Florida Music Director August 2020

Music Teacher Evaluation by Non-Music Administrators

Building Relationships From the Music Room

Practical Strategies for Ensemble More Creative Motivation New Year of New Perspectives Than and YouGrowth Thi nk The New ‘HOW’ in Online Music Education

PLUS:

Art Education Is Essential Statement FCAP: The Business of Supporting Music Educators June M. Hinckley Music Education Scholarship Recipients

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Florida Music Director

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Grades 4-12

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

Hinckley Center for Fine Arts Education

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

Contents August 2020

Volume 74 • Number 1

Editor-in-Chief

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

Editorial Committee Terice Allen (850) 245-8700, Tallahassee (tallen1962@hotmail.com) Judy Arthur, PhD Florida State University, KMU 222 (850) 644-3005 (jrarthur@fsu.edu) William Bauer, PhD University of Florida, Gainesville (352) 273-3182; (wbauer@ufl.edu) Alice-Ann Darrow, PhD College of Music, FSU, Tallahassee (850) 645-1438; (aadarrow@fsu.edu) Jeanne Reynolds Pinellas County Schools, Largo (727) 588-6055; (reynoldsj@pcsb.org) John K. Southall, PhD Indian River State College, Fort Pierce (772) 462-7810; (johnsouthall@fmea.org)

Advertising Sales Valeria Anderson (val@fmea.org)

Director of Finance and Client Relations

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

Official FMEA and FMD Photographers

Bob O’Lary Debby Stubing

Art Director & Production Manager

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

F E AT U R E S

2020-2021 Board of Directors, Chairpersons, and Staff . . . . . . . . . . . . . . . 6-7 Art Education Is Essential Statement . . . . .

FCAP: The Business of Supporting Music Educators. . . . . . . . . . . . . . . . . . . .

9-10 11

June M. Hinckley Music Education Scholarship Recipients . . . . . . . . . . . . . . 15, 17 Music Teacher Evaluation by Non-Music Administrators . . . . . . . . . . . . . 22 Practical Strategies for Ensemble Motivation and Growth . . . . . . . . . . . . . . .

26

New Year of New Perspectives . . . . . . . . . . 30 The New ‘HOW’ in Online Music Education . . . . . . . . . . . . . . . . . . . .

32

D E PA R T M E N T S

Circulation & Copy Manager

Advertiser Index. . . . . . . . . . . 4

Component News.. . . . . . . . . 33

Copy Editor

President’s Message. . . . . . . . . 5

Committee Reports. . . . . . . . 38

Advocacy Report. . . . . . . . . . . 8

Research Puzzles. . . . . . . . . . 46

Corporate Partners. . . . . . . 12-13

Executive Director’s Notes. . . . 47

Academic Partners. . . . . . . . . 14

Officers and Directors.. . . . . . 49

Valeria Anderson, (800) 301-3632 Susan Trainor

2019-20 FMEA Donors. . . . 19-21 August 2020

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FMEA Wins 2020 NAfME Membership Award Thanks to our members’ outstanding participation, the Florida Music Education Association is the recipient of the 2020 NAfME Membership Award in the Large MEA category.

The award is based on membership growth metrics.

Advertiser Index 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: D. Gregory Springer, PhD, dgspringer@fsu.edu.

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

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.

2020-21 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.

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Music Director

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.

ADVERTISER Breezin’ Thru, Inc............................................................................................ IFC This advertiser provides additional support to FMEA members through membership in the Corporate and Academic Partners program. This Partner deserves your special recognition and attention.

President’sMessage

Facing Challenges While Preparing for Success

H

ello, FMEA members. I hope this issue of Florida Music Director finds you healthy and safe. Usually the beginning of the school year is filled with excitement and expectations. Yet, what was normal is not

normal, and we have new realities we must confront and overcome. This school year will begin with many questions, and few absolute answers. I recognize your anxiety, uncertainties, and worries. However, I want to remind you of opportunities that may help to create some sense of normalcy and success.

Steven N. Kelly, PhD President Florida Music Education Association

As you begin this academic year, I would like to suggest the following to help create success: 1. Keep music in music education. Students join music classes to sing and play. Reducing music to worksheet packets being sent home or other nonperforming filler activities eliminates the very essence of a music class. I assure you that students miss music class and want to perform again.

2. Be involved. Be directly involved in decisions being made for your school, including decisions that may not initially affect your music classes. Talk to your principals, counselors, and other colleagues. Contact

your superintendents and school board members. Get your students’ parents involved. Tell everyone that music is important, and may be the most important class of the day as students return to school.

Remember, music teaches more than notes and rhythms; we also help students cope with their anxieties.

3. Stay informed. Read, talk, and observe changes in your school and how they affect your programs. Be

aware of your students and how they are coping with so many changes and uncertainties. Social and emotional learning will be vital. Connect with your students and help guide them through their challenges.

4. Be visible. Programs that will survive best after COVID-19 and social unrest are resolved will be those that are visible NOW. Show the value of music and the many different ways music education contributes to every student’s complete education. Be your best advocate!

5. Take care of yourself. Get rest, wash your hands, wear masks, and social distance as much as possible.

Remember to take time for yourself! Teaching this semester will be more difficult, but if you cannot be in the classroom because you are sick, your students will not receive the best possible music experience.

6. Above all, make your students the focus of your classes. This suggestion is most important. Like you, students are coping with social and emotional issues. They may not have had their instruments or been able to

sing in a group. Teachers will need to meet their students on the students’ level more than ever before.

We may need to adjust our instructional approaches and activities to where our students are when they

first return. This adjustment does not mean we reduce our standards. Students want to succeed and

grow. But where we start might need to be adjusted so students are not overwhelmed in the beginning.

Please know that FMEA is here to support you. Visit our website for resources for teaching in this diffi-

cult time. We will be working with our component organizations to offer more resources and information

throughout the year. Look at the NAfME website for information and resources from a national perspec-

tive. You and your students can overcome the challenges and be successful. Stay informed, stay well, and take care of your students. I am with you, and so is FMEA. Stay strong and please contact me if I can help you.

Sincerely,

Steven N. Kelly, PhD, President

Florida Music Education Association

August 2020

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2020-2021 Board of Directors

If you need information about the Florida Music Education Association, please call us at 1-800-301-3632.

Steven N. Kelly, PhD President

Kenneth Williams, PhD Past President

Shelby R. Chipman, PhD President-Elect

Kathleen D. Sanz, PhD FMEA/FSMA Executive Director

Ian Schwindt FBA President

Marc Decker, DMA FCMEA President

Julian Grubb Florida NAfME Collegiate President

Mark A. Belfast, Jr., PhD Florida NAfME Collegiate Advisor

Ernesta Chicklowski FEMEA President

Matthew Davis FOA President

Jason Locker FVA President

Edgar Rubio Member-at-Large

STAFF Kathleen D. Sanz, PhD Executive Director Valeria Anderson, IOM Director of Operations Richard Brown, CAE Director of Finance & Client Relations Josh Bula, PhD Director of Information Technology Jenny Abdelnour Public Affairs & Communications Coordinator Jasmine Van Weelden Marketing & Membership Coordinator

Harry “Skip” Pardee FMSA President

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Music Director

Committee Chairpersons

Debbie Fahmie Awards

Steven N. Kelly, PhD Budget/Finance, Development

Alice-Ann Darrow, PhD Diverse Learners

Mary Palmer, EdD Emerging Leaders

John K. Southall, PhD Conference Planning

Fred Schiff — Florida Corporate & Academic Partners

David Williams, PhD Contemporary Media

Jeanne W. Reynolds Government Relations

Ex-Officio Members

Bruce J. Green Multicultural Network

Scott Evans Professional Development

Don D. Coffman, PhD Research Valerie Terry FSMA President

Ed Prasse Secondary General Music

Michael Antmann, EdD Student Leadership

D. Gregory Springer, PhD Florida Music Director Editor-in-Chief

August 2020

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AdvocacyReport

Not Throwing Away My Shot This is hard. Period.

Jeanne W. Reynolds Chairwoman Government Relations Committee

I

t is important to acknowledge the stresses, the unknowns, and the dramatic effect the pandemic has

had, and will continue to have, on music education. Every educator has been impacted by this virus,

but music educators face additional challenges. We work closely together in ensemble settings, and

because music is an art form that exists in time, audiences are an integral part of the art we make. Not knowing how we can safely perform together in real time, or when we will be able to present our music

to live audiences, amplifies the fear, confusion, anxiety, and grief that all educators are feeling. With so many worries and uncertainties regarding the 2020-21 school year, advocacy may seem like the last thing on your to-do list.

Wrong. Advocacy should be the first thing on your to-do list.

Advocacy in the age of COVID-19 will involve some deep soul searching. The “how” of our music

teaching has been changed. Typical instructional practices, performances, and even music performance

assessments are not guaranteed this year. At a minimum, so much will look and feel different. We need to reflect deeply on what is truly

It’s time to take a shot

important and find new ways to teach music concepts well.

Rise up, rise up, it’s time to take a shot

But advocacy has always been about the “why.” Why is it important

for students to participate in high-quality sequential music education

Rise up, it’s time to take a shot

programs? If music education is to thrive in a post-pandemic world, we must be very focused and vocal about its importance for all students,

Rise up, take a shot, shot, shot

and we must be creative and brilliant about new ways of delivering con-

It’s time to take a shot, time to take a shot And I am not throwing away my shot Not throwing away my shot — Lin Manuel Miranda as Alexander Hamilton in Hamilton

tent. The National Association for Music Education (NAfME) brought

together more than 50 national organizations to develop the Arts Education Is Essential

statement, included on pages 9-10. Familiarize

yourself with this statement, if you have not done so already.

Now it’s time for you to develop your own personal statement. Find

your voice and use it. Tell the story of the student who participated

in virtual learning the last quarter of the 2019-20 school year for one

reason only—your virtual music class. Without you and the music

program, she would have given up on school entirely. Tell the story of the family who wants to return to a brick-and-mortar school for one program only—your choral program. Talk about the extraordinary

power of music education on brain development and emotional health. Cite data and statistics from your

own school as well as state and national statistics. It is important to have data to back up your stories.

As the old saying goes, data make you a credible advocate, but stories are memorable. To be an effective advocate, you need data and stories.

Stop focusing on what we cannot do. This sends a message to decision makers that your program

cannot function during the pandemic and that it is expendable. Focus on the music. Focus on your stu-

dents. Focus on what the future could be. Don’t just talk about creativity. Be the creative problem solver

administrators desperately need. Creativity and arts education are more critical now than ever before.

Seize this once-in-a-lifetime opportunity to elevate music and the arts for future generations.

The pandemic will not last forever. We must ensure there is a strong structure for music education

during and after the pandemic. To paraphrase Lin Manuel Miranda’s words from the musical Hamilton, don’t throw away your shot.

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Music Director

Arts Education Is Essential This statement of support for arts education has been reviewed and endorsed by the national organizations listed on page two.

It is imperative that all students have access to an equitable delivery of arts education that includes dance, media arts, music, theatre, and visual arts that supports their educational, social, and emotional well-being, taught by certified professional arts educators in partnership with community arts providers.

Teaching and learning will never quite be the same in our post-COVID-19 world. However, our commitment to provide rich and varied educational experiences remains unwavering. The arts have played an important role in these tumultuous times and will continue to do so for all students, including the traditionally underrepresented, those with special needs, and from low-income families. Here’s why:

Arts education supports the social and emotional well-being of students, whether through distance learning or in person.

Self-awareness, self-efficacy, self-management and perseverance, social awareness and relationship skills are central to any arts education activity, no matter the age and ability of the student or the environment in which the learning takes place. The arts, with their strong emphasis on team-building and self-reflection are supremely suited to re-ignite students’ interest in learning through collaboration, while simultaneously fostering creativity, critical thinking, and communication.

Arts education nurtures the creation of a welcoming school environment where students can express themselves in a safe and positive way.

Celebrating our ability to come together as educators and students is vital to creating a healthy and inclusive school community. The arts, through a rich partnership among certified arts educators, teaching artists, and community arts providers, play a valuable role in helping students and their families build and sustain community and cultural connections.

Arts education is part of a well-rounded education for all students as understood and supported by federal and state policymakers.

As defined in ESSA, “music and the arts” are part of a well-rounded education. Every state in the nation recognizes the importance of the arts as reflected in rigorous PreK-12 state arts standards. Forty-six states require an arts credit to receive a high school diploma, and 43 states have instructional requirements in the arts for elementary and secondary schools. As noted in Arts Education for America’s Students: A Shared Endeavor: “An education without the arts is inadequate.”

The healing and unifying power of the arts has been evident as the COVID-19 pandemic swept the country. We have seen and heard it play out through works of art on sidewalks, shared musical moments from porches, in plays and dance performances, and every other imaginable iteration of art making. As states and schools work through multiple challenges in the years ahead, arts education must remain central to a well-rounded education and fully funded to support the wellbeing of all students and the entire school community.

Arts Education Is Essential

August 2020

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9

Endorsing Organizations Afterschool Alliance

Music Teachers National Association

American Choral Directors Association

NAMM Foundation

American Composers Forum

National Art Education Association

American Orff-Schulwerk Association

National Association for Music Education

Americans for the Arts

National Association of Elementary School Principals

American String Teachers Association Barbershop Harmony Society Carnegie Hall Casio America, Inc. Chorus America CMA Foundation

National Association of Secondary School Principals National Coalition for Core Arts Standards National Dance Education Organization National Education Association

College Band Directors National Association

National Federation of State High School Associations

Conn-Selmer, Inc.

National YoungArts Foundation

D’Addario Foundation

Organization of American Kodály Educators

Eastman Music Company

Quadrant Research

Education Through Music

QuaverEd

Educational Theatre Association

Recording Academy

Give a Note Foundation

Save The Music Foundation

Hal Leonard

State Education Agency Directors of Arts Education

Historically Black Colleges and Universities National Band Directors’ Consortium

The Rock and Roll Forever Foundation

Jazz at Lincoln Center

United Sound, Inc.

Jazz Education Network

Varsity Performing Arts

KHS America

West Music Company

KORG, USA

WURRLYedu

League of American Orchestras

Yamaha Corporation of America

Little Kids Rock

Young Audiences Arts for Learning

Mr. Holland’s Opus Foundation

YOUnison

Music for All Do you represent a national organization interested in endorsing this statement? Email essential@nafme.org © 2020 Arts Education Is Essential

2

FCAP The Business of Supporting Music Educators

by Fred Schiff, Chairman FMEA Corporate & Academic Partners

The business challenges facing FMEA Corporate Partners, Academic Partners,

and exhibitors are unprecedented. What was once a matter of improving a dynamic system of relationships and information delivery is now an exercise

in reinventing and redesigning new ways of conducting business. In a nutshell, business as usual is no longer business as usual.

However, throughout our state and the country, the music industry rallied

its resources in support of music education. Individual music stores hosted “think tank” meetings, symposiums, and discussions on how to keep students engaged and how to plan for the coming school year. The National Association of Music Merchants (NAMM) partnered with NAfME to present numerous

webinars designed to answer the tough questions of how to move forward and how to be heard.

The past five months have proven that Florida’s music education profession-

als can readily adapt to an overnight change in the landscape. Teachers quickly

and adeptly configured ways to reach their students and did their best to keep

them engaged. They Zoomed together and created and invented systems, concepts, and never-before-seen teaching methods. If there was ever a group of

professionals who could improvise and play this pandemic by ear, it was our Florida music teachers.

What I witnessed was inspirational and demonstrated, once again, that in

Partners Make It Possible The Florida Corporate and Academic Partners help strengthen music education in Florida through their tireless work to support teachers. FMEA expresses its greatest thanks to each of our Partners, Corporate and Academic, for their partnership over the past year.

We hope that FMEA members from across the state support our Partners as they support FMEA and Florida music educators.

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

Please choose the appropriate button for more information.

Corporate Partners

any circumstance, when it comes to the advancement of education, no one does it better than Florida’s music educators.

The need for social and emotional learning has never been greater, so make

Academic Partners

sure you communicate this vital aspect of education with your administrators and school board members. Music education offers our stakeholders the opportunity to expand the boundaries of a virtual world that wants to close us in.

Additionally, as we begin reopening our economy, please keep in mind your

FMEA partners and their employees as you make purchasing decisions. We are with you every step of the way and look forward to helping you achieve your musical goals.

FMEA.org/partners

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

August 2020

11

GOLD

SILVER PARTNERS Music is Elementary Music Man, Inc. The Horn Section, Inc. Partners as of June 30, 2020.

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

12

Florida Music Director

Please take time to thank and support our 2019-2020 Corporate Partners.

PARTNERS

BRONZE PARTNERS Cadence Music Carl Fischer Music D’Addario Excelcia Music Publishing Head’s House of Music J.W. Pepper & Son, Inc. MakeMusic, Inc. Music & Arts

National Concerts Neil A. Kjos Music Company Noteflight Romeo Music Spring Hill Music Academy Tampa Bay Institute for Music Therapy West Music Company

August 2020

13

Please take time to thank and support our 2019-2020 Academic Partners.

GOLD PARTNERS

SILVER PARTNERS

University of North Florida

BRONZE PARTNERS

Cannon Music Camp - Appalachian State University Florida College Florida Gulf Coast University Florida Southern College Holy Cross Lutheran Academy Infinity Percussion Kent State University School of Music Mercer University Northwestern State University (LA)

Palm Beach Atlantic University Rollins College Department of Music Stetson University Union University University of North Texas University of Tampa Valdosta State University West Virginia University School of Music

Partners as of June 30, 2020.

14

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

Florida Music Director

June M. Hinckley Music Education Scholarship Recipient Shayna Singer 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.

Bringing Joy Through Music

by Shayna Singer

E

June M. Hinckley Music Education Scholarship Recipient

Ever since I began my music education program at the SOS Children’s Village in

Coconut Creek, I realized how much I love

to be able to bring musical opportunities

to and spark passion in children. The SOS Children’s Village is a nonprofit organization that provides foster care for children

all around the world, dedicated to keeping children together after being separated from

their parents. As president of the Tri-M Music Honor Society at my school, which

was recently recognized as the Chapter of

the Year from the National Association for

Music Education, I decided to bring my chapter to the children’s village to perform

a Christmas concert in December 2018. After coming up with a program that consisted of

choral and brass ensembles as well as solos, we performed for the 25 children who were

eager to hear what we had prepared. It was

an overwhelming experience. We spent about two hours perform-

accompaniment for Disney movies, drum on buckets, and

allowing the children to experiment with instruments, and doing

activities. I have created personal relationships with the

ing, speaking with children, holding an instrument petting zoo, arts and crafts. After leaving the village to return to school that day, I was charged with emotions. I thought to myself, “These children deserve so much more; they were so eager and so excited to see

understand wind/brass/string instruments among other children, and the house parents tell me they look forward to our class every month.

Coming from such a strong performance background,

the performances and play with the instruments.” I decided that I

teaching and education have been quite different for me. I

Beginning in February 2019, I began our official music education

Chopin Barcarolle or standing on the stage about to perform

wanted to share music with them even more.

program, where we visited once a month bringing instruments,

providing individual and group lessons, and so much more.

Throughout the year, we taught them to compose songs, create

am so used to sitting on the piano bench about to play the

the lead role in Massenet’s Cendrillon. Performing was definitely my forte, but after creating my own piano studio and

Continued on page 16 August 2020

15

Shayna Singer Continued from page 15

teaching up to five students at a time, I

Music is a part of everybody’s life in

Music sparks love, hope, and peace, all of

shape in listening to tunes in the car, hear-

our younger generation to be able to bring

realized that I had a love for teaching.

one way or another. For some, it takes

tutoring students with special needs in

ing your neighbor’s speakers play songs,

I often spend early mornings at school music theory and keyboard skills, as well

as weekend nights traveling to houses to teach piano lessons. Although teaching was new to me, it felt natural. Week after

week, I love seeing the dedication and improvement of my students.

Over the past year, working with indi-

vidual students as well as the children at the SOS Children’s Village, I realized my

hidden passion for music education. Being

able to bring opportunities to children is

one of the most gratifying experiences for me and allows them to expand upon their

horizons to things they never thought they could do. It also made me realize how much I enjoy bringing joy through

music to others. All of this filters into why I want to become a music educator.

or turning on some jams in between class.

For others like me, it is so much more than that. It sparks emotion, memories,

passion, creativity, and inspiration. In

the darkest moments in my life, such as learning how to cope with my father’s illness and the changes it made to my fam-

ily, music has always been there for me.

Whether it is through singing an Italian

art song, playing an F blues piano solo, or listening to Tchaikovsky’s Symphony No.

6, music has helped me through so much.

feel as if music, especially classical music,

is becoming less and less popular with the younger generation. Although I do have

many colleagues from around the world that are pursuing classical music in college and beyond, I still feel as if classical

music is disregarded often. Ever since I

have begun the music education program at the SOS Children’s Village, I am ded-

icated to making music available to all students, no matter what their situation is.

Overall, music has impacted everyone

in one way or another, whether we know

is up to us, the music educators, to allow

to people, and help us through our dark-

person, to help others, and much more. It everybody in the world to feel the way we do about music. It is extremely impactful.

No matter what background—one’s

race, age, economic status, gender, or

generation.

should be available and encouraged to all.

Access

music to all people of the world. Often, I

It has inspired me to become a better

I want to spark passion and creativity in

students as well as educate our younger

which the world needs more of. It is up to

religion—all genres and styles of music

ls a i r e t a

M y c a c Advo

it or not. It can bring happiness and love est times. It is therapeutic in so many ways! No matter what happens in the

world, music should always be available

to everyone in order to spread love and joy between us and is something of which we can always use a bit extra.

at

Including the

“Make Your Case” Database

16

Florida Music Director

June M. Hinckley Music Education Scholarship Recipient Mark Stevens 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.

A Passion for Teaching Music

I

by Mark Stevens

June M. Hinckley Music Education Scholarship Recipient

I have always wanted to be teacher. When I was little, I had my own pretend classroom and my own pretend class. It wasn’t

until middle school, however, that I began to explore the world

of music and what it had to offer for me as a person. Band opened up an entire new chapter in my life. It’s given me hope, courage, confidence, and peace—things that I’ve never experienced at the same time before with any other activity. I just

knew that band was different, it felt different. By the time I fin-

ished my freshman year in high school, I decided that I wanted

to become a band director so I could share the joys of music with young students.

I knew that this would be such a perfect fit since I loved

teaching so much as well as making music for others to enjoy.

Being a music educator would allow me to open the eyes of students to the cultural and emotional impacts that music can have

on an individual. I began to see my capabilities as an educator while serving on my high school band’s leadership council, specifically, as a drum major. I had to have a great knowledge of music, music theory, score analysis, and how to achieve beauti-

ful overall band sonority. Needless to say, this was not an easy job. However, my peers came to respect me and recognize that I was invested and dedicated to pursuing greatness. As a music educator I would be dedicated to my students, fun, inviting, and most importantly, passionate about what I do.

I have a great passion for teaching music. I’ve always loved

music and how it’s helped me as a student. It’s helped through

meant that they would feel better and would smile a little bit

for teaching includes teaching music, as well as its impacts on an

program that have become happier because of band. I know that

dark periods in my life and through school as well. My passion

individual. However, my passion for teaching also goes beyond the classroom setting. I wish to help shape mature young adults

that can conquer any challenges that they may face. This is what high school band has done for me, and so I wish to continue

this for my future students. I also wish to help those in need.

Music can serve as a sanctuary for those facing trouble in life,

and I would love to be able to offer that for my students if it

more every day. I’ve witnessed students in my high school band as a music educator, it would be my responsibility to make sure that my students remain happy with the music they make, but also with the person that they are becoming. I have such a desire

to be there for students because I know just how much that has

meant to me over the years. Just having someone that can listen

to one’s worries and troubles, and to have someone that can care

Continued on page 18

August 2020

17

Mark Stevens Continued from page 17

for one during tough times can mean a

districts across the country, can respect

the school (freshmen orientation, more

person that a student needs.

equally so that every student has an equal

great experience to be able to have the

lot to a student. I have the desire to be the I personally feel that music is a vital

part of a student’s education. It helps

students build maturity, organizational skills, and concentration. Studies over

and support our school music programs opportunity to pursue greatness and to see how music can benefit themselves as well as their friends and families.

I was very fortunate to attend a school

the years have shown that students who

where the arts were greatly respected.

or participate in music clubs/organiza-

the beginning as an incoming freshman.

take music classes in high school and/

tions in high school tend to make better grades, be more organized, and are less likely to get arrested later in life. Many people don’t realize the benefits of music

education and take it for granted. In my

home school district (St. Johns), we are known for being the top school district

in the state of Florida. However, when

it comes to our music appreciation, we fall just short of where I wish our school district should be. We have fantastic band

and choir programs in our county; it’s

just that some programs aren’t funded as

greatly as they should be. I feel that no program should be slighted the chance to

make an impact on a student’s life due to financial strains and challenges. My hope

is that my home school district, and other

However, this was not quite the case in I walked into a band program that had suffered from financial hardships, major

director turnover, and a mostly unsup-

portive student body from the school itself. This hurt me deeply as I saw other

pep rallies, more parades, etc.). It was a support of the students, staff, and com-

munity. It made me even prouder to serve

as the drum major for my high school band. It meant so much more to be part

of a band program that supported others and brought the best out in its members, as well as outside supporters. My wish

is that every music program can receive

the same amount of respect, honor, and support because it makes the experience that much more memorable.

As I’m writing this essay, my emotions

groups around the school (like sports

are taking the best of me as I’m reflecting

being respected, honored, and supported

ter due to COVID-19. I have lost my last

teams and academic clubs) that were

by the students, staff, and community. I

always promised myself that one day this program that I cherished greatly would

be respected and admired by many. I’m happy to write that this did happen. My

junior year started to see some increase in respect with more school involvement (pep rallies, etc.), but my senior year

was the pinnacle of this. The band was requested for many more events around

on all that I have lost this second semes-

state solo & ensemble performance, my last high school band concert, my last St.

Augustine (community) concert band concert, my last high school band banquet,

my last prom, and even a traditional graduation. I never would have thought that something like this would have happened

to a kid like me. It’s times like these, however, that make us stronger—and if music

has taught me anything, it’s to stay strong and push through any obstacles you come

across. Without music and music educa-

tion, I don’t think that I would be able to get through a time like this. I think

that many students would lose hope and would feel lost and abandoned. Music has kept us, though. It has shown us that there

will be better days and that no matter what, we will be happy.

I wish to become a music educator

because I want to be able to cherish more magical moments with young students.

I wish to offer music in schools to students who desperately need it and who rely on it each and every day. I wish to

serve my community and family well.

Music has done that for me. The very

least I could do would be to give back to

18

those that I love.

Florida Music Director

FLORIDA MUSIC EDUCATION ASSOCIATION 2019-2020 DONORS

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

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

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

The following have graciously donated to FMEA from April 1, 2019, through June 30, 2020.

MAESTRO’S CIRCLE $10,000 and up

No current donors at this time.

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All County Music, Inc. Clifford Madsen Russell Robinson

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August 2020

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SUSTAINERS continued Bob O’Lary & Debby Stubing Kimberly Oppermann On Behalf of the Board of Directors of HCEMEC, Inc. Mary Palmer Edward Prasse On Behalf of Nancy Masters Jeanne Reynolds On Behalf of Pinellas County Schools Performing & Visual Arts Teachers Mary Catherine Salo In Memory of Gary Rivenbark & Wes Rainer Steven Salo In Honor of John Jamison & Dr. Bill Prince Kathleen Sanz In Memory of June M. Hinckley Fred Schiff J. Mark Scott In Honor of Judy Arthur & Judy Bowers

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Carol Casey Shelby Chipman Dale Choate Don Coffman Erin Cushing Virginia Dickert In Memory of Lindsay Keller & Debbie Liles Michael Dye Curtis Edwards Judith Evans Melanie Faulkner Bradley Franks In Memory of Gary W. Rivenbark Mark Goff Louise Gore Sharon Graham Walter Halil John Henderson Bernie Hendricks Stanley Hoch Neil Jenkins Pauline Latorre Lu Anne Leone Joseph Luechauer

Kevin Lusk Cak Marshall In Memory of Sylvia Perry of Peripole, Inc. Stephen Mayo Robert McCormick Jeneve Medford Jarvis Kim Miles Katie Grace Miller In Honor of My Aunt Artie Ree Nathan John Nista Harry “Skip” Pardee On Behalf of Quinn & Vivienne Pardee Galen Peters David Pletincks In Honor of Alexis & Jonathan Pletincks C. William Renfroe In Memory of Herb Beam, Past FVA President Rollins College Department of Music Alicia Romero-Sardinas In Honor of John Rose Melissa Salek Cristyn Schroder Ted Shistle

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August 2020

21

Music Teacher Evaluation by Non-Music Administrators

by Jeffery B. Redding and Eileen McGonigal

T

Teacher evaluation continues to be a “hot topic,” not only in the

education community, but seemingly everywhere. It is conten-

tiously debated among politicians. One only needs to look at

social media or online forums to conclude that everyone seems to have their own opinion about how to best evaluate teachers.

To compound the issue, many administrators are expected to evaluate teachers in subject areas for which they have no exper-

tise or even a basic level of understanding. A popular line of reasoning is that “good teaching is good teaching, regardless

of the subject.” Using this widely held belief, non-music eval-

uators, therefore, should be able to accurately and correctly evaluate music teachers by observing them teach. Although a “good teaching is good teaching” approach to teacher evaluation provides an accurate measure of some components of effective

teaching, crucial aspects of effective teaching in music may be

overlooked. The education of our students and the future live-

lihood of teaching professionals are too important to overlook what systematic, scientific research has found.

What does the research say about music teacher evaluations

by administrators/evaluators who are not specially trained in music? Jeffery B. Redding (2011) completed research on the

perception of teacher effectiveness and discovered some particularly eye-opening results. Redding’s study focused on three

primary areas of observational teacher evaluation: (1) accuracy/ inaccuracy of instruction; (2) high/low teacher delivery; and (3) on/off task student behavior. In this study, experienced

Continued on page 24

22 F l o r i d a

Music Director

August 2020

23

Music Teacher Evaluation by Non-Music Administrators Continued from page 22

non-music teachers, experienced music

teachers, college music students, and high school students all viewed previously recorded video segments of

music teaching. Expectedly, the results of Redding’s study indicated that teaching

with accurate instruction, high teacher delivery, and on-task student behavior resulted in high evaluative ratings from all groups of evaluators, regardless of their musical background. Likewise,

teaching with inaccurate instruction, low

delivery, and off-task student behavior resulted in very low evaluative ratings.

This is what we would expect from all evaluators. It is clear from these results,

however, that the evaluative component

of teacher delivery seems to hold more

task behavior, an important component

regardless of content, potential learners

teacher evaluation.

was presented in an interesting way with

as long as the content information is deliv-

weight and “overwrite” the other areas of

High Teacher Delivery

of effective teaching, when information high delivery.

Teaching with high delivery may

can be seduced into thinking they learned ered with enthusiasm (Naftulin, Ware, & Donnelly, 1973). The original Dr. Fox

lectures can be viewed with simple web

Teacher delivery includes observable

also cause some evaluators to overlook

Observable aspects of high teacher

of effective teaching. In Redding’s (2011)

tact with students; varying the volume

ers’ group was greatly affected by teacher

skills may have an overall greater effect

posture; using facial expression through

racy of instruction. The only groups to

in comparison to other teaching charac-

smiling; and exuding a high degree of

instruction was inaccurate were the col-

behaviors that accompany instruction.

delivery include maintaining eye con-

and pitch of voice; maintaining good raising eyebrows, widening eyes, and

energy. Conversely, low delivery behaviors include an audible voice but very

little inflection and variation in volume;

poor posture; indifferent facial expres-

sions with a lack of eyebrow movement

and smiling; and lethargic, dull, and sluggish energy. The teaching segments

another extremely important component

study, the experienced non-music teachdelivery and not influenced by the accu-

rate the teachers ineffective when the

lege music students and the experienced music teachers. The ratings of experienced

music teachers were most affected by the accuracy of teacher instruction in evaluations of teacher effectiveness than any other evaluative group.

These findings are not entirely new. In

with high teacher delivery received the

a series of well-known studies referred

regardless of whether the students were

actor (under the guise of Dr. Myron L. Fox)

highest teacher ratings by all evaluators,

on task or off task. Even when a teach-

er’s classroom management was lacking, evaluators still rated the teacher higher when the teacher displayed engaging

and exciting delivery. Thus, evaluators were willing to overlook students’ off-

24

to as the “Dr. Fox” studies, a professional

gave an extremely entertaining and char-

ismatic lecture that included nonsensical

and inaccurate content to an audience of educators and professionals. The audience

gave Dr. Fox extremely high evaluative ratings for his lecture, suggesting that

Florida Music Director

searches (for example, see https://you tu.be/RcxW6nrWwtc

).

It is in this way that high delivery

on the perceived effectiveness of a teacher

teristics, such as precise and extensive knowledge of the subject matter. In anoth-

er music research study (Madsen, 1999), accuracy of teacher instruction, student attentiveness, and teacher delivery were

examined as they affected the effective-

ness ratings of teachers. In this study, teachers received high evaluations when the delivery was high and the students

were on task, even when the information presented was incorrect. All evaluators attended to teacher delivery more than accuracy of instruction and students’ on-

or off-task behavior. Like Redding’s (2011) study, high teacher delivery was again

rated as being more effective than accurate subject matter in Madsen’s (1999) study.

clearly define and explain the musical academic material that will be taught.

Although this additional documentation may be cumbersome and take addition-

al time, the benefits to students will be worthwhile.

Jeffery B. Redding, PhD, recipient of the Correct and Accurate Subject Matter Unfortunately,

inaccuracy

teaching content impacts student achieveof

infor-

mation may not always be noticed by

evaluators since it is typically examined

alongside teacher delivery and is often evaluated by experts without specific

music knowledge. Because of this lack of content-specific knowledge, problems may arise when experts in education are

evaluating educators who are teaching subject matter outside of the evaluator’s expertise. This would appear to present a considerable problem, as students

could be learning wrong material with incorrect information taught. It could be potentially problematic for an evaluator

to assess a beginning music teacher and

not recognize if and when inaccurate instruction occurs. Additionally, it can

be frustrating for expert music teachers to endure an administrator’s misevalu-

ations when the administrator does not

ment substantially while it has less effect

on student ratings of instructors (Abrami, Leventhal, & Perry, 1982). Based upon

this information, it is important to decide why educators are being evaluated in

the first place. Are we evaluating educa-

tors to boost student evaluations of the teacher, or are we evaluating teachers to

assess a teacher’s potential impact on stu-

dent learning? If accurate content has the greatest effect on student achievement, then it is imperative that educators teach

correct content. Correct subject matter, therefore, is crucial to the assessment of

music teacher effectiveness. If non-mu-

sically trained teacher evaluators are unable to identify when subject matter

is inaccurate, then evaluations need to be administered by musically trained

experts who can differentiate between accurate and inaccurate subject matter.

Because music teachers in many states

understand aspects of the lesson—for

are evaluated by school administrators

presented in a music lesson or rehearsal.

not be familiar with a music teacher’s

example, when academic content is being Administrators’ evaluations, while contributing expert advice regarding delivery and classroom management tech-

niques, offer little to evaluate the accuracy of the content.

Student Ratings vs. Student Achievement

Research data have indicated that instructor delivery impacts student ratings of

instructors substantially, yet it has little effect on student achievement. Conversely,

and other education personnel who may subject matter, it would be prudent for

school districts nationwide to incorpo-

rate evaluations of “special area” teach-

ers by specialists within their respective

academic areas. Additionally, music and other related subject area teachers should

educate evaluators about what their students are learning, especially if the evalu-

ator lacks appropriate content knowledge in a teacher’s particular field. For example, a music teacher could provide lesson

plans in advance of an evaluation that

2019 GRAMMY Music Educator Award, is the director of choral activ-

ities at the University

of Central Florida. Dr.

Redding is in demand nationally and internationally as a guest conductor, speaker, and

clinician. He has been honored with multiple

awards for his achievements and service to the profession.

Throughout her 16 years of

teaching,

Eileen

McGonigal has taught

band, orchestra, and guitar at the elementary, middle, high school, and

college levels. She recent-

ly graduated from Florida State University with the PhD and is the new director of bands and assistant professor of music at Central College in Pella, Iowa.

References Abrami, P. C., Leventhal, L., & Perry, R. P. (1982). Educational seduction. Review of Educational Research, 52(3), 446-464. https:// doi.org/10.2307/1170425 Madsen, K. (1999). The effect of accurate/inaccurate teacher instruction, high/low teacher delivery, and on/off task student behavior on musicians’ evaluation on teacher effectiveness. (Unpublished doctoral dissertation). Louisiana State University, Baton Rouge, Louisiana.

Naftulin, D. H., Ware, J. E., Jr., & Donnelly, F. A. (1973). The Doctor Fox lecture: A paradigm of educational seduction. Journal of Medical Education, 48, 630-635. https://doi. org/10.1097/00001888-197307000-00003 Redding, J. B. (2011). The effect of choral conductor intensity on the perception of teacher effectiveness (Publication No. 3483596) [Doctoral dissertation, Florida State University]. ProQuest Dissertations and Theses Global.

August 2020

25

Practical Strategies for

Ensemble Motivation and Growth

M

by Kari Adams

Motivation is an ever-present concern in the classroom, and

teachers are often frustrated when motivation strategies

branded as quick fixes work only for a brief time or with a

few students. With a basic understanding of the components of motivation, teachers can create or find strategies that have

intrinsic

a lasting impact on students. This understanding, however, is

difficult to attain, as the motivation literature is vast and can be challenging to wade through. Most researchers agree that

people are motivated when they believe a task has intrinsic value, take part in a healthy culture, and experience feelings of competence (Pink, 2009). Therefore, effective motivation

strategies are ones that communicate value through intrinsic motivation, connectedness to a motivating culture, and competence through emphasizing growth.

Value: Intrinsic Motivation

Tangible rewards such as prizes, candy, or redeemable ticket systems may appear effective because they can yield immediate results; however, those results are often short-lived, and

psychologists have consistently found that rewards have a

long-term negative effect on intrinsic motivation (e.g., Lepper et al., 1973; Deci et al., 1999). When the rewards are gone or no longer valued by the students, motivation disappears.

Encouraging students to be intrinsically motivated may take

26

more effort and creativity but will provide lasting results.

Florida Music Director

connectedness Students are intrinsically motivated

a day to perform student-chosen solos

ing, relevant, and valuable (Pink, 2009).

for students to engage in their own indi-

when they find a task to be challengTo encourage intrinsic motivation, teach-

ers can assign tasks at the proper level of challenge and help students make

connections between tasks and goals.

For example, Pink recommended using “DIY (do it yourself) report cards� (p.

188), a strategy in which students grade

themselves in a variety of skills and provide a short summary of their progress

or small ensembles, or providing a day

vidual or small group musical projects.

These rewards are especially effective

when delivered intermittently and unexpectedly. If-then rewards can encourage

students to weigh the action against the value of the reward or develop a sense of

entitlement, but intermittent rewards are unexpected gifts.

throughout the semester. Students could

Connectedness:

self-assessments with teacher assess-

Often conversations about motivation

use the report cards to compare their

ments, set goals for the coming semester, or serve as springboards for student-led parent-teacher conferences.

Rewards in the form of praise or expe-

riences, rather than physical objects, can motivate students without harm. Teachers can reward students with activities that promote a love of music, such as allowing

students to perform a favorite piece in the

last few minutes of class, setting aside

Highly Motivating Culture

focus on individual behavior; however,

group culture can have a strong impact

on how individuals behave. A healthy, motivating culture can positively impact

individual behavior, commitment, and

motivation. Author Daniel Coyle (2018),

in his exploration of motivating corporate cultures, found several common foundational concepts required to build a highly

Continued on page 28

August 2020

27

Practical Strategies for Ensemble Motivation and Growth Continued from page 27

motivating culture. According to Coyle,

that they will never have an accurate

play vulnerability. Before embarking on a

bers are ones that communicate safety

ating unless they ask students how they

group goals, outline their responsibili-

cultures that motivate individual memand belonging, encourage vulnerability

and growth, and orient behavior of group members toward shared goals.

Music

educators

can

communi-

cate safety and belonging by building

assessment of the culture they are creare experiencing that culture; therefore,

teachers must invite students to share their opinions and feedback regarding classroom culture.

Strategies that work to break down

relationships with individual students

the wall between conductor and student

among students. Encouraging students

admit mistakes openly or actively seek

and encouraging relationship-building to take risks and make mistakes without

detrimental consequences communicates safety. Music educators can also communicate safety and belonging by promoting

student voice and autonomy; encouraging students to participate in error detection,

strategy identification, or co-teaching can prioritize students’ voices. Students can

also have a voice in repertoire selection, community outreach planning, and creation of the class mission statement. It

is important for educators to remember

28

encourage vulnerability. When teachers

feedback from students, they are displaying vulnerability. Although these are simple practices, they are not necessarily

easy. It can be frightening to ask students for feedback on our teaching practices; however, providing students with a voice

new unit of study, invite students to select

ties in reaching those goals, and provide feedback on what they need from the

teacher to reach their goals. At the end of the unit, semester, or concert, engage students again in reflection on whether they

met their goals and what they would do differently next time. Involving students

in these discussions is highly motivating and also can be transformative to teach-

ing. In my own classroom, conversations with insightful, intelligent, and committed students have been integral to my growth as an educator.

Finally, highly motivating cultures ori-

in their own education will serve both

ent behavior toward a shared purpose.

and students in their commitment to the

shared purpose is to invite students to

educators in their pedagogical growth class or ensemble.

The inclusion of students in goal set-

ting and evaluation is another way to dis-

One simple way to begin thinking about

create a mission statement. Begin by

working as an ensemble to name and

rank the group’s priorities. Ask students

competence

Florida Music Director

to consider who they are as a culture,

Dweck (2007) encouraged educators to

short-term costs. The ideal classroom is

Music educators could involve students

but one that allows students to flour-

why they do what they do, and what

model a growth mindset for students.

only how the ensemble will function as

in their growth process by sharing their

their primary goals are. Consider not a performance group, but also how it can

serve the school and the community and how students can connect with others on the regional, state, or global stage. Then,

continually communicate these priorities

to students in the form of concrete examples. Describing behaviors that align with the priorities set by the ensemble can help orient behaviors toward the shared goal.

Competence: Growth Mindset

In the book Mindset, Dweck (2007) pre-

sented over three decades’ worth of

research in the field of competence motivation. According to Dweck, people conceive of their abilities and potential as

either fixed or malleable, and this belief influences the types of goals people set,

the way they respond to setbacks, and

personal musical or instructional goals with students and inviting feedback when trying a new strategy. Helping students track growth is another powerful tool for encouraging a growth mindset. As

primarily intended to show their talent, and to give up in the face of setbacks.

Those with a growth mindset are likely to select challenging activities, intended to bring about growth, and to persist through obstacles.

It is difficult to motivate students to

take on challenges if they believe their musical ability is a fixed trait. Teaching a

growth mindset allows students to experience feelings of competence in the face of challenging tasks. Several authors in

music education have explored the impor-

that providing students with effort-re-

lated feedback influenced students’ goal

setting and their motivation to practice.

Participants who received praise for their effort rather than their talent were more

likely to select challenging rhythms and to engage in home practice. Using feed-

assistant professor of choral

State University and conductor of the FSU Women’s Glee Club. Prior to her

appointment at FSU, Dr. Adams completed the PhD in music education at the University

of North Texas. She is a passionate educator, conductor, clinician, and researcher.

References

skills can improve with practice.

Adams, K. (2019). Developing growth mindset in the ensemble rehearsal. Music Educators Journal, 105(4), 21-27. https://doi. org/10.1177/0027432119849473

communicates to students that musical

Although some motivation strategies

detrimental to the value students place

on musical activities in the long run.

The strategies outlined here are sustainable and encourage commitment to music

making because of its intrinsic value. It is important to recognize that this path is

not easy. Building on intrinsic motivation

requires patience and dedication from the teacher, a healthy culture requires maintenance, and teaching a growth mindset

requires constant reflection on the strat-

egies used and feedback provided in the classroom. Additionally, even in the ideal classroom, students are human and will, therefore, not feel motivated at all times.

Coyle, D. (2018). The culture code: The secrets of highly successful groups. Random House.

Davis, V. W. (2017). Error reflection: Embracing growth mindset in the general music classroom. General Music Today, 30(2), 11-17. https:// doi.org/10.1177/1048371316667160 Davis, V. W., & Persellin, D. (2017). Harnessing the power of failure in your music classroom: Grit, growth mindset, and greatness.

Southwestern Musician, 85(7), 68-73.

Deci, E. L., Ryan, R. M., & Koestner, R. (1999).

A meta-analytic review of experiments examining the effects of extrinsic rewards on intrinsic motivation. Psychology Bulletin, 125(6), 627-668. https://doi.org/10.1037/00332909.125.6.627 Droe, K. L. (2013). Effect of verbal praise on achievement goal orientation, motivation, and performance attribution. Journal of Music Teacher Education, 23(1), 63-78. https://doi. org/10.1177/1057083712458592 Dweck, C. S. (2007). Mindset: The new psychology of success. Ballantine Books.

tangible, if-then rewards and quick fixes

Lepper, M., Greene, D., & Nisbett, R. (1973).

Undermining children’s intrinsic interest with extrinsic rewards: A test of the ‘overjustification’ hypothesis. Journal of Personality and Social Psychology, 28(1), 129-137. https:// doi.org/10.1037/h0035519

the long-term benefits far outweigh the

Pink, D. H. (2009). Drive: The surprising truth about what motivates us. Riverhead Books.

Enacting these strategies is challeng-

ing, and it can be tempting to revert to

to teach a growth mindset in secondary

during the transition period; however,

ensembles (Adams, 2019).

knowledge and skill.

back in rehearsal that focuses on effort

tance of a growth mindset (Davis, 2017;

Davis & Persellin, 2017) as well as ways

students need to grow in their musical

music education at Florida

education researcher Droe (2013) found

appear to be quick fixes, they may be

mindset are likely to select easy activities,

space, opportunity, and encouragement

skills that change with practice. Music

a fixed mindset believe that their abilunchangeable. Individuals with a fixed

result in an environment that provides the

Kari Adams, PhD, is

time, they see that musical abilities are

Conclusion

ities are due to natural talents and are

ish. Dedication to these strategies will

students track their own progress over

the decisions they make about future

involvement in an activity. People with

not one that forces students to comply,

August 2020

29

New Year of New Perspectives

by Jason Thomashefsky, EdD, Chairman FEMEA Member Engagement

T

he 2019-20 school year has been

strong and at school, extraordinary pos-

Below are some of the ways I myself

These positives should be celebrated and

distance learning that I believe can be

a huge shake-up to the education

itives emerged that cannot be dismissed.

dents, parents, and all educational stake-

expanded upon in hopes not only to sur-

system as a whole. Teachers, stu-

holders were given too many variables

vive in the new reopening situations but

or colleagues of mine thrived during expanded upon moving forward.

The first example of thriving during

to THRIVE.

distance learning was the increased con-

entire educational delivery platform in a

educators may have experienced setbacks

our field. Music educators are used to act-

distance learning was not easy. Though

stress about the upcoming school year.

to address in a short amount of time.

Many school districts worked over their

matter of days. The switch to statewide we have ended the last school year and

are looking to begin our journey into the

next school year under many new conditions of reopening, it is important that

we learn from the things we were able

to do during our experience in distance learning.

During the original shutdown at the

end of the 2019-20 school year, music

teachers across the state were asked to transition our performance-based edu-

cation medium to an online platform.

Though I imagine almost the entirety of the music education population

would have preferred to finish the year

It is important to note that many music

and may have feelings of anxiety and

Though these stressors are real and play a huge role in our decision making mov-

ing forward, it is important to identify

the positive things we can build upon that have emerged during this crisis.

Arts such as music education play such a critical role in our school system that we

owe it to all of our students and stakeholders to continue to grow and perform our best, even during this pandemic.

Let’s take a look at the positives gained,

the new skills learned, and the ideas that came about during our distance learning

adventure and consider ways to apply them going into the next school year.

nection I experienced to my colleagues in ing like they are on a desert island. All too

often, elementary general music teachers

are the only teachers of their subject area in the school. They may drift from

building to building, and rarely are given the opportunity to have meaningful collaboration time with peers teaching their

same subject. During quarantine, however, I began to hear stories of music teach-

ers finally having the chance to meet with larger groups because of the reliance on

software such as Zoom and Google Meet.

The camaraderie experienced by my fel-

low teachers in Lee County was not just an anomaly in our area of the state. Other

groups of teachers have found the time to

meet and collaborate. Developing strong

“

During quarantine, however, I began to hear stories of music teachers finally having the chance to meet with larger groups because of the reliance on software such as Zoom and Google Meet.

30

Florida Music Director

”

“

Music educators sought to give the students of our state as close to an authentic, live experience as possible.

”

relationships and sharing ideas with our

to my students to record themselves per-

school year? How can you build upon

be continued into the next school year as

cation experience would not have been

distance learning into this next semester?

colleagues is a great practice that should

often as we can. Though we may not have the amount of time given to us during

forming at home. This type of music edupossible if not for distance learning.

Lastly, the ability to learn and incor-

the original distance learning experience,

porate new skills to help deliver quality

area gives us inspiration and resiliency to

Music educators sought to give the stu-

our connection to others in our subject continue to deliver relevant and needed music content to our students.

Another great positive of adapting to

the new way of teaching was the involvement of parents. Now I understand that

the switch to online learning leads to many students not getting equitable

access to music education. In some cases, students were left out of the arts altogeth-

er. However, in areas where music was allowed to continue, many teachers saw

the music-at-home connection get stron-

ger during distance learning. Parents who normally get a “school was good” comment from their students actually saw what was going on in their classes. This

was especially true in the virtual music

room. Tech programs such as Flipgrid

music education cannot be overlooked. dents of our state as close to an authentic, live experience as possible. This caused

the various musical activities I assigned

and what practices are you going to dis-

miss? What opportunity are you going to take to make yourself a better educator?

If we grow and thrive with this pro-

tional experience, we make our case and

looked for alternative ways to deliver our lessons in various webinar-style formats.

The sale of green screens went up across

our country, and I imagine it is because

teachers were looking for ways to spice up their instructional delivery videos. These

new skills that we used to thrive during

cation a relevant part of the total educa-

advocate for our jobs. We music educators

will continue to thrive and our bonds will continue to develop if we continue

to focus on the positives and absolutely look toward making this a great school year.

distance learning should not be forgotten

Jason Thomashefsky,

fall. We should continue to grow and

music educator in Ft.

and set aside as we return to school this cultivate our skill sets to further enhance our teaching.

Though the above situations were some

certain you have success stories of your

siblings, and other relatives taking part in

What resources are you going to update

software to create virtual ensembles. We

in my online classroom were challenged dents. Because of this, I saw parents,

ideas with others who may be struggling?

fession and continue to make music edu-

engineering, recording, and video editing

of my own experiences of thriving during

to participate in activities with their stu-

Will you be willing to share your great

many of us to seek various types of music

gave parents the chance to see what we actually do during our lessons. Parents

the great things that happened during

the events of the past year, I am almost own. Please consider taking the time to

reflect on those experiences and use them as fuel to continue to grow as an educator.

How can you use them this upcoming

EdD, is an elementary

Myers, Florida, and has served for nine years as a

music teacher at Rayma

C. Page Elementary School. He received his undergraduate degrees in music education

and jazz studies from Rowan University

in Glassboro, New Jersey. In addition, he received the MS in neuroscience and psychol-

ogy and the EdD in educational leadership from Nova Southeastern University.

August 2020

31

‘HOW’

The New in Online Music Education

by Shannon Stem, Chairwoman FEMEA District 6

B

ack-to-school brings a myriad of emotions to both

instruments as before, we can use body percussion. Instead of

excited, desiring my music students to reach the goals

and showcases, we are able to focus on teaching music funda-

students and teachers. I always start the school year

we create together. This year adds to the excitement a mix of

fear and uneasiness as we continue to find ourselves teaching

focusing on whether or not we can have our music productions mentals, and THAT is something to be celebrated!

It is time for us to collaborate with one another, to reach out

in the middle of a pandemic full of unknowns. I imagine THIS

to our district chairpersons and the FEMEA board, and to truly

expected.

educators in order to provide the highest quality comprehensive

is where most of us are finding ourselves. And that is to be

With this new climate for teaching, we are presented with

many wonderful opportunities. We all know the value of what

embody the mission of FEMEA—to unite and support music music education for all children. We are all in this together!

it is we do with our students on a daily basis, and now, whether

Shannon Stem is the music teacher at

are able to more freely share music education with not only

She graduated from Troy University with the

you are preparing to teach music in-person again or online, we

our students, but their parents and communities as well. At the beginning of our stay-at-home order last school year, music teachers shared creative ideas and lesson plans with each other.

This is just the beginning of the ingenuity we will discover this school year.

Whether your school utilized Quaver, Seesaw, Google

Classroom, or even paper and pencil assignments, you and your music content were the bright spot in your students’ days.

More students completed the assignments than we thought or

saw; more parents were actively involved in singing, dancing,

University Academy in Panama City, Florida.

BME. She has been teaching elementary music for the last eight years. She serves as the district

chairwoman for FEMEA District 6, has served on several revision committees for the Florida

Teacher Certification Exam in Music, and has served on her local music committee in multiple capacities. In 2017, Shannon Stem was named Hutchison Beach Elementary School’s Teacher of the Year and has

since taken on roles within her district as a mentor teacher to beginning teachers and those new to the area.

and making music; and now more than ever the students are

eagerly awaiting music with you. Knowing this, I plan to revisit

all of the topics that are challenging for our young brains to comprehend and remember, and plan to revamp the way I have been teaching them. If we are unable to sing as much as we

did before, we can use movement. If we cannot use as many

32

Florida Music Director

Ernesta Chicklowski is president of Florida Elementary Music Educators Association.

She can be reached at (813) 272-3090 or ernesta.chicklowski@sdhc.k12.fl.us

ComponentNews

A

nd just like that, another summer

FLORIDA VOCAL ASSOCIATION

As an association, FVA is making the

Cristina Morales, Lisa Testa, Carmella

ing its programs and services to members

trict chairpersons. We also welcome Brad

comes to an end and another school

necessary adjustments to continue offer-

selecting music, working on calendars,

and students. Some of our programs will

year begins. Amid all of the planning, setting up classrooms, and meeting new students and parents, I hope you are

refreshed and ready to meet the demands

of a new year with joy and a renewed sense of mission and purpose.

That was how I began my FMD column

a year ago. From a distance, August 2019

and August 2020 look very different, but if you zoom in and look closely, they are

more similar than you might think. What

has not changed (and I suspect never will) is that our students need to connect with their world through music, and that they are led by passionate choral music

look much different, due to necessary

physical distancing requirements or a transition to virtual/digital platforms.

Making these changes to our usual

procedures with regard to auditions,

honor choirs, assessments, and meetings requires a huge effort from many people.

Thank you to all of our board members

Finally, I am happy to report that the board has selected Michael Dye as FVA’s

next executive director. Mike will work

alongside Mark Scott during the upcom-

ing school year, officially taking over as executive director on July 1, 2021.

Like many of you, I value organization

There have been—and will continue to

as those details are confirmed throughout the year.

I would like to take this opportuni-

Rock, Wesley Roy, and Solangi Santiago,

ronment.

of the Past Presidents’ Advisory Council.

more information about new procedures

process! Stay tuned, as you will receive

standing to provide their students with

experiences possible in our current envi-

Franks to the board as the new chairman

and planning, but I also thrive on prob-

ty to thank Janet Edewaard, Kristi Fish,

the safest and most meaningful musical

Turner, and Charlotte Walters as new dis-

for their many hours in support of this

educators who have poured themselves

into seeking out the resources and under-

Jason Locker, President

Ashley Leland, Ashley Lewis, Jennifer who have completed their terms as district chairpersons. We welcome Brady

Boardman, Alex Glover, Jessica Mongerio,

lem solving and overcoming challenges.

be—some discouraging moments as we adjust to change this year. I firmly believe,

however, that we will make it through

this time, and will emerge stronger and better because of it. With that belief in

our hearts, let us once again prepare to meet the demands of a new year with joy,

and with a renewed sense of mission and purpose!

August 2020

33

FLORIDA ORCHESTRA ASSOCIATION

ComponentNews I

Matthew Davis, President

hope you found time during the sum-

date in your district. In addition to your

members at no charge. Please stay tuned

a highly unusual spring semester. This

FSMA dues are paid so your students are

opportunity!

mer to rest, restore, and reflect after

will indeed prove to be a very different

FOA/FMEA dues, please ensure your

eligible to participate in any MPAs this

for more information about this exciting The Florida Orchestra Association is

coming year.

dedicated to supporting you and your

through many challenging times in our

FOA/FLASTA Fall Conference will not

back and ideas about all areas in which

this year and beyond! The importance of

Instead, the fantastic professional devel-

school year, with many challenges ahead.

Remember this: Music has prevailed past, and music will continue to prevail

our service to our students as music and

arts teachers cannot be overestimated in times such as these. The teaching may

look different, but the students and the music will always be in the forefront.

Unfortunately, due to the virus, the

meet at the Hilton Orlando this year.

orchestra program. I welcome your feedFOA is involved. Feel free to email me at mdavis@myfoa.org.

Let me know how

opment sessions will be recorded and

FOA can better serve your needs!

on demand. These sessions will be pass-

families good health, happiness, and ful-

moved to the FOA website to be accessed word protected and available to all FOA

I wish you, your students, and your

fillment this school year.

I am very thankful for a phenome-

nal FOA leadership team. Understand

FLORIDA MUSIC SUPERVISION ASSOCIATION

we are working very hard to provide

the support you need during this chang-

Harry “Skip” Pardee, President

ing landscape. Know you have dedicated

and extremely talented individuals on the FOA Executive Board working for your

success. I want to thank Past President

Jason Jerald, President-Elect Carol Griffin, as well as Executive Director Donald

Langland for their countless hours of work and support. Please know you are in good hands.

As you prepare for the new school

year, please review the upcoming registration deadlines. FMEA/NAfME/FOA membership dues must be postmarked

by September 12 or paid online by September 21. All-state registration/eli-

gibility information can be found on the FMEA website (FMEA.org

website (myfoa.org

) or the FOA

). Many thanks to

Brian Hellhake and his committee for their work on the all-state audition music.

Audition music is available for download from the FOA website. Please refer to

the all-state audition page for the latest

information, including any errata in the

audition music. Please note that the allstate recording window has moved to the

week of September 27. Check with your

district chairperson for the recording

34

Florida Music Director

W

hen discussing music education advocacy, a wise mentor of mine once said: “Unless you have a seat at the table, you are actually on the menu.”

The proverbial table these days comprises superintendents, district-level leader-

ship, curriculum staff, teachers, and health professionals, all meeting to discuss what school programs will look like when the school year begins. By now, decisions have been made that are (and have been) extremely difficult to make, with no perfectly clear resolution in sight. That is why the Florida Music Supervision

Association has done its very best to try to remain at the table during this difficult decision-making process.

Each week, music program leaders from across our state have met virtually to

discuss the progress made in each community and to share resources with one

another. The work this team has done over the past six months is nothing short of astounding! From guidance documents to equipment purchases, curriculum changes, learning management system coordination, staffing concerns, and so

much more—music supervisors and program leaders in Florida are working tremendously hard on ensuring a robust arts education for Florida’s students.

Meaningful conversations about the importance of music education are hap-

pening all around us. Despite the recent challenges, our profession is united and

committed to arts education. Students truly need what the arts provide, and

you are the catalyst providing it. Please know that during this interesting time,

FMSA is here to assist you in any way possible. FMSA is committed to assisting not only those districts fortunate enough to have a district-level program leader, but all districts in Florida. If our organization can be of assistance to you and

your crucial work, please do not hesitate to reach out to us. Have a wonderful school year!

Five Hundred Twenty-Five Thousand Six Hundred Minutes

FLORIDA NAfME COLLEGIATE

Mark A. Belfast, Jr., PhD, Advisor

W

ell … here we are. August 2020.

The start of another academic year,

and what a year it promises to be! The coronavirus pandemic has turned our world upside down. Few things today

are as they were at this time in 2019. It is absolutely mind-blowing how much can

change in a single year: the way we meet,

the places we eat, how we shop, the way we do school and go to church … the list seems endless. How do you measure the

change you’ve experienced? In friends?

Followers? Afternoon walks with your dad?

In the United States, the COVID-19

crisis forced all of us to slow down, and in

those still, quiet moments, many people

heard the voices of their neighbors who had been crying out for justice, peace, equality, and liberty for centuries. The last six months have hit the American social, political, and cultural scenes like a tidal

wave, and we’ve all been forced to reeval-

uate our norms, our biases, and the things we hold to be self-evident. I hope you

use this time to read some books, watch some documentaries, and otherwise edu-

cate yourself on the issues affecting our country, and yes, you, today. Many of us have certainly had to reimagine how we do what we do, and ensure we do it with

provided classes, camps, and workshops

Helpless

do you measure your knowledge, or lack

platforms to ensure students continued

stant reminder of why we do what we do.

empathy and integrity—and well! How thereof, of the social, political, and cultural history of the small world in which we live?

Despite the inherent discomfort that

often accompanies discovery and change,

much good has come from these chal-

lenging times. With little or no time to

prepare, musicians across the country have brilliantly developed musical expe-

riences for people of all ages when they needed music the most. Music teachers

via Zoom and other videoconferencing

not only to experience quality music but to further develop their musical knowl-

edge and skills. They were joined by countless performing artists around the

from their homes, the music

created during this season has been a conHow do you measure up? What have you

done during this time to become a better musician, educator, human?

2020 has been a long year, quite literal-

world who recognized the need for the

ly, and it’s not over yet. As you encounter

music. Whether it was the Dillard Center

I encourage you to choose joy and love.

enriching, invigorating, healing power of for the Arts Jazz Ensemble’s sizzling virtual band rendition of Cotton Tail

or

Jimmy Fallon, the original Broadway cast

of Hamilton, and The Roots performing

the many challenges before you this fall,

Love yourself. Love your neighbor. Love

your craft. Love the journey. How do you measure a year in the life? Measure in love.

August 2020

35

ComponentNews

FLORIDA BANDMASTERS ASSOCIATION

Ian Schwidt, President

many of those bands as possible into the

FBA community to help make all of us stronger.

In an effort to alleviate any pressure

coming from a marching MPA for the

school year 2020-21, no band in the state of Florida will be required to participate in marching MPA in order to participate

in concert MPA or solo and ensemble MPA. We want you to be able to con-

centrate on your program and meet the

needs of your students in whatever form that may be. We do not want you to feel

any pressure to take your current circum-

stances and try to make them fit your

F

irst, I want to say thank you. And

I have been blessed to hear from so

program into a traditional year.

Furthermore, as of this writing, school

I want to say it again. Thank you,

many of you about your conquering of

classification will be lowered one clas-

making the square peg of music edu-

And now I want to ask you to share

selection in the spring. This is based

thank you, thank you! Thank you for

cation fit in the round hole of virtual learning. Thank you for keeping music in the lives of your students. Thank you

for holding discouragement at bay and

continuing to persevere when it seemed hopeless. Thank you for keeping music

alive and vibrant in our schools. Thank you for making the magic of music a reality for all of your students despite ridiculous obstacles and challenges.

What a great virtual summer confer-

ence we experienced this summer. The

presenters brought so many excellent

obstacles and your defiance of the odds.

your strategies, discoveries, and ideas.

FBA has started a collection of short videos and documents made by our members of the tips and tricks that helped them successfully teach virtually. If you

Melvin, Josh Sall, Shawn Barat, Mara Rose, Sheldon McLean, Jason Duckett,

Jim Matthews, Kelly Dorsey, Jody Dunn, Keith Griffis, Bernie Hendricks, Fred Schiff, Gary Green, Jason Hatfield, Rich

DeRosa, Jeremy Langford, and Jeremy George.

36

unfold throughout fall 2020.

As the school year is now upon us,

officers, and the executive committee

for more information. The submissions we have received are categorized and

available on the FBA website. So many great ideas!

Bernie Hendricks, Dr. Shelby Chipman,

that is now available to view on our FBA

Fourth Wall Ensemble, Tom Bracy, Tara

fied even more as we see circumstances

please email virtual@fba.flmusiced.org

out our teaching lives! Thank you to Jeanne Reynolds, Ear Peace Foundation,

during spring 2020. This may be modi-

please do not hesitate to reach out to

you haven’t yet but would be willing to,

and Cathi Leibinger put together a

Dr. Tim Lautzenheiser, Dr. Kathy Sanz,

on the loss of nine weeks of instruction

have already contributed, thank you! If

ideas for us to consider and employ, not

only for this coming year but through-

sification for the concert MPA literature

thought-provoking Social Equity Forum

president’s YouTube channel. We highly

encourage everyone to watch it and to reflect on the messages as you do. Using this forum as a launching point, we have

begun the Band Reclamation Task Force led by Bernie Hendricks. We are going

to need everyone’s help in identifying

and connecting with bands across our

state that may not be currently participating in FBA. Our goal is to bring as

Florida Music Director

committee chairpersons, your district

members with any questions, issues, or ideas. We are all FBA, and this is an opportunity for us to become stronger as an organization. Let’s work together and

lift each other up every day. We all work so hard to pour into our students’ lives,

so please make sure someone is pouring

into your life as well. Find another band director (or even two or three or more) to partner with and build each other up

daily. Look for the new band director

who is not connected in your district and connect with him or her as well. It is time

for all of us to be leaders in our programs, in our schools, and in our organization.

We’re all in this together! This will be a great year because we teach music in the state of Florida—together!

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

Marc Decker, DMA, President

I

’m writing this article in the last days

as students attended in significant num-

uncertainty for music education. Every

and other online platforms for no other

bers on Google Hangouts, Zoom, Webex,

of June, which is a time of significant

reason than to socialize. Every section

day I put in my earbuds and go for a long

started a group chat to stay in touch, and

walk to reflect on the many possibilities

some decided on their own to create fun

for the upcoming school year and adap-

videos. At first I was surprised, but then

tations that can keep our students safe.

came to realize that just like us, our youth

I always feel anxious as I start my walk,

had their social lives stripped away by

but toward the end feel relief having con-

the pandemic. They feel alone and yearn

sidered anew some aspect of the coming

for interaction. Music is inherently inter-

year. Recently, as an exercise in positiv-

active as we perform for others and with

ity and planning, I decided to focus my thoughts on the certainties for the upcom-

ing school year, and this has given me

summer I asked my student leadership

First, our students are eagerly wait-

the current and future members of my

both comfort and conviction.

ing for the upcoming school year. This

team to host online gatherings for both ensembles. The result was overwhelming

others, and our classrooms embody the need for community through music. No

matter how significant the modifications

to our instruction will look this year, the students will always seek out music.

Second, the challenges we face will be

done as a community of educators and all of us are fervently preparing. When I FLORIDA NAfME COLLEGIATE

Julian Grubb, President

speak with colleagues, it is immediately clear that they are committed to having

an outstanding and safe school year.

D

Each of us is exploring a multitude of

to physically meet with everyone this year; however, we are working hard to

ingness to share ideas. Furthermore, the

ue to the uncertain times we live in, the State Executive Board has decided that our annual Florida NAfME Collegiate Fall Conference will be held on

a virtual platform this October. We are disappointed that we will not be able ensure that our members receive the Fall Conference they deserve. We have a

lineup of great sessions, such as “Careers in Nontraditional Teaching Situations,” “Exploring the Rockestra,” a session on how to incorporate nontraditional instru-

ments into the orchestra setting, and “Discussions With the Music Supervisors,” a panel discussion of Florida music supervisors, proctored by state board members with questions provided by NAfME collegiate members in real time.

Please make sure to check out our podcast! Our next installment of “Music

Talks: Discussions on Music Education” is titled “The History of American Music

Education.” In this podcast we learn about the profession’s past and how it can help us understand how it affects our present situation and near future. This episode features the new state advocacy committee members and special guests

such as Dr. Steven Kelly (FMEA president) and Dr. Deborah Confredo (professor of music education at Boyer College of Music at Temple University).

Be sure to follow us on Instagram for more information about new initiatives

and the Fall Conference, @flnafmecollegiate.

Please stay healthy, and remember, the arts bring us together. Let’s be sure to

do our part to make sure we all prosper together!

imaginative plans for how music can be

taught safely, and the level of creativity in

our field is unprecedented, as is the willinnovations we implement this year will

shape the future of music education long after the pandemic is gone. I’m grateful

to work in this field and to be a member of Florida’s music education community.

Let’s continue to draw inspiration from each other and trust that united we can accomplish anything.

As I finish each of my long walks, I

tend to end on the same thought: We must succeed. All of us as music educa-

tors have been touched by music. It has been a source of strength, hope, and reassurance throughout our lives. We became

music teachers to share our love of music

with others, and it is more important than ever that we succeed. Stay strong and stay safe!

August 2020

37

CommitteeReports

DIVERSE LEARNERS COMMITTEE Alice-Ann Darrow, PhD, Chairwoman

Including Students With Disabilities in the Age of COVID-19:

Is Blended Learning the Answer?

O

n June 11, Governor Ron DeSantis

includes an element of student control, “...

to examine the approach more closely than

Richard Corcoran announced their plan

or skip forward through online content as

headline in Forbes read “The Coronavirus

they do their online learning, the path

Education: From Now On, Blended Learning

even the location from which they want to

or may not become the norm, but it will likely

brick-and-mortar classroom or anywhere

determined the end of the coronavirus and

ability and flexibility of blended learning

convenience and financial feasibility of Zoom

ed instructional approach for students

classrooms, some form of virtual academic

and

Education

Commissioner

to reopen Florida schools at “full capacity”

for face-to-face learning in fall 2020. Music educators are eager to return to their usual teaching practices while including new instructional strategies learned

during their virtual teaching experiences.

However, if cases of COVID-19 continue

to increase in Florida, it is likely music educators will incorporate some form of blended learning in their teaching.

Blended learning combines classroom

and virtual instruction. Staker and Horn

(2012, p. 3) defined blended learning as:

“A formal education program in which a student learns, at least in part, through

online delivery of content and instruction

with some element of student control over time, place, path, and/or pace, and at least

in part, at a supervised brick-and-mortar

location away from home.” Critical to the definition of blended learning is that it

the ability for students to pause, go back,

they might have otherwise. In fact, a recent

free agents, … to choose the time at which

Pandemic Has Unleashed A Revolution In

they want to take to learn a concept, or

Will Be the Benchmark” (Dans, 2020). It may

complete the online work—whether in a

be adopted by many educators until we have

else” (Maxwell, 2016, p.1). It is the adapt-

the safety of the classroom. Because of the

that has made it a frequently recommend-

technology for meetings, conferences, and

with disabilities.

gatherings will undoubtedly continue even when teachers return to the classroom.

Most blended-learning programs fol-

Blended Learning Blended learning has been employed as an alternative to instructor-led instruction since the 1970s; though it has been used more frequently in recent years as computers have become more affordable, computer literacy has increased, and more homes have computers. Certainly, the potentially chronic nature of COVID-19 has prompted educators

Classroom Learning

Blended Learning

Face-to-Face

A La Carte or Self-Blended, and Enriched Virtual. The Rotation model includes four

sub-models:

Station

Rotation,

Lab Rotation, Flipped Classroom, and Individual

Rotation.

The

following

descriptions of these models are fair-

ly standard. They are taken from Horn and Staker (2014) and Blended Learning Universe (2020):

� Traditional

low one of four models: Rotation, Flex,

Rotation Model. In a rotation model

of blended learning, students rotate from in-person learning to online learning on a

Online

Learning

set schedule or a schedule determined by

a teacher. There are four models for how

« Station

students rotate.

Rotation.

The

Station

Rotation model allows students to

rotate through stations on a fixed schedule, where at least one of the

�

stations is an online learning station.

38

Florida Music Director

This model is most common in ele-

mentary schools because teachers are

already familiar rotating in “centers”

« Lab

or stations.

Rotation. This model, like a

Station Rotation, allows students to

rotate through stations on a fixed schedule; however, online learning

occurs in a dedicated computer lab.

This model allows for flexible scheduling arrangements with teachers or

paraprofessionals, and enables schools

« Flipped

to make use of existing computer labs.

Classroom. The Flipped

Classroom model flips the traditional relationship between class time and

homework. Students learn at home via online coursework and lectures,

and teachers use class time for teach-

er-guided practice or projects. This model enables teachers to use class time for more than delivering tradi-

tional lectures and to provide more

« Individual Rotation. The Individual time for individual assistance.

Rotation model allows students to rotate through stations, but on indi-

vidual schedules set by a teacher or

a software algorithm. Unlike other

A La Carte or Self-Blended. A course

usually do not require daily school atten-

essarily rotate to every station; they

accompany other experiences the student

twice-weekly attendance, for example.

rotation models, students do not necrotate only to the activities scheduled on their playlists.

Flex Model. A course or subject in which online learning is the central vehicle for

student learning. Students move on an individualized schedule among learn-

ing modalities. The teacher of record is

on site, and students learn mostly in the classroom, except for any homework

that a student takes entirely online to is having at a brick-and-mortar school or learning center. The teacher of record

Blended Learning for Students

teacher. Students may take the A La Carte

An advantage of blended learning for

for the A La Carte course is the online

course either on the brick-and-mortar

campus or off site. This differs from fulltime online learning because students

take some courses a la carte and others face to face at a brick-and-mortar campus.

assignments. The teacher of record or

Enriched Virtual. The Enriched Virtual

on a flexible and adaptive as-needed basis

school that allows students to complete

other adults provide face-to-face support

through activities such as small-group instruction, group projects, and individual tutoring. Some implementations have

substantial face-to-face support, whereas others have minimal support.

dance; some programs may only require

model is an alternative to full-time online the majority of coursework online at home

or outside of school, but attend school for required face-to-face learning ses-

sions with a teacher. Unlike the Flipped Classroom, Enriched Virtual programs

With Disabilities

students with disabilities is that various models facilitate small-group instruction

that can be tailored to meet students’ individual needs. As digital natives, today’s

students are often more acquainted than their teachers with the various types of

technology used in blended learning.

Students frequently find technological devices such as tablets more engaging than large-classroom instruction.

Students who learn differently are not stigmatized when they struggle with one-

size-fits-all instruction, and are allowed Continued on page 40 August 2020

39

CommitteeReports Continued from page 39

dents with disabilities. Zavaraki and

Schneider (2019) conducted a recent systematic review of the research literature on blended learning and students with

disabilities and found that computer- and

network-based technology can improve

academic performances of these students when used in blended learning environ-

ments. In addition, their review of the

literature revealed that assistive tech-

nology, computer-based technology, and network-based technology are the most for them, but also are used by their peers

for convenience and thus are less stigmatizing than pull-out services or special education classrooms.

Research on Blended Learning to progress at their own pace and to

select methods of instruction that fit their interests and preferred learning modalities. Blended learning also supports the

philosophy and concepts of differenti-

ated instruction by allowing students options for how they will receive instruc-

tion and demonstrate what they know.

Finally, blended learning provides ways

to measure learning until students have reached the required mastery. Students

have access to these measures and thus can monitor their learning and develop independence in their progress.

An important part of Universal Design

for Learning is the incorporation of technology, a great equalizer for many

students with disabilities (CAST, 2020).

Examples are software programs that

Researchers Means, Toyama, Murphy,

learning advisable for students with disabilities. These features are often lifelines

40

to support its use, the blended learning

approach has considerable potential to support students with disabilities.

As in general education, blended learning

ment than traditional brick-and-mortar schools. In their meta-analysis of 45 stud-

ies on blended learning, the researchers

reported that blended learning tended to be more effective than traditional faceto-face learning, and that fully online

learning’s effectiveness was equivalent to face-to-face instruction. The meta-analysis included only one study on students

with disabilities; however, the findings

of the one study did demonstrate support for the effectiveness of blended learning for students with disabilities (Englert,

Zhao, Dunsmore, Collings, & Wolbers, 2007).

Thompson, Ferdig, and Black (2012)

classrooms, they demonstrated smaller

features are, in part, what makes blended

while more quality studies are needed

may be a more effective learning environ-

al student population, blended learning

for students who are deaf. Accessibility

puters, tablets, and smart phones. These

abilities. The researchers concluded that,

Music Technologies Useful for

found that when students with disabil-

features are now standard on most com-

learning approach for students with dis-

and Baki (2013) found that for the gener-

translate text to speech for students who

are blind, or that translate speech to text

popular technologies used in a blended

ities were enrolled in exclusively online

learning gains when compared to the

Students With Disabilities

in music education is an instructional approach that incorporates the use of vir-

tual learning environments, computers, tablets, and other contemporary technologies. Musicians and persons with dis-

abilities have both benefited greatly from advancements in technology. Therefore, it is not surprising that technology would also play a substantial role in the music

education of students with disabilities.

Various devices such as the Soundbeam™

have allowed students with the most severe disabilities to participate in music making. Inherent in the blended learn-

ing approach and its implementation in

music classrooms is the use of technol-

ogies that can advance the learning of all students, but especially those with disabilities. Sandee Wallace compiled a list of technological resources

for teach-

traditional classroom. Consequently, they

ing music to students with disabilities as

ment was a viable alternative to bet-

music therapy at Florida State University.

concluded a blended learning environter meet the individual needs of stu-

Florida Music Director

part of a project for her master’s degree in Ms. Wallace previously taught music at

MULTICULTURAL NETWORK Bruce J. Green, Chairman

Nina Harris School for students with disabilities in Pinellas Park, Florida. She

is particularly gifted at adapting music instruction for students with severe and/ or multiple disabilities. She currently

teaches at Governor’s Stem Academy in

Charlotte, North Carolina. She can be reached at srwallace528@gmail.com.

Conclusion

During this time of COVID-19, as with all

adversities, we will experience moments

of resilience and inspiration, as well as personal and professional growth. Our professional growth will likely include employing new approaches to teaching,

adding new software to our collection

of teaching tools, and finding levels of inventiveness we didn’t know we possessed. I do believe we will all be together again and with our students. In the

meantime, celebrate good health, person-

al security, family, and friends, and keep

those without one or more of these good fortunes in your thoughts and hearts. We

will overcome. Stay safe, stay well. Our

profession needs you, and your students need you and the musical experiences

you bring to them. As always, feel free to contact me to request assistance with students who have disabilities or to share

your ideas for teaching all of our students with diverse learning needs.

References Blended Learning Universe (2020). Blended learning models. Retrieved from https:// www.blendedlearning.org/models/ CAST (2020). Center for Applied Special Technology. Retrieved from http://www. cast.org Dans, E. (2020). The coronavirus pandemic has unleashed a revolution in education: From now on, blended learning will be the benchmark. Forbes Online. Retrieved from https://www.forbes.com/sites/ enriquedans/2020/04/13/the-coronaviruspandemic-has-unleashed-a-revolution-in-education-from-now-on-blended-learning-willbe-the-benchmark/#5fb3731a536f

A

s we continue to adjust to the new norms of our local communities, I would like to greet you from the desk of the FMEA Multicultural Network where

we will continue to strive forward in efforts to ensure that a quality, comprehensive music education experience is available to ALL Florida students. I would be

remiss if I did not thank and acknowledge the outstanding leadership of Bernie

Hendricks. His unswerving commitment to music education and FMEA is some-

thing we can all aspire to. Mr. Hendricks’ love for his family and students shows us every day how to be the best version of ourselves by being a great family man, band director, conversationalist, and downright amazing person. Thank you for your service, Bernie; because of you the Multicultural Network is better.

As the new guy at the helm, allow me to introduce myself to some of you I

may or may not have had the pleasure of interacting with. My name is Bruce Green, and I am originally from Lincoln Sr. High School in East St. Louis, Illinois.

I had the pleasure of having Ronald Carter as my high school band director.

After matriculating at Bethune-Cookman College and earning a degree in music

education, I went on to earn an MBA. As of 2019, I am the band director at Jones

High School in Orlando. Before that I was the director of bands at Edgewater High School in Orlando for 10 years, and before that my time was spent in elementary and middle schools to span 23 years in the profession.

It is my hope that we will continue to build upon the foundation of excellence

laid before us as we continue to make sure that all students have access to quality music education everywhere. Over the next few weeks, months, and maybe years to come, our communities may call upon us to help shape and reshape the way

we provide music for all students regardless of their background, social-economic

status, religion, or race. In light of all that is going on in our world, we are faced

with the reality of race and what our role will be to help facilitate a working

environment where all students are safe, respected, and valued. I challenge us

to become leaders on the forefront of what our students need as we lead them in seeing the world through another lens.

Englert, C. S., Shao, Y., Dunsmore, K., Collings, N. Y., & & Wolbers, K. (2007). Scaffolding the writing of students with disabilities through procedural facilitation: Using an Internetbased technology to improve performance.

Learning Disability Quarterly, 30(1), 9-29.

Horn, M. B., Staker, H. (2014). Blended: Using disruptive innovation to improve schools.

Retrieved from https://www.blendedlearni ng.org/w p - content/upload s/2014/11/ 1-Models-of-Blended-Learning.pdf Means, B., Toyama, Y., Murphy, R., & Baki, M. (2013). The effectiveness of online and blended learning: A meta-analysis of the empirical literature. Teachers College Record, 115(3), 1-47.

Maxwell, C. (2016). What blended learning is— and isn’t. Retrieved from Blended Learning Universe at https://www.blendedlearning. org/what-blended-learning-is-and-isnt/

Staker, H., & Horn, M. (2012). Classifying K-12 blended learning. San Mateo, CA: Clayton Christensen Institute for Disruptive Innovation.

Thompson, L. A., Ferdig, R., & Black, E. (2012).

Online schools and children with special health and educational needs: Comparison with performance in traditional schools.

Journal of Medical Internet Research, 14(3): e62.

Retrieved from https://www.ncbi.nlm.nih. gov/pmc/articles/PMC3384422/ Zavaraki, E. Z., & Schneider, D. (2019). Blended learning approach for students with special educational needs: A systematic review.

Journal of Educational & Social Policy, 6(3), 75-86.

August 2020

41

CommitteeReports

EMERGING LEADERS COMMITTEE

Mary Palmer, EdD, Chairwoman

T

his year we Zoomed into the annual

FMEA Emerging Leaders Conference.

It’s clear that this format made it possible

for new Emerging Leaders as well as speakers to join us from throughout the state and beyond. We are happy to wel-

come 57 Emerging Leaders representing 18 counties from the Panhandle to Miami.

Incredibly inspiring keynote speaker,

Dr. Dré Graham, 2020 Florida Teacher of the Year/Christa McAuliffe Ambassador

Pictured are speakers from the FMEA Emerging Leaders Conference: top row—Dr. Steve Kelly, Dr. Mary Palmer, Dr. Kathy Sanz, and Scott Evans; bottom row—Malissa Baker, Jeanne Reynolds, Dr. Dré Graham, Debbie Fahmie, and Andrew Burk.

Not pictured is Anthony Beatrice.

Life’s most persistent and urgent question is, ‘What are you doing for others?’

for Education and now executive director of the Office of Independent Education and Parental Choice for the Florida Department of Education, focused on

—Martin Luther King, Jr.

“Leading through YOUR ‘Why?’” As a

makers. Jeanne emphasized the need

level. FMEA president and FSU profes-

Broward County came to see his students

always to stay actively involved. We are

encouraged us to be open/flexible as we

result of this talk, Christian Gordon of as the next generation of world changers.

Wow! With us from Boston was Anthony Beatrice, executive director for the arts in Boston Public Schools and an exemplar of leading change through transitional

times, who emphasized the importance

to vote in the upcoming elections and looking forward to a follow-up Zoom

Happy Hour to continue developing our

Florida and across the nation.

future, let us keep positivity and flexibil-

We in Florida are fortunate to have

Manela of Miami-Dade County plans to

vast array of forward-looking and inspi-

ways to address the unique situations

ahead.

president of NAfME, inspired us with the rational work being done on the national

Pinellas

County Coordinator of Fine Arts Jeanne Reynolds, FMEA

advocacy chairwoman and past president, along with

Andrew Burk of St. Johns County,

shared

important

information and strategies

to empower us all as advo-

cates for music (and the other arts) education in our schools.

Kalyn

Todd

of

Several of our Zoom participants cited

the positivity of this gathering. As we

tory advocates for music education in

great leaders. Our own Dr. Kathy Sanz,

connect with colleagues to develop new

look to and navigate an unknown future.

abilities to become informed, participa-

of networking. Based on her take-aways

from Mr. Beatrice’s presentation, Nerissa

sor of music education, Dr. Steve Kelly,

Broward

County especially liked the

move forward into an unpredictable

ity as our mantra as we continue to keep

the students and communities we are privileged to serve through music in our

hearts and minds. None of us is alone … reach out to each other for support.

Our special thanks to our

planning

and

leadership

team: Scott Evans, senior director of visual and per-

forming arts, Orange County Public

Schools;

Debbie

Osceola

County

Fahmie, fine arts resource teacher,

Public Schools (retired) and

community volunteer; and Malissa Baker, music teach-

er, Manatee County Public Schools.

In spite of the unknown

tip to use phone messaging(!)

yet

munication device with leg-

remain positive and optimis-

as our most important comislators and other decision

42

Florida Music Director

anticipated

challeng-

es of the coming year, let’s tic together!

PROFESSIONAL DEVELOPMENT COMMITTEE

Scott Evans, Chairman

H

ere we go! After a tumultuous and

them the skills to create, perform, and

ent is that you have now lived through a

many of us held out hope that this new

requires constant reflection about how we

have had time to reflect on your strengths

trying year for music education,

school year would allow us to return to doing what we do best in the familiar and comfortable way we have always approached music education. It is quite

clear now that business will not be back to usual for the 2020-21 school year, and

understand music. This is a tall order that

teach, why we teach, and what we teach.

invigorate our instructional practice.

What remains constant during these

challenging times is that we owe it to our

students, in whatever environment we are

provided, to deliver instruction designed to ensure all students receive the highest-quality music education possible. We

are charged with continuing to spread

the joy of music making to as many young people as possible while providing

works best for you, continue to listen for

approach to teaching.

new and successful ideas, and choose a

The best way to stay flexible and

an incredible abundance of profession-

an opportunity to update, enhance, and

based on recent experiences. Pick what

and how flexible we must all be with our

this as a frustrating and demoralizing the profession, or we can look at this as

fessional growth can look different now,

us about how precious our profession is

informed as an educator is through

endeavor that will challenge our faith in

and weaknesses. As a result, your pro-

This past year was a reminder to all of

the need for music education to evolve is ever more evident. We can approach

few months of modified instruction and

deliberate path of personal and professional growth toward providing the best

professional development. There was

music education for your students.

Music education is resilient, as evi-

al development these past few months

denced by its existence in public schools

rooms, and social media meeting spaces.

of music education, but an invitation to

offered through online classes, blogs, chat

since the 1830s. COVID-19 is not the end

Music teachers collaborated across the

reconsider what we are teaching and to

country to share ideas, learn about new

reexamine our approach to teaching the

technologies, and spend more time get-

students who have been placed in our

ting to know the resources provided to

care. Our profession is strong because of

them at the local level. There was so much

our commitment to evolving as educators

available, it was often difficult to choose

and our inexhaustible drive to deliver

what to focus on and how to select the

the gift of music education to all stu-

best of those opportunities. This year

dents. Now is the time to reflect, learn,

will likely be no different in regard to the

and grow so that we can meet this new

number of offerings. What will be differ-

opportunity.

August 2020

43

CommitteeReports

AWARDS COMMITTEE

Debbie Fahmie, Chairwoman

Madsen’s words really resonate with me.

With that in mind, I

would like to remind you

that

Nominations.”

The two categories that are typically

self-nominated are the Music Enrollment

Awards Program are

and they are due a bit later in the school

open, and we are

waiting to recognize

those heroes who

have demonstrated

visionary thinking, resilience, positivi-

ty, innovation, and a collaborative spirit during the past several

months

when education as

we have known it has been turned

would like to start my column by

upside down with no warning to pre-

Madsen as shared by Dr. Mark Belfast

over the award categories and consider

in This Time of Social Distancing.” Dr.

has embraced opportunity in a changed

ruly great and successful teachers share three

This FMEA program offers several

quoting the brilliant words of Dr. Cliff

pare for such a change. Please check

in his last column, “Music Education

nominating anyone in your sphere who

Madsen is quoted as having said, “[T]

world.

qualities: tolerance for ambiguity, intellec-

awards in recognition of the efforts and

I would dare to extend this thought

lege professors, school administrators,

that the same is true about successful

business partners, and others who have

leadership positions.

education.

year, the word new takes on a much-ex-

in the nomination process ensures that

history on this earth. In terms of music

individuals throughout our state. The

imaginative, creative, revived, unique,

Music Education Service and the Music

get my drift. Although we don’t really

applications are done online. To help

look like this fall, we do know that it will

ful nomination packet, we have exam-

rienced in the past, and that’s where Dr.

were selected in the past. Use these as

tual curiosity, and the ability to transfer.”

Go to “Examples of Successful Awards

nomina-

tions for the FMEA

I

models for putting together your packet.

accomplishments of music educators, col-

and the Music Education Service awards,

year. Get these deadline dates on your calendar now if you might be a part of either

category: Music Education Service Award is due November 3, and Music Enrollment Award is due November 5. Both of these

applications are fairly effortless. You’ll be surprised at how simple it actually is and

glad that you took the 15 minutes or so to apply when you are seated in a room full of honorees and FMEA dignitaries

being recognized for your accomplish-

ments. If your school qualifies for the Music Enrollment Award (with 35% for

high schools and 45% for middle schools), the awards ceremony is a great way to get

your principal to attend the conference.

Once there, the conference is typically a transformational experience for an

administrator, which yields benefits to the music program at your school.

Please check the FMEA website

for

details about the awards and nomination

beyond just successful teachers and say

superintendents, school board members,

administrators and anyone involved in

made outstanding contributions to music

of individuals who don’t just fight for

As I welcome you back to a NEW school

Our membership’s active involvement

of “what could be.” Music education has

panded definition than ever before in our

FMEA recognizes the most deserving

education, the word new now means

deadline for all categories (except the

process.

I am so excited to receive nominations

“what was,” but have a growth mindset always changed lives and has brought hope and joy to all people throughout

many generations. This year will go down in history as one of those pivotal moments

for education in general, and I know that

innovative, advanced, novel—I think you

Enrollment awards) is September 11. All

know at this time what education will

guide you in putting together a success-

FMEA Awards Program or the nomina-

be different than anything we’ve expe-

ples of award nomination packets that

tact me. Best wishes as you embark upon

44

Florida Music Director

music education can be at the forefront.

If you have any questions about the

tions process, please don’t hesitate to conthis NEW school year.

CONTEMPORARY MEDIA COMMITTEE David Williams, PhD, Chairman

T

he

FMEA

Contemporary

Media

Committee is excited to announce a new

FMEA all-state group that will be part of the

2021 Professional Development Conference in January. The Florida All-State Popular Music Collective could

An overview of audition requirements is below: DJ – perform a three to four minute set that includes a min-

imum of five samples or clips from at least two songs, and

demonstrates your best work. Make sure to concentrate on

sonic and rhythmic improvisation. Any included lyrics must be “school safe.”

Rapper/Hip-Hop – using the supplied backing tracks (one in a slow tempo and one in a fast tempo), create and perform school-

well be the first state-level all-

safe lyrics. Specific themes will be supplied for each piece. And

state group of its kind. As planned

now, the group will consist of stu-

dents in grades 9-12, and include a DJ, two or three rappers/hip-hop artists, two or three

vocalists, two or three guitarists, a bass guitarist, two keyboardists, two drummers,

and potentially a few other instrumentalists. Staff will include a director, a vocal coach, and a sound technician.

The Collective will focus on and per-

perform a segment of an original rap you have created (no more

than one minute in length) demonstrating your best work (again, with school-safe lyrics).

Vocalist – sing two songs with supplied backing tracks. And sing a segment of one song, a cappella, of your choice (no more than one minute in length and with school-safe lyrics) that showcases your range (preferably an original, but a cover is acceptable).

Electric Guitar – perform a stylistically appropriate guitar part using the

form mostly original music created by the

supplied backing tracks (from two different styles). And perform a seg-

er-centered pedagogical approach where

one minute in length) demonstrating your best work (your

students, and it will be run using a learn-

ment of something original you have created (no more than

the students will have significant autono-

original can be performed on electric or acoustic).

my over the choice of literature performed.

Students will also be expected to partici-

pate in preconference communications to begin the planning process of selecting literature. Audition materials are available on the FMEA website.

Auditions

will occur through video recordings, with

links submitted to the FMEA website by September 14. Personnel selections will be made by members of the Contemporary

Bass – perform a stylistically appropriate bass part using the supplied backing tracks (from two different styles). And perform a segment of something original you have created (no more than one minute in length) demonstrating your best work.

Keys – perform a stylistically appropriate keyboard part using the supplied backing tracks (from two different styles). And

perform a segment of something original you have created (no

more than one minute in length) demonstrating your best work.

Media Committee, and results will be com-

Drum Kit – perform a stylistically appropriate drum kit part

Any student, grades 9-12, participating

And perform a segment of something original you have cre-

municated by October 5.

using the supplied backing tracks (from two different styles).

in the Florida Music Education Association

ated (no more than one minute in length) demonstrating your

(FMEA) All-State Popular Music Collective

must be enrolled/registered at a public school, private school, public charter school, home education music cooperative, or vir-

tual school, and be sponsored by an FMEA member teacher from that school. In addition, the student must be a regularly participating member of a school-based music

best work.

Whatever – perform a stylistically appropriate part using the supplied

backing tracks (from two different styles). And perform a segment of something original you have created (no more than one

minute in length) demonstrating your best work. NOTE: this

category is for students who would like to audition on any instrument not included above.

program that is sponsored by an active FMEA member.

Please contact David Williams (davidw@usf.edu

) with any questions.

August 2020

45

ResearchPuzzles

RESEARCH COMMITTEE CHAIRMAN

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

Don D. Coffman, PhD University of Miami

How are researchers exploring the risks of spreading COVID-19 while making music?

I

’d like to provide the latest news, although it is only

July 1 (my submission deadline for the August issue).

I hope we know much more soon, based on studies

(e.g., social distancing and isolation, room ventilation and filtration, and personal protective equipment).

From my searching, the most comprehensive (and

being done at the University of Colorado, Colorado State

readable) review of research to date with best practice

studies, wind players enter an aerosol testing chamber

paper “Risk Assessment of a Coronavirus Infection in the

University, and the University of Maryland. In these

and play notes at loud and soft volumes. The flow of air (and particles) emerging from the instruments will

be measured to get an overall understanding of relative airflows from the instrument bell, finger holes, fipples,

and the musician’s nose and mouth. They will also mea-

sure the effect of various mitigations (plastic shields or music stands placed at the end of the instruments, wear-

ing surgical/homemade masks, wearing N95-certified respirators, wearing face shields, and utilizing low-re-

sistance filtering mouthpieces. There are plans to assess the potential impact of aerosol generation in a rehearsal room with multiple players, if that can be done safely,

to gauge the effectiveness of passive control techniques

recommendations is an English translation of a May 19 Field of Music” by Drs. Spahn and Richter, two medical doctors with music training of the Freiburg Institute for

Musicians’ Medicine (FIM), University Medical Center and University of Music Freiburg. I will not attempt to summarize that report here. Instead I have prepared a shared folder link for anyone wishing to review the proposals for the research studies in Colorado and this Spahn and Richter report (https://bit. ly/3gaQAgD

).

Stay safe! I will update you

with more information as soon as I can.

Email your questions and feedback to d.coffman1@miami.edu Research Puzzles.

46 F l o r i d a

Music Director

ExecutiveDirector’sNotes

Arts Education Is Essential

H

aving just completed my two years as president of the National Association for Music Education

(NAfME), I have had the opportunity to work with many national associations and state music

education associations in addressing the many changes and challenges we are facing for music education.

FMEA Executive Director Kathleen D. Sanz, PhD

In addition to NAfME leadership and staff, I have had the opportunity to work closely with the National Association of Music Merchants (NAMM), the National Federation of High Schools (NFHS), and the Country Music Association Foundation (CMA).

FMEA is supporting the Coalition Study on Effects of COVID-19 in collaboration with many other asso-

ciations. We want to be as safe and prudent as we can be in terms of music making with children. As educators, we are first and foremost responsible for the safety of the students in our care. The research is being

conducted by the University of Colorado, Boulder, and the efforts are being organized through the College Band Directors National Association and the National Federation of High Schools. The research has been

conducted throughout the summer and should provide preliminary results at the end of July. In addition, research is being conducted at the University of Maryland. One of the critical pieces of this study is to look

The mission

of the Florida

Music Education Association is to promote quality, comprehensive

music education in all Florida schools.

for mitigating factors for aerosol disbursement in our music education classes. FMEA will be posting the information as soon as it is released.

Arts Education Is Essential

As decision makers and policymakers plan for school reopening in the fall, the Florida arts associations have endorsed a statement entitled Arts Education Is Essential.

ment on pages 9-10.

Please see the state-

The signing organizations convey that the arts have already

played a pivotal and uplifting role during the health crisis,

and that arts education can help all students, including those

who are in traditionally underrepresented groups, as students

return to school this fall. Arts Education Is Essential speaks

to arts education’s role in supporting the social and emotional well-being of students, an area that administrators, educators,

and parents have highlighted as essential to students’ safe-

ty and success during the pandemic and as students return

to school this fall, whether in person, online, or in a blended fashion. Arts education also creates a welcoming school envi-

ronment and a healthy and inclusive school community, helping

students, educators, parents, and the community at large build

and strengthen their connectedness during this time of social isolation and social distancing.

Arts education supports the social and emotional well-being

of students, whether through distance learning or in person.

The arts have an advantage when it comes to providing develop-

mental experiences. The arts are social. The arts are emotional.

Social and emotional learning opportunities provide students with self-awareness, self-management,

social awareness, responsible decision making, and relationship skills. Self-awareness, self-efficacy, Continued on page 48

August 2020

47

ExecutiveDirector’sNotes Continued from page 47 self-management and perseverance, social awareness,

and relationship skills are central to any arts education activity, no matter the age and ability of the student or

the environment in which the learning takes place. As

music educators, we focus on social-emotional skills that include the knowledge, attitudes, and skills necessary

for students to recognize and control their emotions and behaviors; establish and maintain positive relationships;

make responsible decisions and solve challenging situations; and set and achieve positive goals.

Students will need to develop and rebuild their rela-

tionships with their teachers and their peers. Social and emotional needs will most likely be heightened and will need even more attention than we have provided in

the past. Addressing those needs and planning specific

activities for reacclimating students to the classroom will require focused attention.

Arts education nurtures the creation of a welcom-

ing school environment where students can express themselves in a safe and positive way. Music educators have the opportunity to work with their students over multiple years, developing teacher-student relationships that grow into a deeper understanding of the students

through interaction with their families and the com-

with whom we interact will have had different experiences during the pandemic.

What does back to school look like? Who knows? But

what we do know is that we will need music education.

« We will give more focused attention on each person as an individual. « The classrooms will have a more learner-centered focus. « There will be students returning in the fall who have not touched their instruments for at least six months. « Music educators will need to consider literature that

I believe we will find the following things to be true:

meets the needs of students who have had a gap in their learning without losing the musicality and art-

« Newly created uses of technology will meld with istry necessary for successful experiences.

traditional music education approaches in order to

offer even better opportunities and experiences for

« Teachers will need to develop new and creative our students.

ways to recruit students into their programs, both

students who have participated in their programs before and new students.

There are certainly many what ifs for which we don’t

munity, fostering a caring environment. Repeatedly we

know the answers.

to school is because of their music teacher.

staying informed and being proactive in sharing your

for all students as understood and supported by fed-

be a part of the solutions and the decisions that need to

hear stories from students that the only reason they go Arts education is part of a well-rounded education

eral and state policymakers. Florida students deserve

a rich and well-rounded education of which music and

the arts are a part. Without these important subjects throughout the school day, students are deprived of the education they deserve. As noted in Arts Education

for America’s Students: A Shared Endeavor: “An education without the arts is inadequate.”

Over the years, I’ve led discussions with several of

our music education associations about the importance

of foresight in making good decisions, by anticipating needs and asking what-if questions; however, I certainly didn’t anticipate the COVID-19 pandemic. We are con-

But we do know that each of us must have a plan. By

ideas, you can work with your school administrators to

be made. Let them know you have a plan for the return

of students and have systems in place for safety concerns such as instrument hygiene, etc.

I don’t have a crystal ball, but I believe music educa-

tors are resilient and will rise to these new challenges and opportunities.

Stay in touch with FMEA. Check the website often

as we continue to provide updates, and follow us on Facebook, Instagram, and Twitter.

Stay safe, stay well, and keep in touch.

Musically,

tinually looking to determine how and when schools will open in the fall. That being said, we know things will be different for everyone. Each student and teacher

48 F l o r i d a

Music Director

Kathleen D. Sanz PhD

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

Officers and Directors

EXECUTIVE BOARD President

Steven N. Kelly, PhD

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

Kenneth Williams, PhD

Douglas Anderson School of the Arts 2445 San Diego Road; Jacksonville, FL 32207 (904) 346-5620; kenwms@flmusiced.org President-Elect

Shelby Chipman, PhD

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

Ian Schwindt

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

Marc Decker, DMA

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

Ernesta Chicklowski

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

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

Past President................................................... Katherine Attong-Mendes University of Miami; kxa395@miami.edu

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Committee Council............................................................... Debbie Fahmie fahmied@yahoo.com

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

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

Past President...............................................................Rosemary Pilonero rosemary@femea.flmusiced.org Executive Director............................................................. Jennifer Sullivan 1750 Common Way Rd., Orlando, FL 32814 (321) 624-5433; slljenn@aol.com

Contemporary Media................................................... David Williams, PhD University of South Florida; 4202 E. Fowler Ave., MUS 101 Tampa, FL 33620; (813) 974-9166; davidw@usf.edu Diverse Learners.....................................................Alice-Ann Darrow, PhD Florida State University, Music Education and Music Therapy 123 N. Copeland St.; Tallahassee, FL 32306 (850) 645-1438; aadarrow@fsu.edu

FLORIDA MUSIC SUPERVISION ASSOCIATION

Emerging Leaders............................................................ Mary Palmer, EdD 11410 Swift Water Cir.; Orlando, FL 32817 (407) 382-1661; mpalmerassoc@aol.com

Past President............................................................................Scott Evans scott.evans@ocps.net

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

Treasurer......................................................................................... Ted Hope Hillsborough County Public Schools, School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4861; ted.hope@sdhc.k12.fl.us

FMEA Corporate & Academic Partners....................................Fred Schiff All County Music; 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fredallcounty@aol.com

FLORIDA ORCHESTRA ASSOCIATION President................................................................................Matthew Davis Harrison School for the Arts; 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 499-2855; matthew.lawson.davis@gmail.com

Multicultural Network...........................................................Bruce J. Green (407) 927-3141; bruce.green@ocps.net

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

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

Matthew Davis

President....................................................................................Julian Grubb Florida Gulf Coast University, 1519 Neptune Dr.; Lakeland, FL 33801 (863) 430-9466; grubb.julians@outlook.com

Budget/Finance, Development.................................. Steven N. Kelly, PhD Florida State University, College of Music, KMU 330 Tallahassee, FL 32306; (850) 644-4069; skelly@admin.fsu.edu

Research...................................................................... Don D. Coffman, PhD University of Miami; d.coffman1@miami.edu

FOA President

FLORIDA NAfME COLLEGIATE

Awards.................................................................................... Debbie Fahmie fahmied@yahoo.com

Florida NAfME Collegiate Advisor

Collier County Public Schools 5775 Osceola Trail; Naples, FL 34109 (239) 377-0087; pardeh@collierschools.com

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

FMEA COMMITTEE CHAIRPERSONS

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

Harry “Skip” Pardee

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

FSMA President ........................................................................Valerie Terry Carlos E. Haile Middle School 9501 SR 64 E.; Bradenton, FL 34212 vterrymusic@gmail.com

Florida Gulf Coast University 1519 Neptune Dr.; Lakeland, FL 33801 (863) 430-9466; grubb.julians@outlook.com

FMSA President

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

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

Florida NAfME Collegiate President

Mark A. Belfast, Jr., PhD

Florida Bandmasters Association P.O. Box 840135; Pembroke Pines, FL 33084 (954) 432-4111; Fax: (954) 432-4909; exec@fba.flmusiced.org

EX-OFFICIO MEMBERS

Government Relations..................................................Jeanne W. Reynolds Pinellas County Schools, Administration Bldg.

301 4th St., SW, P.O. Box 2942; Largo, FL 33779-2942 (727) 588-6055; reynoldsj@pcsb.org

Julian Grubb

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Past President...........................................................................Jason Jerald jason.jerald@sdhc.k12.fl.us Executive Director............................................................. Donald Langland 220 Parsons Woods Dr.; Seffner, FL 33594 (813) 502-5233; Fax: (813) 502-6832; exdirfoa@yahoo.com

FLORIDA VOCAL ASSOCIATION President.................................................................................. Jason Locker Orange County Public Schools; 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jason@fva.net

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

Past President.....................................................................Tommy Jomisko tommy@fva.net Executive Director....................................................................J. Mark Scott 7122 Tarpon Ct.; Fleming Island, FL 32003 (904) 284-1551; exec@fva.net

PROFESSIONAL DEVELOPMENT CONFERENCE Exhibits Managers................................................ Byron and Bobbie Smith 4110 Tralee Rd.; Tallahassee, FL 32309 (850) 893-3606; fmeaexhibits@fmea.org

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

Harrison School for the Arts 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 499-2855; matthew.lawson.davis@gmail.com

Local Co-Chairpersons Ted Hope—(813) 272-4861; ted.hope@sdhc.k12.fl.us Melanie Faulkner—(813) 272-4461; melanie.faulkner@sdhc.k12.fl.us Hillsborough County Public Schools, School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602

FVA President

FLORIDA BANDMASTERS ASSOCIATION

Executive Director....................... Kathleen D. Sanz, PhD (kdsanz@fmea.org)

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

Director of Finance & Client Relations...............................Richard Brown, CAE (richard@fmea.org)

Jason Locker

Orange County Public Schools 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jason@fva.net Member-at-Large

Edgar Rubio

Silver Trail Middle School 18300 Sheridan St.; Pembroke Pines, FL 33331 (754) 323-4321; merenguesax@aol.com

CENTER FOR FINE ARTS EDUCATION

402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 Director of Operations........................Valeria Anderson, IOM (val@fmea.org)

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

Technology Director......................................Josh Bula, PhD (josh@fmea.org)

Executive Director......................................................................Neil Jenkins

Marketing & Membership Coordinator................................. Jasmine Van Weelden (jasmine@fmea.org)

Public Affairs & Communications Coordinator..............................................Jenny Abdelnour (jenny@fmea.org)

August 2020

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