea.flmusiced.org in the all-
state section. This will surely be a positive musical experience for all!
Due to our membership growth,
FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION
FEMEA has realigned several counties
and added a new district. Joani Slawson
Stacie Rossow, DMA, President
will move over to serve as chairwoman
t is that time of year with which we have a love-hate relationship. While we
mourn the end of summer, it is that joyous time when we welcome a new class
of music students to our classes to begin their formation as our future colleagues.
It is the time for football, marching band, high school festivals and applied les-
sons—the most wonderful time of the year!
As you get back into the swing of things, I hope you will make plans to join
your colleagues at the Fall Conference. After many years of absence from the
event, our collegiate and supervisor friends have welcomed us back—this year to
the University of Central Florida on Sunday, October 28, and Monday, October 29. We are in the process of working out the details, but please watch your email and
our Facebook page (@Florida College Music Association) for details. Encourage all of your colleagues to attend and participate. We want to grow this event and our collaboration within the state.
Also, please take this time to renew your FMEA membership. Far too often, our
college professionals delay their renewal until just before the conference or when it is time to submit a proposal for the conference. I ask that you renew early in the fall so we can include you in correspondence and planning.
of District 8 (Polk, Brevard, Osceola), and Sydney Johnson has been appoint-
ed to serve as chairwoman of District 4 (Sumter, Lake, Orange, Seminole,
Volusia). We also welcome David Katz,
District 2, and Jennifer LeBlanc, District 3 (Pinellas, Hillsborough). Returning
board members are Marie Radloff, past president; Ernesta Chicklowski, presi-
dent-elect; Jennifer Sullivan, executive
director; Claudia Lusararian, District 1; Sondra Collins, District 5; Ashley Peek, District 6; Lesleigh Howard-Zeno, District
7; Robert Todd, coordinator, All-State
Chorus; and Holly Mullenix, coordinator, All-State Orff Ensemble.
As your FEMEA president, I look for-
ward to continued work with the FMEA
I am looking forward to seeing many of you in October!
and FEMEA boards to support you and
your students. Please do not hesitate to contact me or any of our FEMEA execu-
Interested in submitting an article for publication in the Florida Music Director?
Learn more at: FMEA.org/FMD
42 F l o r i d a
tive board members with any comments,
questions or concerns. Visit the FEMEA website at femea.flmusiced.org for con-
tact information. Best wishes for a successful and musical school year!
FLORIDA MUSIC SUPERVISION ASSOCIATION
Scott Evans, President
FLORIDA BANDMASTERS ASSOCIATION
Cathi Leibinger, President
ne of my favorite aspects of being an educator is that we have multiple chances for
new beginnings and do-overs. The summer break offers teachers the opportunity to rejuvenate their spirit, process their successes and evaluate oppor-
tunities for growth. The start of the new school
year provides us a temporary pause to look at the processes and procedures we followed the previous year that may or may not have effectively
maximized instructional time. The most successful teachers take this opportunity to adjust, pivot and reimagine the logistics of learning to get to
the true artistry of teaching. Master teachers are careful to plan every detail of movement, from
arrival to departure, so that students navigate the learning process with ease and comfort. A well-structured classroom allows for greater flex-
ibility in the types of engaging activities in which students can participate and ultimately leads to higher rates of mastery for our students.
As you return to work from your summer
reprieve, commit to reevaluating, processing and
adjusting at least one critical element of your teaching practice. Whether you are getting ready
to start your first year of teaching or finding yourself just a few years from retirement, this reflec-
tive practice will keep that spring in your step
necessary for inspiring the creative minds of the
young artists in our classrooms. Call upon your colleagues for input and advice on improving areas of need, and share your successes with others so that they might benefit from your efforts.
Schedule yourself opportunities throughout the
week to evaluate any new approaches to teaching, and give yourself permission to adjust when things are not working as planned.
Best wishes on a successful new school year.
The work you do is inspiring and essential to the
happiness and well-being of all students. Take the time to plan with purpose so that every moment, every opportunity with your students is artistically and educationally relevant. Consider your instructional time as precious, and teach with
intent. All that you do for students is recognized, valued and very much appreciated. Have a fantastic school year!
Photo: American Band College
s I write this, I’m in the midst of
my annual experience at the American Band College
by 200 band directors, clinicians,
and conductors, all getting inspired by each
other. The FBA Clinics
Committee is wrapping up the final details for our summer confer-
ence featuring Allan McMurray as the keynote presenter. I also see on social media that many of my band director friends are attending
workshops, conducting symposiums and engaging in various other
endeavors to refill their energy and enthusiasm reserves for the 201819 school year. We are certainly a unique group of educators, taking our summers off to learn more and to refine our skills. I hope that in
the midst of it all, you did find time to relax, travel and make memories with friends and family.
One way to maintain a renewed energy and focus when the school
year begins is to plan ahead. As Dwight D. Eisenhower once said,
“In preparing for battle I have always found that plans are useless, but planning is indispensable.” Sometimes we feel as if we are in the
midst of a skirmish as we dodge the demands of the job, but thinking through your calendar of events for the year can really help prioritize activities when time
is in short supply. If you don’t manage your
calendar, it will manage you. Be sure to put FBA
district meetings, MPA events and our annual
FMEA conference on it, and make it a priority
to take full part in these professional activities.
You’ll soon develop a network of people you can
trust to give you honest feedback and positive
encouragement when things aren’t going the way
you planned, and they will be your biggest cheerleaders when they do.
If you have trouble with planning and prioritizing, I highly rec-
ommend reading The Seven Habits of Highly Effective People by Steven
Covey. Pay particular attention to the time management quadrants to determine whether activities are important and/or urgent. Be
mindful to focus early and often on the big picture. It will help you manage your stress and balance your life.
I am looking forward to serving you all.
ResearchPuzzles for music teachers
I’ve heard many expressions: world music, multicultural music, culturally responsive pedagogy. How are they similar or different? What can music teachers expect from using these approaches in their classrooms?
usic educators may be curious about
learners to get out of their comfort zones and to
for teaching culturally diverse music in music
perspectives. Furthermore, intercultural educa-
the meanings of different terms used
education. Because each term can influence
teachers’ and learners’ attitudes toward musics
from other cultures, these terms may yield distinct learning outcomes. World music is one
way of indicating curricular diversity; addition-
ally, multiculturalism, intercultural education and culturally responsive pedagogy (CRP) have RESEARCH COMMITTEE CHAIRMAN
Don D. Coffman, PhD University of Miami This on-going col-
umn seeks to stimulate awareness of
research issues for
and researchers. This month we
have a contribu-
tion from a mem-
ber of the Research
University of Florida.
been used by music education researchers and practitioners.
Among these, world music is probably the
tion and CRP expand upon the types of music included. Previously, if a musical piece from a
marginalized cultural background did not con-
tain obvious ethnic or foreign elements, it was hardly considered world music or multicultural
music. Intercultural education and CRP, on the
other hand, attempted to include not only other ethnic groups but also musics of marginalized people groups.
One or two decades ago, scholars examined
earliest term used in music education, arising
the educational outcomes of world music les-
world music generally referred to “musics outside
mainly dealt with foreign and/or ethnic musical
in the second half of the 20th century. The term
the European and European-derived art music traditions” (Olsen, 1992). The terms multicultural
music and world music share a similar meaning.
Since the 20th century, these terms have fostered
growing interests in foreign and ethnic genres of musics in classrooms. However, these terms also faced criticisms that they continuously brack-
eted cultural musics off from the mainstream
sons or multicultural music education, which genres. Some research has shown that students’
music preferences and attitudes toward ethnic
and foreign music improved and that students obtained musical and cultural knowledge of cul-
turally diverse musics. However, these learning outcomes have largely been concerned with the music learners’ attitudes and beliefs.
More recently, because intercultural educa-
study of music. In other words, while people
tion and CRP can challenge music teachers’
musics under these terms, they were still reluc-
ble us versus them biases, sociological learning
became more interested in the culturally diverse
tant to accept these cultural musics as a main-
stream part of their musical lives. Intercultural education and culturally responsive pedagogy (CRP) came into use after the two aforemen-
tioned terms. Resonating with world music
and multiculturalism, intercultural education and CRP provide further exposure to a variety
and learners’ comfort zones and reshape possioutcomes have emerged. Thus, learning out-
comes related to intercultural competence, such as global awareness, viewing the world from
others’ perspectives, compassion, respect for
other cultures and tolerance for ambiguity have appeared.
Music teachers may wish to expand their per-
of cultural experiences. Intercultural education
spectives to inspire students to move outside
tude toward cultural musics; they encourage
diverse music as a part of their lives. This will
and CRP emphasize more of an inclusive atti-
44 F l o r i d a
deconstruct divisions between us versus them
their comfort zones and embrace culturally
University of Florida
CommitteeReports PROFESSIONAL DEVELOPMENT COMMITTEE
Carolyn Minear, Chairwoman
help equip students with the intercultural competence necessary to live in
a global society. For more informa-
tion on intercultural education and
CRP, please refer to the articles below.
Resources Abril, C. R. (2013). Toward more a culturally responsive general music classroom. General Music Today, 27(1), 6-11. doi: 10.1177/1048371313478946 Burton, S. L., Westvall, M., & Karlsson, S. (2013). Stepping aside from myself: Intercultural perspectives on music teacher education. Journal of Music Teacher Education, 23(1), 92-105. Cain, M. (2015). Celebrating musical diversity: Training culturally responsive music educators in multiracial Singapore. International journal of music education, 33(4), 463-475. Carson, C., & Westvall, M. (2016). Intercultural approaches and “diversified normality” in music teacher education: reflections from two angles. Action, Criticism, and Theory for Music Education, 15(3), 37-52. Shaw, J. T. (2016). “The music I was meant to sing” Adolescent choral students’ perceptions of culturally responsive pedagogy. Journal of Research in Music Education, 64(1), 45-70.
Reference Olsen, D. A. (1992). World music and ethnomusicology—understanding the differences. College Music Symposium, 32. Retrieved from https://symposium. music.org/index.php?opt ion=com_ k 2&view=item&id=3237:world-music-and-ethnomusicology-understanding-the-differences
Email your questions and feedback to firstname.lastname@example.org with a subject heading Research Puzzles. Your questions, if selected for publication, will remain anonymous.
elcome to the 2018-19 academic year! Beginnings are powerful, shaping everything to come. If you are a new teacher, ask your experienced colleagues
to help you navigate this pivotal time successfully, because no amount of excellent training can totally prepare you for the whirlwind ahead. If you are an experienced
teacher, reach out and help a new colleague, because we know that on-the-job, in-the-moment training can be the best form of professional development.
One of the most powerful tools for any teacher is a carefully planned calendar.
Hopefully by now all performances and events for the year are locked in and post-
ed for all to access, the sequential curriculum for each class is carefully mapped and you are deep into planning lessons and choosing music to support your curriculum. Congratulations for navigating these essential steps! Certainly planning powerful student experiences and establishing learning goals for our students are
core missions as music educators. Once these items are carefully organized on our
calendar, we can devote our energy to the all-encompassing task of implementing our plans and focusing on the individual and ensemble student needs. We can enjoy
the rewarding aspects of our profession, building ARTISTRY: Teaching & Performing. No matter how overwhelming your calendar appears for this academic year, may
I suggest two more items to schedule? First, block out time for your own personal
enrichment. Great teachers know how essential it is to step away regularly from the teaching rollercoaster in order to maintain their perspective and energy. In a recent article in ChorTeach, an ACDA online publication, teacher James Upton reminds us
that Music Is Best When Surrounded by Rest. He suggests scheduling time to exercise, nap, read and disconnect from all media screens. He encourages us to listen to all
kinds of music, to spend time playing with family and friends and to feel free to say no to anything that would interfere with this scheduled time on your calendar. Second, block out consistent time for your own professional growth. It comes in
as many forms as you can imagine. Be creative and make sure you have set aside this time and placed it on your calendar, including the annual FMEA Professional Development conference in January. Choose at least one growth avenue that is new
to you. If it is not scheduled, it may not happen! Only then will your 2018-19 academic calendar be complete.
elationships are important to leading a happy and healthy life. They
are also important to having a productive professional life. Relationships require
workers seem to be happier at their jobs because of the relationships they cultivate with coworkers.
an investment of time and energy, as
tion and social skills. Relationships are
Diverse and inclusive organizations
well as exercising our best communica-
the building blocks of our profession-
al organization, and without them we
would not have a professional organi-
zation. We need allies and others with shared values. When we attend our pro-
fessional meetings, we know that most
everyone in attendance appreciates music and believes it should be part of the culture we transmit to our youth. We need
relationships to realize our professional goals.
Building relationships takes time, and
it is best to build them before they are
needed. Fortunately, professional relationships give meaning to our work.
From brainstorming in the workroom or meeting room to sharing lunch or social time after work, colleagues can contrib-
make for more innovative, engaged and productive relationships. If diversity is
considered a part of the decision frame-
work of an organization, such relation-
ships will follow. In a state as diverse as
Florida, the cultivation of membership and organizational diversity improves
relationships and fosters innovation. The more representative an organization is, the more likely it is to pursue goals that
are progressive and forward thinking. Widening the breadth of our relationships is essential to embracing diversity.
«« Become involved and encourage others of vate diversity:
ute to the richness of our work and
personal lives. Research indicates that
the more workers feel connected to their colleagues, the more satisfying they find their jobs (Richmond, 2010). American
46 F l o r i d a
Ways to build relationships and culti-
diverse backgrounds to become involved as
well. There is no better way to understand the inner workings of an orga-
nization than by becoming involved. Encouraging others of diverse back-
grounds to become involved is one
way to build relationships and to cultivate diversity.
DIVERSE LEARNERS COMMITTEE Alice-Ann Darrow, PhD Chairwoman
«« Take risks and volunteer. Most volunteers do not know precisely what
they are agreeing to do, but they are
«« Ask for advice from a colleague whose willing to take a risk.
background is different than yours. Diversity of thought nearly always
contributes to more creative and
productive relationships. Knowing and understanding the perspectives of others, particularly those from
diverse backgrounds, creates an environment that is inclusive and inno-
«« Be appreciative. All of us benefit from vative.
our relationships with others. Be
appreciative, and whatever the benefits bestowed upon you, pass them
«« Be proactive. Reach out. Do not wait for forward.
someone to approach you. Sit next to someone you do not know at a meet-
ing. Look for someone who appears
«« Ask questions. Everyone is easy to get different from you.
to know if you are adept at asking
questions. Learn something about the person sitting next to you in a meet-
«« Find common ground. Regardless of ing.
RETIRED MEMBERS COMMITTEE Cynthia Berry, Chairwoman
how different we may be from the
person next to us, we all share some element of common ground. Find it and celebrate it, along with the dif-
«« Mentor someone. When professional ferences.
relationships have been established, introduce new or unknown col-
leagues to each other. Offer guidance. Encourage the inclusion of persons
«« Remember all people benefit from feeling from diverse backgrounds.
connected. Be the facilitator to bring
are no unimportant relationships.
ing those in both leadership and sup-
us recall the positive aspects of our music teaching and the undeniable difference
«« All relationships are important. There people together.
Cultivating diversity means embracportive roles.
As the new school year begins, may
elcome to the 2018-19 school year. I know we are retired members, but I
am sure we can remember the excitement, preparation and stress the new
school year brings.
We don’t have to worry about school dates, times and calendars, but many of
we made in the lives of so many students.
Many of us continue to be actively involved in the teaching and making of
we all make our professional lives rich-
music. It is a lifelong passion that can be sustained in many different ways. Our
relationships that are meaningful and
New methods and research can enhance our skills.
er by cultivating diversity and building productive. I value the relationships I
professional organizations can keep us in touch with things past and current. Retirement brings opportunity. There is still so much to share with those cur-
have made through my involvement in
rently teaching. Many young music educators need our help with teaching ideas
have made me a better educator. I hope
We are all aware that budget constraints continue to target the arts. Most ele-
FMEA. They have enriched my life and
and concepts that are proven to work.
all of you will plan to attend the FMEA
mentary and secondary music teachers teach hundreds of students each week.
in Tampa this January. It is an excel-
and FMEA have established mentoring programs for young teachers in need of
Professional Development Conference lent opportunity to learn more about
the diversity within our organization, to
build new relationships and to savor the old ones.
All students deserve a positive music education experience. The FBA, FOA, FVA
assistance, resources, guidance and experience. If you are interested, contact the district chairperson in your area or the association presidents listed in this magazine. Your assistance will be appreciated.
The FMEA values our retired members. We would like to feature individuals
Have a great school year, and as
or groups of retirees involved with individual or community projects in upcom-
ing conference sessions and column top-
in or have developed. You can contact me with your information at cberry1314@
always, I am open to suggestions regardics. Please feel free to contact me anytime at email@example.com. Reference
Richmond, H. (2010). Do Benefits of Workplace Friendships Outweigh Risks? Business Wire. Retrieved from https://www.businesswire. com/news/home/2010 02 230 05305/e n/ Benefits-Workplace-Friendships-OutweighRisks
ing issues of this magazine. Please let us know of any programs you are working gmail.com.
The FMEA Professional Development Conference in January will feature many
clinics that cross over all grade levels and components. There is a wealth of infor-
mation offered in general music, instrumental music, choral music, elementary music, guitar, etc. Please plan to attend the conference this year. Visit with your colleagues, attend wonderful clinics and reconnect. More on this later.
Make the most of your opportunities, and enjoy your well-deserved retirement.
elcome back to another exciting
That was confirmation
I find myself reflecting on the joys of
to learn more about
school year. At this time of year
serving as chairwoman of the FMEA
Awards Committee. Not only do I help to
orchestrate the recognition of some of the
fabulous things going on in music educa-
tion throughout our state, I get an insider’s view of what our nominees are doing
to make music education so great. This past year was no exception. In fact, when reading the nomination in the Exemplary
Model Program/Project Category, I was so fascinated by the awarded program
Rhythm Revolution: DRUMBEAT that I just had to experience it firsthand. So, this spring I participat-
Debbie Fahmie, Chairwoman
to me that I needed the
other educators from Osceola County par-
ticipated in the training along with me
this spring. Neither of them is a music educator,
nitely left with plans on how to implement
DRUMBEAT in the work they are doing
with students. THAT is exactly what
ed in Jessica Fredrick’s training.
I had already sent one
of the elementary music
teachers from my county to the training. When
Stephen Reid returned
and eagerly implemented the program at his school, I went out to
Hickory Tree Elementary
and watched it in action.
makes this program so unique. The resource teach-
er from the Multicultural
gist put what she learned in the program to work with small groups at school as well as in her role of family counselor.
I continue to be impressed by the pos-
sibilities of the DRUMBEAT program, so
what she learned to help
us more information about the program.
went right to work using our students who had recently come to us from Puerto Rico after being dis-
placed by Hurricane Maria.
I have asked Jessica Fredricks to provide
Jessica is the director of Rhythm Trek LLC and a master trainer for DRUMBEAT USA.
After reading Jessica’s account, please
She immediately reported
remember that the deadline for this year’s
All categories, with the exception of
positive results to me. The
award nominations is fast approaching. the Music Education Service and the
Music Enrollment Awards are due on
September 7. All applications are completed online. Go to FMEA.org/programs/awards/. To help guide you toward
putting together a successful nomination packet, we have examples of winning
award nominations. The successful recognition of the most deserving individu-
als depends upon the active involvement
and responses of the membership, so please help recognize worthy individuals
who exemplify the traits listed for each award category through your nominations!
48 F l o r i d a
Jessica Fredricks writes:
he benefits of DRUMBEAT are amazing—on average,
participating students experience a 50% decrease in
discipline incidents and a 30% increase in attendance. But like all data, the numbers don’t tell the whole story, the story of how that data affects our community.
For that, you have to consider the ripple effect.
Consider one DRUMBEAT participant at Lake Shipp
Elementary. This fifth grade student was known for being physically violent—in short, she hit things. Daily. The wall, her desk, sometimes other students. She was referred to as a “frequent flyer” because she was in the office so much.
create something greater than ourselves.
There are currently more than 132 DRUMBEAT facili-
On the first day of DRUMBEAT, she got up in her facil-
tators in Polk County Public Schools, and they are imple-
drums instead of people!” And to her credit, she did just
and high school. There’s even a group of facilitators
itator’s face and yelled, “Miss! This year I’m gonna hit that.
She didn’t hit anyone at school during her fifth grade
Now this is life-changing for the student, obviously, but
it’s also life-changing for her teacher, who no longer feels like a failure because she can’t reach this student.
It’s life-changing for the student’s family, who no longer
gets calls about negative behavior from the school.
Most of all, it’s life-changing for the other 21 students
in her class, who now have a safe environment in which to learn, think and grow.
And all this comes from just one student. Think about
how much positive change is happening as a result of the
more than 270 students who participated in DRUMBEAT last school year when Polk County Public Schools had just 20 facilitators. Just 20.
Consider this: At the start of the 2018-19 school year,
Polk County Public Schools will have more than 132 DRUMBEAT facilitators—many of them running multiple
groups, some of them operating on multiple school campuses.
Can you imagine all the positive change that is happen-
menting the protocol with students in elementary, middle piloting the program with pre-K students. Our facilitators include principals, assistant principals, deans, music teach-
ers, art teachers, ESE teachers, academic teachers, social workers, guidance counselors and school psychologists.
The protocol is so powerful, and so well-written, that even folks who think they “have no rhythm” are able to facilitate groups after taking the three-day training intensive.
DRUMBEAT’s strength is creating a fun and energetic
environment in which students can take control of their own behavior while at the same time improving their social and emotional learning. If you’ve ever put a group
of teenagers in a room and asked them to talk about their feelings, you know it doesn’t often go well. DRUMBEAT
works because it uses rhythm as a hook to engage students. Rhythm is a tool that engages both halves of our brain, so when we use rhythm, we learn information faster and
retain it longer. But rhythm also opens us up and allows
us to connect on a deeper level. The facilitator creates a safe space for learning, and then uses rhythm games and
activities to guide discussions on harmony, teamwork,
relationships, feelings and community. What a tremendous resource for schools to have in their toolbox!
In addition to Florida, DRUMBEAT is currently being
ing in our schools and in our communities right now?
used in Texas, Pennsylvania and Massachusetts, and
or a performance ensemble, though it contains elements
in its schools this September. And while the data is excit-
DRUMBEAT is not a music program, a drum circle
of each. The cool thing is that it provides a way for both
musicians and non-musicians to connect through rhythm. It involves the best of what we do as musicians—listening to each other, leaving space for those around us, responding sensitively and intelligently and working as a team to
Virginia’s Prince William County will roll out DRUMBEAT
ing, perhaps even more important are the benefits that don’t show up in data: reducing social isolation, improving participants’ connection to their communities and devel-
oping coping mechanisms so students are better prepared to handle emotional challenges.
EMERGING LEADERS COMMITTEE
Mary Palmer, EdD, Chairwoman
ore than 60 people attended the FMEA
Emerging Leaders Drive-Into Leadership
Summer Conference: Get Connected: Build Capacity
in June. Special thanks to Dr. Kelly Miller, our host
at the University of Central Florida in Orlando. The opening address by Dr. Alice Ann Darrow, the
Irvin Cooper professor of music education and music therapy at Florida State University, estab-
lished the importance and FUN of relationships. FMEA leaders President Ken Williams and Past
President John Southall shared their sources of inspiration based on relationships, and some of the
most successful architects of partnerships throughout our state shared their work and tips on build-
ing relationships that work. Plan to stop by the Coffee Hour (7:30 to 10 am on Thursday, January 10, 2019, in Tampa) to meet our presenters: Debbie
Fahmie, Scott Evans, Cindy Johnson, Stephen Reed, Byron Lawson, Edith Wright and Andrew
Bajorek. Our 42 new Emerging Leaders were excit-
ed to meet colleagues from across the state and make plans for building new relationships in their own schools and communities.
We welcome the new class of FMEA Emerging Leaders from throughout Florida: Emerging Leader
Performing Arts Resource
Osceola County Schools
San Pablo Elementary School
Beth Shields Middle School
Music Teacher/Band Director
Lake Shore Middle School
Manatee Elementary School
Osceola County School for the Arts
Viera High School
Justin Cusick Maria Dix
50 F l o r i d a
Title Osceola County Fine & Specialist
Director of High School Concert Bands
Band Director Music Director
Madison Street Academy of Visual and Performing Arts
Director of Bands
Brandon High School
Pablo (Eric) Elias-Rodriguez
Director of Bands & Orchestras
Bayside High School
Hillcrest Elementary School
Director of Bands
Auburndale Senior High School
Director of Choral Activities
Seminole Ridge Community High School
Lake Gibson Middle School
Wellington Landings Middle School
Oak Park Elementary School
Mulberry Middle School
Morikami Park Elementary School
Cleveland Court Elementary School
Director of Bands
Cypress Lake High School
Stephen Foster Elementary School
Cypress Lake High School
Director of Bands
Conniston Middle School
Jeaga Middle School
Dream Lake Elementary School
Forest High School
Director of Bands
Poinciana High School
Saddlewood Elementary School
Inwood Elementary School
Silver Sands Middle School
Hickory Tree Elementary School
Randall Middle School
Arts Integration Specialist
School District of Palm Beach County
Director of Bands
Howard Middle School
Hutchison Beach Elementary School
Orange Grove Middle Magnet School
Bear Lakes Middle School
Lake Worth High School
Sigsbee Charter School
Freedom High School
Gator Run Elementary School
Bartow Middle School
Director of Choral/Keyboard Music
FMEA ExecutiveDirector’sNotes Kathleen D. Sanz, PhD
Vote! Vote! Vote!
Welcome to the 2018-19 school year. I hope you had a well-deserved restful summer. Advocacy/Government Relations
Mark Your Calendars: November 6, 2018, is General Election Day in Florida. Voters will have an opportunity
to vote for governor, state House and Senate members, a U.S. senator, cabinet offices and justices of the Florida Supreme Court. Locally there will be elections for district superintendents, school board members and city/ county officials. All of these elected officers have a direct impact on education and the well-being of our state.
In addition, 13 amendments to the Florida Constitution were certified to be placed on the ballot. A legis-
latively referred constitutional amendment is a proposed constitutional amendment that appears on a state’s ballot as a ballot measure because the state legislature in that state voted to put it before the voters.
Please be sure to review the entire amendment as there is a lot of information contained in each one.
Increases the amount of a home’s value exempted from property tax
Makes the cap on non-homestead parcel assessment increases permanent
Requires voter approval of casino gambling
Restores the right to vote for most people with prior felony convictions upon completion of their sentences
Requires a 2/3 vote of the Legislature to impose or increase a tax or a fee
Adds a Marsy’s Law to the state Constitution, increases the judicial retirement age to 75 and prohibits judges from deferring to administrative agencies in interpreting law
Requires death benefits for first responders and military members, a supermajority vote for college fees and adds a state college system structure to the state Constitution
Establishes school board term limits, allows the state to operate non-board established schools and requires civic literacy in public education
Bans offshore oil and gas drilling and bans vaping in enclosed indoor workplaces
Prohibits counties from abolishing certain local offices, changes the start date of legislative sessions and adds an executive office and an executive department to the state Constitution
Repeals the following: (a) a prohibition against aliens owning property; (b) a requirement for a high-speed ground transportation system; and (c) a provision saying that changes to a criminal statute are not retroactive
Prohibits public officials from lobbying for compensation while in office and six years thereafter
Prohibits betting on dog races
52 F l o r i d a
It is critical that as educators, parents and students you vote and let your voice be heard. A large voter turnout among music
education advocates will help our legislators know that we count as citizens and constituents.
The Florida Music Director is made possible by the participation of the following businesses whose advertisements appear in this issue. They make it possible to provide you with a high-quality publication, and we gratefully acknowledge their support of our mission. We hope you will take special notice of these advertisements and consider the products and services offered. It is another important way you can support your professional association and the enhancement of Florida music education. The publisher does not endorse any particular company, product or service. The Florida Music Education Association (FMEA) is not responsible for the content of any advertisement and reserves the right to accept or refuse any advertisement submitted for publication. Information for advertisers (rate card, insertion orders, graphics requirements, etc.) can be found at FMEAMediaKit.org.
2018 Voter Election Deadlines July 30
Deadline to have registered to vote in Primary Election or to change political party
Early Voting, state mandatory period*
Deadline to register to vote in General Election
October 27November 3
Early Voting, state mandatory period*
*NOTE: Check with your county supervisor of elections for the additional days of early voting that may be offered in your county. It may vary by county. Please register and vote in the 2018 Primary and General
Elections. Your vote makes a difference.
National Association for Music Education
On June 22, I began to serve a two-year term as national pres-
ident for NAfME. I want to thank everyone for their support
and guidance for the next two years. Let me know of any issues that you may want addressed at the national level. Membership
It is time to renew your FMEA and component memberships. Deadlines for all-state for each component come early in September.
Have a fantastic school year, and let the FMEA leadership
know of your needs as members.
VOTE! VOTE! VOTE!
Breezin’ Thru, Inc.......................................................................................... IFC Fiesta-Val Music Festivals...............................................................................BC Smoky Mountain Music Festival.................................................................... 38 Stetson University............................................................................................. 33 University of South Florida................................................................... 4, 9, 55 Advertisers shown in bold provide additional support to FMEA members through their membership in the Corporate and Academic Partners program. These advertisers deserve your special recognition and attention.
SUBSCRIPTIONS: Direct correspondence regarding subscriptions to: Hinckley Center for Fine Arts Education, 402 Office Plaza, Tallahassee, FL, 32301-2757. Subscription cost included in FMEA membership dues ($9); libraries, educational institutions and all others within the United States: $27 plus 7.5% sales tax. CIRCULATION: 4,500 educators. Published eight times annually by The Florida Music Education Association, Hinckley Center for Fine Arts Education: 402 Office Plaza Tallahassee, FL 32301-2757. FMEA reserves the right to approve any application for appearance and to edit all materials proposed for distribution. Permission is granted to all FMEA members to reprint articles from the Florida Music Director for non-commercial, educational purposes. Non-members may request permission from the FMEA office. SUBMISSIONS: Article and art submissions are always considered and should be submitted on or before the 1st of the month, one month prior to the publication issue to: Mark A. Belfast, Jr., PhD, firstname.lastname@example.org. All articles must be provided in digital format (e.g., Microsoft Word). All applicable fonts and images must be provided. Images must be at least 300 dpi resolution at 100 percent of the size. All submissions must be accompanied by a proof (color, if applicable). Ads may be submitted via email to email@example.com. Florida Music Director reserves the right to refuse any ad not prepared to the correct specifications OR to rework the ad as needed with fees applied. 2018-19 FMEA Membership: You are eligible for membership in The Florida Music Education Association if you are an individual engaged in the teaching, supervision or administration of music in elementary and secondary schools, colleges or universities within the state. Visit FMEA.org/membership to learn more about the benefits of active membership.
Kathleen D. Sanz, PhD
F L O R I D A M U S I C E D U C AT I O N A S S O C I AT I O N OFFICERS AND DIRECTORS EXECUTIVE BOARD President..............................Kenneth Williams, PhD 3610 Beauclerc Rd.; Jacksonville, FL 32257 (904) 521-7890; firstname.lastname@example.org Past President........................John K. Southall, PhD Indian River State College 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810 email@example.com President-Elect....................... Steven N. Kelly, PhD College of Music, FSU 128 Housewright Bldg.; Tallahassee, FL 32306-1180 (850) 644-4069; Fax: (850) 644-2033 firstname.lastname@example.org FBA President.................................. Cathi Leibinger Ransom Everglades School 2045 Bayshore Dr.; Miami, FL 33133 (305) 250-6868; email@example.com FCMEA President..................... Stacie Rossow, DMA Florida Atlantic University 777 Glades Rd.; Boca Raton, FL 33431 (561) 297-4230; firstname.lastname@example.org Florida Collegiate NAfME President.......................Jennifer Luechauer Florida State University, 2220 Sandpiper Street Tallahassee, Florida 32303 (954) 643-1149; email@example.com Florida Collegiate NAfME Advisor................. Shelby R. Chipman, PhD FEMEA President.......................Rosemary Pilonero The Villages Elementary of Lady Lake 695 Rolling Acres Rd.; Lady Lake, FL 32159 (352) 751-0111; firstname.lastname@example.org FMSA President......................................Scott Evans Orange County Public Schools 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; email@example.com FOA President........................................Jason Jerald Blake High School 1701 North Blvd.; Tampa, FL 33607 (813) 272-3422; firstname.lastname@example.org FVA President.................................Thomas Jomisko Manatee High School 902 33rd Street Ct. W.; Bradenton, FL 34205 (941) 714-7300; email@example.com Member-at-Large....................................Ted Shistle Douglas Anderson School of the Arts 2445 San Diego Rd.; Jacksonville, FL 32207 (904) 346-5620; firstname.lastname@example.org EX-OFFICIO MEMBERS Historian/Parliamentarian Kathleen D. Sanz, PhD Hinckley Center for Fine Arts Education 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 email@example.com Executive Director...............Kathleen D. Sanz, PhD Hinckley Center for Fine Arts Education 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 firstname.lastname@example.org
54 F l o r i d a
FMD Editor-in-Chief......... Mark A. Belfast, Jr., PhD Southeastern University 1000 Longfellow Blvd.; Lakeland, FL 33801 (863) 667-5104; email@example.com FSMA President...........................Craig Collins, EdD College of Arts & Media, Southeastern University 1000 Longfellow Blvd.; Lakeland, FL 33801 (863) 667-5657; firstname.lastname@example.org FMEA COMMITTEE CHAIRPERSONS Awards............................................... Debbie Fahmie Fine and Performing Arts Resource Specialist Osceola District Schools (407) 870-4904; email@example.com Budget/Finance, Development........................Kenneth Williams, PhD 3610 Beauclerc Rd.; Jacksonville, FL 32257 (904) 521-7890; firstname.lastname@example.org Committee Council.......................... Debbie Fahmie Fine and Performing Arts Resource Specialist Osceola District Schools (407) 870-4904; email@example.com Conference Chairman...........John K. Southall, PhD Indian River State College 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810; firstname.lastname@example.org Contemporary Media...............David Williams, PhD University of South Florida 4202 E. Fowler Ave., MUS 101; Tampa, FL 33620 (813) 974-9166; email@example.com Diverse Learners.................Alice-Ann Darrow, PhD Florida State University Music Education and Music Therapy 123 N. Copeland; Tallahassee, FL 32306 (850) 645-1438; firstname.lastname@example.org Emerging Leaders....................... Mary Palmer, EdD 11410 Swift Water Cir.; Orlando, FL 32817 (407) 382-1661; email@example.com FMEA Corporate & Academic Partners...Fred Schiff All County Music 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; firstname.lastname@example.org Government Relations.............Jeanne W. Reynolds Pinellas County Schools, Administration Bldg. 301 4th St., SW, P.O. Box 2942; Largo, FL 33779-2942 (727) 588-6055; email@example.com Multicultural Network..............Bernard Hendricks Ocoee High School 1925 Ocoee Crown Point Pkwy.; Orlando, FL 34761 (407) 905-3009; firstname.lastname@example.org Professional Development............. Carolyn Minear email@example.com Research.................................Don D. Coffman, PhD University of Miami firstname.lastname@example.org Retired Members................................Cynthia Berry 1341 Dunhill Dr.; Longwood, FL 32750 (407) 310-1254; email@example.com Secondary General Music........................Ed Prasse Leon High School 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; firstname.lastname@example.org
Student Leadership............................. Ian Schwindt Titusville High School 150 Terrier Trail S.; Titusville, FL 32780-4735 (321) 264-3108; email@example.com
Executive Director........................ Jennifer Sullivan 1750 Common Way Rd., Orlando, FL 32814 (321) 624-5433; firstname.lastname@example.org
PROFESSIONAL DEVELOPMENT CONFERENCE
President.................................................Scott Evans Orange County Public Schools 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; email@example.com
Exhibits Managers........... Byron and Bobbie Smith 4110 Tralee Rd.; Tallahassee, FL 32309 (850) 893-3606 firstname.lastname@example.org Local Co-Chairman.................................... Ted Hope Hillsborough County Public Schools School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4861; email@example.com Local Co-Chairwoman.................Melanie Faulkner Hillsborough County Public Schools School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4461; firstname.lastname@example.org FLORIDA BANDMASTERS ASSOCIATION President.......................................... Cathi Leibinger Ransom Everglades School 2045 Bayshore Dr.; Miami, FL 33133 (305) 250-6868; email@example.com Past-President...................................Jason Duckett Bartram Trail High School 7399 Longleaf Pine Pkwy.; St. Johns, FL 32259 (904) 343-1999; firstname.lastname@example.org Executive Director................................ Neil Jenkins Florida Bandmasters Association P.O. Box 840135; Pembroke Pines, FL 33084 (954) 432-4111; Fax: (954) 432-4909 email@example.com FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION President.................................. Stacie Rossow, DMA Florida Atlantic University 777 Glades Rd.; Boca Raton, FL 33431 (561) 297-4230; firstname.lastname@example.org Past President........................Patricia Fleitas, PhD email@example.com President-Elect...........................................John Ash firstname.lastname@example.org FLORIDA COLLEGIATE NAfME President................................... Jennifer Luechauer Florida State University, 2220 Sandpiper Street Tallahassee, Florida 32303 (954) 643-1149; email@example.com Past-President............................Michael A. Gabriel Florida State University (561) 762-0016 firstname.lastname@example.org FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION President....................................Rosemary Pilonero The Villages Elementary of Lady Lake 695 Rolling Acres Rd.; Lady Lake, FL 32159 (352) 751-0111; email@example.com Past President.................................... Marie Radloff firstname.lastname@example.org
FLORIDA MUSIC SUPERVISION ASSOCIATION
Past President............................Angela Hartvigsen email@example.com Treasurer.................................................... Ted Hope Hillsborough County Public Schools School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4861; firstname.lastname@example.org FLORIDA ORCHESTRA ASSOCIATION President................................................Jason Jerald Blake High School 1701 North Blvd.; Tampa, FL 33607 (813) 272-3422; email@example.com Past President......................................Valerie Terry firstname.lastname@example.org Executive Director........................Donald Langland 220 Parsons Woods Dr.; Seffner, FL 33594 (813) 502-5233; Fax: (813) 502-6832 email@example.com FLORIDA VOCAL ASSOCIATION President.........................................Thomas Jomisko Manatee High School 902 33rd Street Ct. W.; Bradenton, FL 34205 (941) 714-7300; firstname.lastname@example.org Past President.............................Carlton Kilpatrick email@example.com Executive Director.............................. J. Mark Scott 7122 Tarpon Ct.; Fleming Island, FL 32003 (904) 284-1551; firstname.lastname@example.org Financial Officer..........................................Jo Hagan 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260 email@example.com CENTER FOR FINE ARTS EDUCATION STAFF 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 Executive Director...............Kathleen D. Sanz, PhD firstname.lastname@example.org Director of Operations............................Valeria Anderson, IOM email@example.com Business Manager & Special Projects...................... Richard Brown, CAE firstname.lastname@example.org Technology Director.........................Josh Bula, PhD email@example.com Public Affairs & Communications Coordinator......Jenny Abdelnour firstname.lastname@example.org Marketing & Membership Coordinator.....Jasmine Van Weelden email@example.com