Florida Music Director August 2024

Collaboratively Oriented Classroom Policies in Music Education Foundations of Excellence

Best Practices for Starting Off the School Year for K-12 Music Teachers

PLUS: 2024-25 Leadership How do I get to the conference?

Social Emotional Development in P-12 Music Education August 2024

1

Woohoo!

NEW!

Breezin’ Thru Fingerings will power up your performance.

Get kids performance-ready in no time, with Breezin’ Thru Theory and now with Fingerings too! The super-fun Breezin’ Thru Fingerings are timed-response drills for beginning and intermediate players. Kids simply pick their instrument or voice and try to beat the clock matching notes to correct finger positions. As they progress through the levels, students build rapid response and mastery. Level the playing field and accelerate your performance programs by integrating Breezin’ Thru Theory, now with Fingerings too.

Subscribe Now! 1-855-265-3805 BreezinThruTheory.com

2 F l o r i d a M u s i c D i r e c t o r

Woohoo! Fingerings now available for: ● Band

● Recorder

● Orchestra

● Ukulele

● Guitar

● Mallets/

● Solfège

Keyboard

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

Hinckley Center for Fine Arts Education

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

Editor-in-Chief

Kelly Miller, DMA University of Central Florida 12488 Centaurus Blvd.

Orlando, FL 32816-8009 (407) 823-4545 (kelly.miller@ucf.edu)

Editorial Committee Terice Allen (850) 245-8700, Tallahassee (tallen1962@hotmail.com) Judy Arthur, PhD Florida State University, KMU 222 (850) 644-3005 (jrarthur@fsu.edu) William Bauer, PhD University of Florida, Gainesville (352) 273-3182; (wbauer@ufl.edu)

Contents August 2024 Volume 78 • Number 1

F E AT U R E S

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

2024-25 Leadership.. . . . . . . . . . . . . . . . . . . . . . 10

Jeanne Reynolds (jeannewrey@gmail.com)

How do I get to the conference?. . . . . . . . . . . . . . 12

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

Advertising Sales

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

Official FMEA and FMD Photographers

Bob O’Lary Amanda Crawford

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

Circulation & Copy Manager

Valeria Anderson, (800) 301-3632

Copy Editor

Susan Trainor

Foundations of Excellence: Best Practices for Starting Off the School Year for K-12 Music Teachers. . . . . . . . . . . 14 Collaboratively Oriented Classroom Policies in Music Education. . . . . . . . . . 20 D E PA R T M E N T S President’s Message. . . . . . . . . . . 4

Executive Director’s Notes. . . . . .

President-Elect’s Message. . . . . . . 5

Corporate Partners. . . . . . . . . . . 40

Advocacy Report. . . . . . . . . . . . . 6

Academic Partners. . . . . . . . . . .

FSMA Leadership Workshop. . . . . 8

FMEA Donors. . . . . . . . . . . . . 44

Component News.. . . . . . . . . . . 25

Advertiser Index. . . . . . . . . . . . 46

Research Puzzles. . . . . . . . . . . .

Officers and Directors.. . . . . . . .

32

Committee Reports. . . . . . . . . . 34 August 2024

38 42

47

3

President’sMessage

Jason P. Locker

Music Education Begins with ME

O

President Florida Music Education Association

n behalf of the Florida Music

Advocacy Chairperson Jeanne Reynolds,

Congratulations to everyone who was

Directors and the phenomenal team at

Abril, and Florida NAfME Collegiate

applied. I encourage you to continue

Education Association Board of

the June M. Hinckley Center for Fine Arts Education, I’m excited to welcome you back for another year of serving

our students and communities through music education!

Each year, a great deal of intention-

al planning is done by FMEA and the

component associations to prepare for another year of professional learning, music-making, advocacy, and more for

both members and students across our state. This process typically begins with the convening of our various association

boards in May to close out and reflect

upon the previous year’s activities, as we cast a vision and set priorities for the

year to come. In June, we welcomed a

University of Miami Professor Dr. Carlos members from four Florida universities

participated in the National Assembly

and Hill Day in Washington, D.C. in June. This annual event is a convening

of the National Association for Music

Education’s federated state units, of which FMEA continues to be the larg-

selected, and thank you to everyone who submitting your ideas, research, and best

practices to our conference each year, as the depth and breadth of professional

learning offered by FMEA every January

in Tampa is what makes our conference one of the very best in the nation!

This year, our theme will again be

est, in order to conduct the business of

Music Education Begins with ME. As we

exchange of ideas among leaders in the

age you to think about all of the things

the national association, to allow for the profession from across the country, and to advocate with lawmakers

on Capitol Hill. As always,

the Florida delegation was thrilled to represent our membership at this event.

In

July,

the

Florida

that you uniquely contribute to music

education. You are already making a difference, but I challenge you to find a

new way to give or to serve the profession in 2024-25.

Reach out to mentor a new colleague or to support an

new cohort of FMEA Emerging Leaders

Bandmasters

leadership skills development, as well as

ciation held their Summer Conferences.

ing a personal or professional challenge.

fessional learning opportunities led

have never interacted with before, other

to a day of professional learning and

held the Teach Music Florida Coalition (formerly FMEA Summer Institute).

Under the guidance of Dr. Dré Graham,

our new Emerging Leaders are brilliant and eager to serve the profession.

The Teach Music Florida Coalition participants brought a wealth of knowl-

edge and varied professional experience to bear as we brainstormed ways that FMEA can expand and elevate programs

and member services in order to bol-

ster the profession and encourage our K-12 student musicians to consider music

education as a professional pathway.

Many thanks to Dr. Shelby Chipman

and Dr. Steve Kelly for facilitating this think tank!

The FMEA Executive Committee,

Executive Director Dr. Kathy Sanz,

4 F l o r i d a M u s i c D i r e c t o r

Association

start another academic year, I encour-

and the Florida Vocal Asso-

These events featured engaging proby nationally renowned leaders in the

field, as well as the best and brightest of our Florida music education col-

leagues. These events also featured student performing groups, adjudicator training events, member recogni-

tions, and incredible networking and mentorship opportunities for both new and seasoned colleagues. The Florida

School Music Association also hosted its fourth Leadership Workshop for current

and future leaders in secondary music.

Finally, we were also excited in July

experienced one who is fac-

Be a friend to a colleague that maybe you

than a polite greeting as you pass by one another. Join or renew your FMEA and

component memberships. Encourage another music educator who has never

been part of this amazing network of professionals to join for the first time.

Make them feel seen, valued, and welcome. After all, we are not in competition. We are in community!

Music education begins with ME. It

begins with YOU. It begins with WE! Have a wonderful year!

to notify presenters and conductors who were selected to present interest

sessions and performances at the 2025 FMEA Professional Learning Conference.

Jason P. Locker, President

Florida Music Education Association

President-Elect’sMessage

Harry “Skip” Pardee

Prepare for a Great Year!

President-Elect Florida Music Education Association

llan McMurray, the esteemed music educator from

communities. During the COVID-19 pandemic, we often

advocacy remarks to FMEA’s General Session a few years

couldn’t be further from the truth. We may be in the

the University of Colorado at Boulder, said in his

ago: “If you don’t have a seat at the table, you are actually

on the menu.” Nothing could ring truer when speaking

of the importance of advocating for a well-rounded edu-

cation for Florida’s students. I was proud to join FMEA colleagues for our NAfME National Assembly and Hill

heard the saying “we’re all in the same boat.” But this

same storm, yes, but we are all in very different boats. Any

effort our organization can make to help equalize our

students’ ability to navigate the storms they are facing, or will face, is a worthy one.

Remember, it is never too early to begin making plans

Day in June on Capitol Hill. The energy and enthusiasm

to attend our annual Professional Learning Conference!

ble; our profession is in great hands with their inspired

documents, and making travel plans. We look forward to

from our collegiate representatives was particularly nota-

leadership. Remember, arts advocacy is not done by “others”— it is done by you, in your community, every day,

by embracing all opportunities to discuss the power of

It is time to begin submitting leave, gathering supporting

hearing about all your successes this fall and seeing you in-person in January.

Over the past few weeks, I have placed calls to many of

music and its tenets to anyone who might listen! A rising

our first-year teachers and members of FMEA from across

I am delighted to bring some conference news to you!

to learn how their first year in our profession went, and

tide lifts all boats.

As president-elect, I am charged with coordinating the

Pre-Conference in January. The 2024 Pre-Conference fea-

tured some remarkable work with rural and Title I music education sessions. As an association, we need to do all we can to ensure our students in these areas are provid-

ed with equitable access to a great music education. This year, we will continue that vital discussion with engaging presenters, interactive teacher and student panel discussions, and collaborative, problem-solving, and mis-

sion-central sessions regarding rural and Title I music education settings. We will discuss developing success-

ful music programs in the face of economic hardship,

the impact of school culture and “teacher-fit” in these settings, and music-specific supports for our neurodiverse learners in these largely underserved school

our state. The purpose of these calls was simply to chat,

to discuss what FMEA might keep on its radar to help

our young teachers. I am appreciative of our colleagues for taking the time to speak to me so I might understand

some of the unique challenges they face, celebrate success-

es with them, and learn from their perspectives. Please know that your FMEA Executive Committee welcomes

these conversations with you as professionals and friends.

I know I speak for my colleagues that we welcome any email or call from you to learn about your experiences as a teacher and how FMEA might help our profession in our

home state as well as represent us across the nation. If I can be of any help to you, please do not hesitate to reach

out personally: skippardee@fmea.org. Have a great start

to your school year, knowing that FMEA is here to support you in any way possible.

Onward!

Harry “Skip” Pardee, President-Elect

Florida Music Education Association

August 2024

5

AdvocacyReport

Jeanne W. Reynolds

Chairperson, Advocacy Committee

Democracy Is Not a Spectator Sport, 3.0

I

t has been a busy summer. While we were celebrating the passage of our Seal of Fine Arts bill and gearing

up for the implementation of this legislation, we were

surprised to learn of the governor’s veto of the Florida Division of Arts and Culture Grants. This veto has a direct impact on FMEA. (More information can be found in

President Jason Locker’s July 1 email to all FMEA mem-

bers.) For many of us, the summer also involved learning about candidates running for school board and other races in the August and November elections.

Over the years, I have written at least two articles on

the topic “Democracy is not a spectator sport.” Perhaps

this third time will be the charm. Here is an excerpt from my column as we started the 2011 school year:

Democracy is not a spectator sport. This expression is one of my favorites and appears on one of my

well-worn T-shirts. A quick Google search suggests

that this expression is credited to Lotte E. Sharfman, a former president of the League of Women Voters.

Sharfman was a refugee from Hitler’s Germany who devoted her life to working for the democratic process and to helping citizens gain access to government.

As government relations chairwoman for FMEA,

I see my role as helping FMEA members under-

stand and live this phrase. Three words immediately come to mind: vote, visit and vigilance. While many

advocacy columns are filled with great advice about legislative visits and being vigilant about legislative strategy, the first step is voting. (Reynolds, 2011)

6 F l o r i d a M u s i c D i r e c t o r

VOTE, VISIT, VIGILANCE

w “Visit” with trusted, respected, knowledgeable col-

leagues about candidates to become a better-informed

Given that it is an election year, the importance of voting w Talk to local elected officials and state officials about

VOTE

cannot be overstated. Understand that local elections impact your day-to-day life significantly.

w Register and/or check your voter registration status August Vote “To Do” List

(and vote by mail status) to make sure it’s up-to-date

voter.

your disappointment regarding the governor’s veto of all arts and culture grants. This can be via email,

phone call, or in-person visit. Although these decision makers did not veto the funding, it is helpful for them to hear of constituents’ concerns.

w If you wish to vote by mail, you must request a mail Successful advocacy involves constant attention. If you (registertovoteflorida.gov/home).

VIGILANCE

ballot no later than 5:00 pm 12 days prior to the elec-

can breathe, you can advocate. Consistency is the key;

tions. (For example, that’s August 8 for the August 20

consistent message, consistent presence, and consistent

w Research school board candidates and other candi- that the Seal of Fine Arts is implemented throughout the election.)

dates who will be on the August 20 ballot. Many races

relationship building. One of our major goals is to ensure

state with consistency, and with relative ease! If imple-

w For complete information about your local candidates, won’t offer this opportunity to our students. will be decided in August rather than November.

go to your county supervisor of elections website

mentation becomes too difficult, schools and districts

w Be an informed voter. If that seems daunting in the w Make advocacy part of your way of work not an “add on” for this school year. age of misinformation and disinformation, check w Identify a critical decision maker on your campus trusted, nonpartisan sources including vote411.org/ and plan to strengthen your relationship with them florida. w Vote in the August 20 state primary and nonpartisan throughout the coming year. w Learn about the Seal of Fine Arts if you are unfamiliar local elections! or have questions (FMEA.org/advocacy). w Ask about the implementation of the Seal of Fine Arts VISIT (myfloridaelections.com/Contact-your-SOE).

In the context of advocacy, the term visit is often used to

August Vigilance “To Do” List

in your school or school district. If your school or dis-

will use this word in a broad, informal sense to include w Be vigilant about voting in an important election year! describe legislative visits. For the next few months, we

“visiting” with friends, relatives, and neighbors about arts

education. Person-to-person advocacy is very effective, particularly as citizens become exhausted by political campaigns.

trict is unaware of the Seal, educate them.

Indeed, democracy is not a spectator sport, and similar-

ly, neither is advocacy. Advocacy isn’t someone else’s job; it’s your job and it’s my job. Please commit to completing

some of the “doable deed” action items listed above. The

w Talk to friends, colleagues, and neighbors about the and into the game so we can win a bright future for all August Visit “To Do” List

importance of voting and the critical importance of arts education in your community. Help them register

w Attend “meet and greet” events for local candidates. to vote if needed.

Learn about the candidates’ positions and share infor-

time for spectating is over. It’s time to get off the sidelines Florida students.

Reference Reynolds, J. W. (2011, August). Are You a Voter or a Spectator?

Florida Music Director, p. 7.

mation about the importance of arts education and your expectation for their support.

Jeanne W. Reynolds August 2024

7

FLORIDA SCHOOL MUSIC ASSOCIATION N O T E S

FSMA Leadership Workshop Promotes Collaboration and Opportunities for All

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

I

t is with great enthusiasm and pride that I congratu-

As president of the FSMA, I have witnessed firsthand

late the 2024 Florida School Music Association (FSMA)

the transformative power of music education. It not

in Orlando for professional development and leadership

discipline, creativity, and a sense of community. The

Leadership Workshop cohort, who came together July 7-10 training. This annual gathering represents a cornerstone of our commitment to fostering excellence in music edu-

cation across the state of Florida. Our theme this year, Beyond Positional Leadership: Championing Opportunities for All, underscores the vital role that strong, collaborative

leadership plays in nurturing and advancing our state’s music programs.

only cultivates students’ musical talents but also instills Leadership Workshop is designed to empower you, our dedicated music educators and leaders, with the tools,

insights, and inspiration needed to continue making a significant impact in our schools.

Our agenda this year featured an array of distin-

guished speakers, interactive workshops, and networking

opportunities. We welcomed keynote speakers who are

Staff, Presenters, and Executive Directors Val Anderson

Michael Dye

Cheri Sleeper

Josh Bula

Don Langland

Julie Ward

Benny L. Bolden, Jr. Craig Collins

8 F l o r i d a M u s i c D i r e c t o r

Neil Jenkins Kathy Sanz

Daryl Ward

James Weaver

2024 FSMA Leadership Workshop Participants Katlyn Barbur

Christopher Gugel

Brittany Smith

Shayla Bryan

Marissa Lopez

Cesare Turner

Andrew Beckner Courtney Chrestensen Danelle Eckhart

Catherine Feazell

Alli Howard Sunny Lulla

Cedrick (Alex) Pollard Alexandra Rameau

Marcey Sperr

Aaron Warren-Wiggins Don West

leaders in the field of music education, each bringing a

bered the profound impact your work has on students’

addressed current challenges and opportunities, provid-

developing the next generation of musicians and leaders

wealth of knowledge and experience. Their presentations ing fresh perspectives and practical strategies to enhance your leadership capabilities.

In addition to benefiting from the valuable educa-

tion provided during formal sessions, participants took full advantage of the many networking opportunities.

Building connections with fellow educators is invaluable,

as these relationships often lead to collaborative efforts

lives. Your dedication to fostering a love for music and to is truly commendable. The FSMA is committed to supporting you in this endeavor, and we are excited to see

the innovations and advancements that will emerge from this workshop. If you interested in being apart of the event next year, please reach out to your component executive directors.

Thank you to this year’s participants for your unwav-

that enrich our educational communities. Let’s continue

ering commitment to music education and for joining us

learn from one another’s experiences.

nize our efforts and lead our students to new heights of

to share your successes, discuss your challenges, and

As we convened the Leadership Workshop, we remem-

at this pivotal event. Together, let us continue to harmoachievement and creativity.

August 2024

9

2024-25 Board of Directors

Shelby R. Chipman, PhD Past President

Harry “Skip” Pardee President-Elect

Kathleen D. Sanz, PhD FMEA/FSMA Executive Director

Jeff Cayer, EdD FBA President

Sandra Sanchez Adorno, PhD FCMEA President

Ashley Peek FEMEA President

Christopher Burns, PhD FMSA President

Laurie Bitters FOA President

David Pletincks FVA President

Megan Robichaud FL-NAfME Collegiate President

Mark A. Belfast, Jr., PhD FL-NAfME Collegiate Advisor

Steven N. Kelly, PhD Member-at-Large

Ex-Officio Members

Jason P. Locker President

Benny L. Bolden, Jr., EdD

10 F l o r i d a M u s i c D i r e c t o r

FSMA President

Kelly Miller, DMA Florida Music Director Editor-in-Chief

John K. Southall, PhD Conference Planning Chairperson

Mary Palmer, EdD

Hall of Fame Chairperson

2024-25 Committee Chairpersons

Jeanne W. Reynolds Advocacy

Christine Lapka, EdD Diverse Learners

Arnekua Jackson, PhD Multicultural Network

Jason P. Locker Budget/Finance, Development

Clint Randles, PhD Contemporary Media

Dakeyan C. Graham, PhD, EdD, DMA Fred Schiff — Florida Emerging Leaders Corporate & Academic Partners

Aaron Kass Health & Wellness

Sondra A. W. Collins Awards

Ajori Spencer Professional Learning

William I. Bauer, PhD Research

Ed Prasse Secondary General Music

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

402 Office Plaza Dr.; Tallahassee, FL 32301-2757 Execcutive Director....................................................................................................... Kathleen D. Sanz, PhD (kdsanz@fmea.org) Director of Operations...................................................................................................... Valeria Anderson, IOM (val@fmea.org) Technology Director........................................................................................................................ Josh Bula, PhD (josh@fmea.org) Marketing & Membership Coordinator..................................................................... Jasmine VanWeelden (jasmine@fmea.org) Michael Antmann, EdD Student Engagement

Administrative Assistant....................................................................................................................Siena Deaton (siena@fmea.org)

August 2024

11

How do I get to the conference?

Making your case to attend the 2025 FMEA Professional Learning Conference Getting approval to attend the Florida Music Education Association Professional Learning Conference may

require developing a proposal. Due to tight budgets in today’s economy, school principals and dis-

tricts carefully scrutinize requests to attend professional learning. That does not mean you should not give it your best effort by

showing your administrators how your attendance will benefit the students

in your school. Rather than assuming your administrators are aware

of the critical importance of you professionally benefitting from con-

tent-specific sessions, consider submitting a formal proposal.

Through this proposal, you can

demonstrate how your participation

directly relates to the strategies and

the objectives of your school (includ-

ing those beyond the classroom). This

will allow you to articulate the need

for your continuing education and how

it will benefit your students, your school,

and you.

12 F l o r i d a M u s i c D i r e c t o r

Important Conference Dates & Information September 13, 2024, TENTATIVE, still TBD

Early registration opens.

Nominations open for Student Conference Experience and Tri-M Experience.

! go dnifegreintcae plrogram

co The 2025 d of l only ... an a it ig d e b l wil load nt to down a w l ’l u o y course all the ce app for n re fe n o c ms the cert progra n o C ! fo in latest printed. will still be

September 28, 2024

Hotels begin taking reservations at 9:00 am; all hotel reservations to be made online and only five (5) rooms per director.

October 1, 2024

Presenters’ deadline for editing session details and requesting A/V equipment.

November 9, 2024

Hotel room cancellation deadline is 5:00 pm.

November 12, 2024

Hotels will charge your credit card a nonrefundable deposit for the first night of each room.

Early registration closes at midnight. Prices increase to the regular registration rates. You may continue to register and pay online until the conference.

December 13, 2024

December 16, 2024

Postmark deadline for checks mailed to pay for conference registration. After this date, all unpaid conference registrations must be paid by credit card online, or the check must be brought with you to the conference.

All school lodging checks are due to hotels, payable to the hotel where reservations were made for you and/or your students.

The final deadline for discounted hotel blocks; unsold rooms in the FMEA blocks are released back to hotels.

w Write down three of the most important goals and strategies being addressed in your school’s plan. w Think about how you personally contribute to those three goals and strategies.

Develop Your Case

How does your work as a music educator affect the overall mission of your

school? Make a list of your personal contributions to your school’s goals and

w Review the conference’s professional learning schedule to better understand how the strategies.

information provided will support your school’s goals. Mark meetings that relate to your

list of personal contributions to the attainment of those goals and strategies, and make note of the clinicians and others you will be able to observe and/or with whom you will be able to interact while at the conference. List the high-quality performances you will observe and

from which you will learn. You can download the conference app from the FMEA’s website

w Write down your case for how attending the FMEA Professional Learning Conference and and bookmark your sessions.

meeting the people there will help you contribute to your school’s goals and strategies, and use this case with your administrators when making your request to attend the conference.

When you create your proposal, in addition to providing a summary of the funding you will

need, detail your case for attending. List your school’s goals, download the conference schedule,

list the sessions and the clinicians and presenters who will be there, and list the specific sessions

you plan to attend. Also, list the performing groups you will have the opportunity to observe during rehearsals with national clinicians as well as the performances by these well-known

conductors (from whom you can gain programming and conducting ideas). Additionally, let

your administrators know that this conference has more than 10,000 teachers, administrators, students, and parents in attendance, the second largest music education conference in the nation.

Finally, ask your administrators to support you to attend the FMEA Professional Learning

Conference in Tampa, Florida, January 8-11, 2025.

August 2024

13

Foundations of Excellence

Best Practices for Starting Off the School Year for K-12 Music Teachers

T

by Gregory W. LeFils, Jr., PhD

The beginning of a new school year is an exciting yet chal-

that every activity and lesson is purposeful and aligned

and establishing effective practices early on can create a

n Organize Materials: Ensure all instruments, sheet

lenging time for K-12 music teachers. Setting the right tone positive and productive environment for the entire year.

Here are some best practices, organized around four key priorities: planning and preparation, classroom environment, instruction, and professionalism.

1. Planning and Preparation n Plan Ahead: Outline your goals for the year that align

with your grand vision for your program, including both

musical skills and broader educational objectives. Create benchmarks or targets along the way to ensure you’re

achieving your objectives in a timely manner that doesn’t

load undue pressure and anxiety on you or your students.

Consider using a backward design approach where you

start with the end goals and plan the curriculum back-

ward from there (Wiggins & McTighe, 2005). This ensures

with your overall objectives.

music, and classroom materials are ready and easily

accessible. Label storage areas clearly to help students find and return items. This includes having your first unit or

two of study (typically related to musical notation) ready

to hand out. Prepare all administrative materials for your program ahead of time and be ready to review them with

your students. These include syllabi, handbooks, program

calendars, websites, and parent permission forms. Draft

a calendar outlining important dates such as concerts, field trips, and assessment periods. Share this calendar

with students and parents early on to ensure everyone is aware of key events and deadlines. This helps in reducing

last-minute stress and ensures that students and parents can plan accordingly. Additionally, having a clear timeline helps in pacing your curriculum effectively.

continued on page 16

14 F l o r i d a M u s i c D i r e c t o r

August 2024

15

Foundations of Excellence continued from page 14 n Technology Integration: Familiarize yourself with

2. Classroom Environment

educational apps and online resources that can supple-

n Classroom Setup: Arrange your classroom to promote

gradebook, attendance, or monetary collection platform

ments that facilitate ample teacher movement around the

iarize yourself with these platforms before the students

traffic flow you’d prefer, such as where students’ bags will

ment your teaching. Having to learn a new assessment,

at the beginning of the year can be difficult. Try to familarrive. This also includes the Learning Management

System (LMS) your district uses. Organize your LMS ahead of time to ensure a smooth start. Consider using

apps like MakeMusic for practice assignments, Sight

Reading Factory for sight-reading, or Flipgrid for students to submit video performances.

n Create a Substitute Teacher Plan: Prepare a detailed

substitute plan, including emergency lesson plans, seat-

engagement and interaction. Consider seating arrange-

room, enabling proper proximity strategies. Decide what go and where they will retrieve their materials or instruments for rehearsal. Be mindful of blind spots or areas of

the room that are out of your normal vision, as these can be problematic. If you plan on having small group work,

discussions, or sectional rehearsals, ensure there is space

for these activities. Ensemble rooms, practice rooms, and storage rooms can be utilized for this purpose.

n

Rules, Procedures, and Consistent Routines:

ing charts, and instructions for managing classroom rou-

Establishing clear rules, procedures, and consistent rou-

classroom order in your absence. Include activities that

ductive classroom environment (Evertson & Emmer,

tines. This ensures continuity in learning and maintains

are engaging and that reinforce concepts already taught so students can continue to learn even if you are not there.

16 F l o r i d a M u s i c D i r e c t o r

tines is fundamental for creating a structured and pro-

2013). From the first day, communicate your classroom

rules and expectations clearly. Explain the procedures

for common tasks, such as handling instruments, tran-

sitioning between activities, entering and exiting the room, placing belongings, and retrieving class materials.

It’s essential to practice these routines regularly during the initial weeks of school, and be prepared to continue

reinforcing them as the year progresses. Consistency in enforcing these rules is key to ensuring they become second nature to students.

Develop and maintain predictable structures to help

students feel secure and understand what is expected of

them. For example, if your vision for the program includes

minimal off-task talking, enforce this ideal consistently.

Consistency is crucial for establishing expected behaviors

related to cell phone usage, posture, instrument carriage,

rest room requests, and other classroom procedures. Start each class with a routine warm-up exercise or listening activity to set the tone for the lesson. These routines provide a stable framework that supports students’ learning and helps maintain an orderly classroom environment.

n Create a Positive Learning Environment With High Expectations: Foster a classroom environment where every student feels valued and respected. Establish high

expectations for behavior, participation, and musical growth. Emphasize the importance of discipline and

collective responsibility, encouraging students to take

ownership of their learning and to contribute positively to the classroom community and culture. Celebrate achievements, both big and small, to motivate and inspire students. Create an atmosphere where hard work and dedi-

cation are recognized and rewarded, and where students understand the importance of supporting each other’s

smooth transition from initial excitement to deeper musi-

and builds a strong, cohesive group dynamic centered on

ing steady growth (Byo, 1999).

efforts. This approach enhances the learning experience mutual respect and shared goals (Dillon, 2010).

3. Instruction n Music Selection: At the start of the school year, select

engaging pieces that align with your students’ interests to capture their attention and build enthusiasm quickly.

Begin with familiar or easily learnable songs to ensure swift early learning cycles, fostering confidence and

maintaining engagement. For example, consider popular

songs or film scores that excite students and resonate with their tastes. Once you have established buy-in and trust,

gradually introduce more complex facets of the repertoire and more challenging selections. This approach ensures a

cal exploration, sustaining students’ interest and promot-

n Basic Skills: Reinforce fundamental musical skills

early on, such as rhythm, pitch, and notation. Use cre-

ative methods to make learning these basics enjoyable.

Incorporate games and interactive activities that make practicing these skills fun. For example, use rhythm

clapping games, pitch-matching exercises, improvisation games, and music theory apps that turn learning into a playful challenge. Follow your goals and objectives laid out for the year, focusing on developing foundational

skills, knowledge, and behaviors that you can continue to build upon. A strong foundation will support higher achievement throughout the year.

continued on page 18 August 2024

17

Foundations of Excellence continued from page 17 n Specific and Related Feedback: Celebrate small

music education trends and methodologies by attending

related feedback to your students. Aim for a posi-

working with other music educators. Utilize webinars,

praise is genuine and meaningful (Duke & Henninger,

ertoire. Engage with veteran educators and mentors for

job” or “OK,” offer specific feedback that relates directly

professional learning communities and attending confer-

nailed the rhythm that time,” or “Beautiful tone, every-

strategies.

achievements and progress by providing specific and

workshops, joining professional organizations, and net-

tive-to-negative comment ratio of 4:1, ensuring your

YouTube channels, articles, and books related to your rep-

2002). Instead of using nonspecific phrases like “good

advice, and be willing to mentor others. Participating in

to musical concepts. For example, say, “Good job. You

ences can provide fresh insights and innovative teaching

one!” This specificity helps students understand exactly

n Reflect and Adapt: Regular reflection and adapt-

Additionally, ensure your feedback remains related to

Continuously evaluate your teaching practices and be

what they did well and where they need to improve. your instructions before addressing other aspects. If you

ask the ensemble to crescendo to a mezzo forte, focus

your immediate feedback on their execution of that instruction before moving on to other issues, such as

a missed rhythm. This approach maintains clarity and reinforces your teaching objectives, helping students stay focused and motivated (Bowers, 1997).

n Critical Thinking: Plan instruction that encourages

students to use critical thinking strategies. Engage your

ability are essential for effective teaching (Yang, 2023).

open to making necessary adjustments. Seek feedback

from both students and colleagues to enhance your

approach. Having a mentor can be invaluable—don’t hesitate to ask for guidance, and acknowledge areas where your teaching could improve. Consider organiz-

ing regular meetings with local music teachers, such as a weekly bagel shop meetup, to share support and advice.

Recording your ensembles and seeking constructive

students in critical thinking every few minutes to avoid

feedback on specific areas of improvement can provide

higher-order thinking skills such as analysis, evaluation,

for self-reflection, perhaps through journaling, to doc-

these will be part of everyday learning. For example, after

This consistent practice of reflection and adaptation will

them passively relying on your instruction. Integrate

valuable insights. Additionally, set aside time each week

and creation from the start of the year, reinforcing that

ument what worked well and what could be improved.

learning a new piece, ask students to analyze the struc-

help you grow as an educator and better meet the needs

own interpretations or arrangements. Encourage peer

n Parental Involvement: Engage with parents early

each other’s performances, fostering a collaborative and

your music program. Provide comprehensive informa-

ture, discuss the composer’s intentions, or create their feedback sessions where students constructively critique reflective learning environment.

4. Professionalism n Continuous Learning: Approach the year with a mind-

set of continuous improvement. Stay updated on the latest

18 F l o r i d a M u s i c D i r e c t o r

of your students.

in the year to build a strong foundation of support for tion about the program and ways they can support their

children’s learning at home. Communicate your needs clearly and regularly using multiple platforms, such as

a dedicated website, the Remind or Band app, posted

in-class calendars, take-home printed announcements,

and weekly emails. A well-informed and involved parent community can be a tremendous asset.

Consider hosting a “Meet the Teacher”

night or an informational session at the

beginning of the year to introduce yourself, outline your program, and address any ques-

tions. Additionally, consider leveraging the first concert of the year as a dual-purpose

event: a performance and an informational

meeting for parents. This approach maxi-

mizes parent attendance and allows you to

convey important information that may be too extensive

steadfast: to inspire and cultivate a lifelong love of music,

n Self-Care: Prioritize your well-being to avoid burnout.

demic development in our students. Let this be our shared

like a professional athlete does. Focus on eating well,

mitment to making a meaningful difference in the lives of

for a standard open house evening.

fostering not just musical growth but personal and aca-

Teaching music requires a lot of energy, so treat your body

commitment as we commence this new chapter—a com-

moving regularly, and getting sufficient sleep. Reflect

those we teach.

high energy and effectiveness. Schedule regular breaks

Gregory W. LeFils, Jr., PhD, is a visit-

ness or relaxation techniques to manage stress. Establish

cation at Stetson University in Florida. He

don’t hesitate to seek support if needed.

State University. His experience encompasses

on and optimize these aspects of your life to maintain throughout the day to recharge, and practice mindful-

ing assistant professor of choral music edu-

boundaries to ensure a healthy work-life balance, and

holds a PhD in music education from Florida

n Advocacy and Recruitment: Advocate for your music

program by highlighting its importance in developing critical thinking, creativity, and social-emotional skills.

Showcase student achievements through concerts, com-

munity performances, and social media. Engage with local media and community leaders to raise your program’s profile and to garner additional support.

Recruit new students by being active within the feeder

structure. Volunteer to clinic feeder school ensembles, involve advanced students in their concerts, and host joint performances to build relationships and showcase future

directing choral music programs, conducting,

presenting at state and national music education conferences,

and maintaining an active agenda as a speaker, clinician, and adjudicator.

References Bowers, J. (1997). Sequential patterns and the music teaching effectiveness of elementary education majors. Journal of Research in Music Education, 45(3), 428–443.

Byo, J. L. (1999). Classroom teachers’ and music specialists’ perceived ability to implement the national standards for music education. Journal of Research in Music Education, 47(2), 111–123.

opportunities. Host open rehearsals, visit feeder schools

Dillon, D. (2010). Creating a Positive Learning Environment in Music Classrooms. Music Educators Journal, 96(3), 33–37.

tional materials like brochures, videos, and a dedicated

Duke, R. A., & Henninger, J. C. (2002). Teachers’ Verbal Corrections and Observed Student Response to Instruction in Middle School Instrumental Rehearsals. Journal of Research in Music Education, 50(1), 75–87.

to discuss your program’s benefits, and create promowebsite section.

As we embark on a new school year, let us reflect on

Evertson, C. M., & Emmer, E. T. (2013). Classroom Management for Elementary Teachers (9th ed.). Pearson.

but as reminders of what can set us on the path to suc-

Wiggins, G. P., & McTighe, J. (2005). Understanding by Design (2nd ed.). Association for Supervision and Curriculum Development (ASCD).

these guiding principles. They serve not as rigid rules,

cess. By focusing on careful planning, creating a positive classroom environment, delivering engaging instruction,

and maintaining professionalism, we lay the groundwork for an enriching educational journey. Our goal remains

Yang, Y., & Zhang, L. X. (2023). Building professional resilience: School music teachers’ instructional practice development under curriculum reform. Research Studies in Music Education, 1321103X231209692.

August 2024

19

Collaboratively Classroom Policies

by Skye E. Wright and Drew X. Coles, EdD

I

Imagine a classroom where every learner feels empowered to contribute, innovate, and explore new ideas.

Such an environment is not just a dream but a reality made possible through collaborative classroom policies (Johnson et al., 2008). Collaboratively oriented policies are

the cornerstone of a learning space that balances structure with creative freedom, providing learners with the support they need to excel both academically and creatively.

Collaborative classroom policies are more than just guidelines; they can foster a sense of ownership and responsibility, ultimately leading to richer educational experiences and innovative outcomes (Daniels, 2017).

Purpose of Classroom Management Policies in Classrooms

Classroom policies are a set of agreed-upon rules and

guidelines that govern behavior, expectations, and pro-

cedures within a learning environment (Davis, 2017). In

arts education settings, these policies play a critical role in creating a structured and supportive atmosphere where

advanced learning and creative exploration can flourish.

They ensure that both learners and educators have a clear

understanding of their responsibilities and the standards they are expected to uphold (Robinson, 2018).

Goals & Benefits of Implementing Classroom Policies

Providing Structure

The benefits of having clear and mutually agreed-upon classroom policies are manifold. Firstly, they provide

20 F l o r i d a M u s i c D i r e c t o r

continued on page 22

continued on page XX

Oriented

in Music Education

August 2024

21

Collaboratively Oriented Classroom Policies continued from page 20

structure, which is essential for maintaining an orga-

1. Initial Discussion and Brainstorming: Begin by

(Anderson & Krathwohl, 2001). This structure helps man-

the importance of classroom policies. Pose questions

nized and efficient learning and musiking environment age the complexities of coursework and performances,

allowing students to focus more on their creative and academic pursuits (Gibbs, 2006).

Promoting Respect

Well-defined policies promote respect among learners

such as “What kind of environment do we want in our classroom?” and “What rules do you think are

necessary to achieve this?” Encourage every student to share their ideas. This can be done through a

whole-class discussion or smaller group discussions to ensure all voices are heard.

and educators. A culture of mutual respect is fostered

2. Collaborative Policy Drafting: Once ideas have been

tently enforced. This respectful atmosphere is crucial for

cies. Write these suggestions on the board and discuss

when expectations are clearly communicated and consis-

the open exchange of ideas and constructive feedback, both of which are vital for the growth and development of our students (Senge et al., 2012).

Enhancing the Educational Experience

These policies enhance the overall educational experience by creating a safe and predictable environment. Students

know what to expect and what is expected of them, which reduces anxiety and allows them to take creative risks

without fear of arbitrary repercussions (Freire, 1970). This

gathered, work with the students to draft a set of polieach one. Combine similar ideas and refine them into

clear, actionable guidelines. This step is crucial for ensuring the policies are practical and enforceable.

3. Voting and Consensus Building: After drafting the

policies, allow students to vote on them. This can be done through a show of hands, a secret ballot, or an

online poll. Aim to reach a consensus where most, if

not all, students agree with the policies. This process ensures that the rules have broad support and are seen as fair.

predictability is particularly important in music edu-

4. Policy Presentation and Signing: Once the policies

components of the learning process (Elliott & Silverman,

a document that outlines all the agreed-upon policies

cation, where experimentation and innovation are key 2015).

Collaboration in Policy Development

Involving students in the creation of classroom policies

can be an essential part in fostering a sense of ownership, responsibility, and mutual respect within the learning environment (Daniels, 2017; Johnson et al., 2008). When

students are actively engaged in the decision-making process, they feel valued and empowered, leading to a

greater investment in the success of the policies and a deeper commitment to upholding them (Webb, 2009).

This inclusivity also promotes a culture of transparency and accountability, as students understand the rationale

are finalized, present them in a formal manner. Create and have each student sign it. This symbolic act of signing reinforces their commitment to the rules.

5. Regular Review and Reflection: Schedule regular

times throughout the term to review the policies with the students. Discuss what is working well and what might need to be adjusted. This ongoing dialogue

helps maintain the relevance of the policies and ensures that they continue to meet the needs of the class.

Three Points to Consider When Creating a Creative Environment for Students Physical Space

behind the policies and are more likely to adhere to them

Policies regarding the physical setup of classrooms and

To illustrate how educators can involve students in the

technology labs play a crucial role in promoting cre-

willingly (Senge et al., 2012).

collaborative process of making classroom policies, we suggest starting the term with a session dedicated to creating classroom community agreements. Here are some

22

having an open discussion with your students about

strategies and examples to guide this process: Florida Music Director

rehearsal spaces and access to instruments and music ativity among students (Beghetto & Kaufman, 2014). A

well-designed physical environment can inspire and facilitate collaborative work. For example, policies that

ensure ample space for movement and experimentation

in rehearsal rooms can encourage students to explore

Behavioral Expectations

new performance techniques and improvisational and/or

Clear policies outlining behavioral expectations are essen-

that prioritize equitable access to instruments and tech-

creativity can flourish (Davis, 2017). These policies should

in creative projects and performing endeavors (Elliott &

tation, and the exchange of ideas (Robinson, 2018). For

nization and maintenance of physical spaces, programs

and constructive feedback facilitate meaningful dialogue

creativity and support the diverse needs and interests of

2009). Students benefit from having the space to hold

compositional strategies (Lin, 2011). Additionally, policies

tial for creating a conducive learning environment where

nology resources enable all students to participate fully

encourage professional conduct, risk-taking, experimen-

Silverman, 2015). By establishing guidelines for the orga-

example, policies that promote respectful communication

and their classrooms can create environments that foster

and collaboration among students and faculty (Webb,

their students (Freire, 1970).

continued on page 24 August 2024

23

Collaboratively Oriented Classroom Policies continued from page 23

meaningful dialogue with their peers as well as with

empowering learning environment where every learner

policies that encourage students to take creative risks

ideas (Johnson et al., 2008).

mentors and teachers (Johnson et al., 2008). Similarly, and explore unconventional approaches to music-making

feels empowered to contribute, innovate, and explore new

empower them to push the boundaries of their artistic

Skye E. Wright is a music educator for Pasco

tions that prioritize creativity and intellectual curiosity,

grade. She holds a BM in music education from

practice (Lin, 2011). By establishing behavioral expectamusic programs can cultivate a culture of celebrated innovation among their students (Beghetto & Kaufman, 2014).

Routine and Flexibility

Finding the balance between structured routines and

County Schools, teaching preK through fifth

the University of Tampa and is a graduate stu-

dent at Teachers College, Columbia University,

focusing on socioeconomic disparities, cultural inclusivity, and advocacy in music education.

flexibility is key to fostering creativity and supporting

Drew X. Coles, EdD, is an accomplished pro-

& Krathwohl, 2001). While routines provide stability and

whose work spans across multiple facets of the

advanced research among graduate students (Anderson predictability, flexibility allows students the freedom to

pursue their creative interests and respond to unexpected opportunities or challenges (Gibbs, 2006). For example, policies that establish regular practice schedules and

rehearsal times provide students with a consistent frame-

ducer, serial entrepreneur, educator, and scholar, music industry and higher education. As a faculty member at Teachers College, Columbia

University, he leads a cutting-edge hybrid graduate degree program in music and music education.

work for their artistic development. At the same time, pol-

References

learning enable students to explore new ideas and collab-

Anderson, L. W., & Krathwohl, D. R. (2001). A taxonomy for learning, teaching, and assessing: A revision of Bloom’s Taxonomy of Educational Objectives. Longman.

By implementing policies that address the physical

Beghetto, R. A., & Kaufman, J. C. (2014). Classroom contexts for creativity. High ability studies, 25(1), 53–69.

icies that allow for flexible scheduling and project-based orate across disciplines (Senge et al., 2012).

environment, behavioral expectations, and the balance between routine and flexibility, K-20 music education pro-

grams can create classroom environments that support the creative and scholarly development of their students.

Through thoughtful collaboration and a commitment to

inclusivity, these policies can contribute to a vibrant and

thriving community of artists, scholars, and educators (Robinson, 2018).

Conclusion

Daniels, H. (2017). The curious classroom: 10 structures for teaching with student-directed inquiry. United States: Heinemann.

Davis, B. G. (2017). Tools for teaching. John Wiley & Sons.

Elliott, D. J., & Silverman, M. (2015). Music matters: A philosophy of music education. Oxford University Press.

Freire, P. (1970). Pedagogy of the oppressed. Continuum.

Gibbs, G. (2006). How assessment influences student learning. In C. Bryan & K. Clegg (Eds.), Innovative assessment in higher education (pp. 23–36). Routledge.

Johnson, D. W., Johnson, R. T., & Holubec, E. J. (2008). Cooperation in the classroom (8th ed). Interaction Book Co.

By engaging students in decision-making processes and

Lin, Y. S. (2011). Fostering creativity through education– a conceptual framework of creative pedagogy. Creative education, 2(03), 149.

can create policies that truly reflect the needs and pri-

Robinson, K. (2018). You, your child, and school: Navigate your way to the best education. Viking.

inclusive approach not only strengthens the legitimacy of

the policies but also fosters a culture of shared responsi-

Senge, P. M., Cambron-McCabe, N., Lucas, T., Smith, B., Dutton, J., & Kleiner, A. (2012). Schools that learn: A fifth discipline fieldbook for educators, parents, and everyone who cares about education.

United States: Crown.

alike (Webb, 2009). In essence, collaborative classroom

Webb, N. M. (2009). The teacher’s role in promoting collaborative dialogue in the classroom. British Journal of Educational Psychology, 79(1), 1–28.

valuing their perspectives, music education programs orities of the learning community (Daniels, 2017). This

bility and mutual respect among students and educators policies are essential tools for creating a supportive and

24 F l o r i d a M u s i c D i r e c t o r

ComponentNews

I

am so excited to kick off another year

FLORIDA MUSIC SUPERVISION ASSOCIATION

While we celebrate the introduction

in music education! As president of the

of the Seal of Fine Arts, we must also

I can’t wait to see what amazing things

get by Governor Ron DeSantis. Cutting

Florida Music Supervision Association,

address the recent veto of the arts bud-

Christopher Burns, PhD President

w Always Learning: Take advantage of

professional development opportunities to sharpen your skills and stay

on top of new teaching methods and

some hurdles to jump, there’s also a lot threw a curveball at our community. This w Building Bridges: Strengthen ties we achieve together. While there are

$32 million in arts funding definitely

technologies.

to celebrate, and I have no doubt we’ll

decision impacts more than 600 organiza-

with local arts organizations, busi-

of musicians.

from the pandemic.

A strong support network can open

continue nurturing the next generation One of the highlights this year

is the brand new Florida Seal of Fine

Arts Program. This program, thanks to HB 523, recognizes high school graduates

who have truly poured their hearts into

the arts. Starting THIS year, students who meet specific criteria will have this Seal

proudly displayed on their diplomas and transcripts.

tions, many of which are still recovering It’s a tough blow, but we can’t let it dis-

courage us. The arts are the lifeblood of our society. They enrich our culture, boost

nesses, and community members.

doors to new funding and partnerships.

Remember, you’re not in this alone. The our economy, and make our communities Florida Music Supervision Association is stronger. We need to keep pushing for arts your biggest cheerleader. If you need funding and find creative ways to support anything—resources, help with advocaour programs. cy, or professional development—please

Here’s how we, as music teachers and don’t hesitate to reach out. Email me at administrators, can stay strong and sup- christopher.burns@osceolaschools.net.

It shows everyone how important the w Teamwork Makes the Dream Work: but with a positive attitude and a deterThis is a huge win for arts education!

arts are—not just for fun, but for build-

ing creativity, critical thinking, and an appreciation for different cultures. It’s a fantastic way to acknowledge students’

port each other during this time:

This year will have its ups and downs,

Let’s share resources, ideas, and best mined spirit, we can face any challenge practices! By combining our knowl- head on. The Florida Seal of Fine Arts is edge, we can overcome any obstacle a fantastic step forward, and the budget and keep delivering top-notch music veto reminds us of the power of our voic-

chasing their artistic dreams. The State w Speak Up for the Arts: Contact your educating our students, fostering a lifehard work and to encourage them to keep Board of Education will be overseeing this program, and we are awaiting clarity

from them to help make sure it rolls out smoothly across all schools.

education.

es. Together, we can keep inspiring and

local and state officials. Tell them why long love for music. Thank you for your arts funding matters! Share stories about dedication and passion. Let’s make this a how music education has made a pos- truly enriching year for music education in Florida! itive difference in your students’ lives.

August 2024

25

ComponentNews

FLORIDA BANDMASTERS ASSOCIATION

Jeff Cayer, EdD President

nother summer has come to an

a great deal from our youngest

my friends and family on Nantahala

beginning teachers started college

FBA members. Many of this year’s

end. I enjoyed taking time with

virtually. These teachers’ wealth

Lake in North Carolina, or as we call it,

of technological knowledge will

North Cayerolina. The season of boat-

make a huge, positive impact on

ing, campfires, and serenity has come

the way they teach. This also cre-

to an end, and it is time to return to the

ates a stronger instructional con-

bustling excitement of the band room.

nection with our students who

I am excited to hear those first notes of

grew up in the same technological

the year!

era. I am looking forward to being

As we embark on a new school year,

mentored by these youthful band

it is my hope that each of you has

directors.

experienced a bit of serenity this sum-

When I started my band direct-

mer and will return to the classroom

with renewed energy and enthusiasm.

ing career nearly 30 years ago, I

can be compassionate not only to our

my life. Many of them were peo-

had many influential mentors in

It is also my hope that each one of us

ple I approached asking for help

students but to our colleagues in the

while others showed up in my

field. Teaching music is difficult, and

band room unannounced and told

we must continue to build supportive

me truths I did not want to hear.

cultures in our districts. At your first

It was difficult to receive honest

meeting of the year, take the time to

feedback from these FBA giants,

introduce yourself to someone you do

but I am so grateful for their gen-

not know. Directors in their first few

uine desire to make me a better

years of teaching need some tips and

band director. I would not have

secrets to add to their bag of tricks.

enjoyed any level of success with-

Recent graduates need to be mentored

out their mentorship. My mentors

and coached on the real-world issues

took time to invest in my future

they will encounter.

growth as well as in the growth of

Mentorship is not a one-way street.

my students over the decades who

Just as beginning directors can learn

benefitted from what I learned. I

from their more experienced col-

am looking forward to continu-

leagues, experienced directors can learn

ing my personal and professional

growth this year by building relationships with those new to our profession.

I encourage all directors, young

and “not so young,” to commit to natural mentorship opportuni-

ties through meaningful relations with your peers. There are many

ways to give and receive mentor-

ship. Be open to new ideas and implement them to the best of

your ability. Our students are counting on us! May the first notes

26 F l o r i d a M u s i c D i r e c t o r

of the year be dolce!

FLORIDA NAfME COLLEGIATE

Megan Robichaud President

W

elcome back, everyone! As we prepare for a new semester, we are greeted by a combination of both

excitement and apprehension. The intensity of life as a music

education major has returned, but so has our purpose! That is not to say our only purpose in life is to become a music

educator, as we are so, so much more than our occupation.

However, a new semester brings motivation, inspiration, and opportunity. It would be remiss not to celebrate it, even if it

may be overwhelming. That being said, I have some tips that

w Get up early – We’ve all

might help manage the chaos: had to rush out the door for class because we

slept through our alarm.

Instead, get up early, get a head start on work, or just sit and exist while

you enjoy coffee and alone time. It is a much more

peaceful and productive

start to the day, and your mental health will thank

w Go to bed early – It’s you.

pretty difficult to get

up early if you’re going to bed after midnight.

Sometimes it may be

unavoidable, but these

should be rare occasions.

A lack of sleep can affect your brain power, mood, and productivity—all of which are essential to

w Use social media less – succeed in school.

This tip is probably the simplest to implement and what I personally

on an assignment, but then suddenly find yourself

scrolling through Instagram? I’m not saying you have

to get rid of it, but consider moving your social media

to a different, more obscure place on your phone. It will help break the habit of subconsciously opening the app.

There are also apps that can block social media during

w Get active – Exercising

certain times of the day. builds more than

just muscle. It builds

confidence, improves

mood, and helps your brain function better.

We’re all incredibly busy, so finding time can be difficult (another perk of waking up early),

but something even as

small as a walk around

campus can make a huge

w Keep your space clean difference.

– This one is simple,

but essential. To me, an organized space is an

w Create a routine (and organized mind.

stick to it) – A routine

is essentially a series of

habits. Take time to write down a routine that sets

you up for success. It will be easier to stay on task

and get everything done when you know what your goals are. Write

down everything from

assignments to when you’ll eat dinner.

Once the semester is in full swing, it may be difficult

believe to be the most important thing on this list. Social

to find the time to implement these ideas. That’s why it is

timewaster. It also has the power to cripple your mood

we make rule our lives, so make sure yours aren’t holding

media is nothing less than addictive and an enormous

and overall mental health. Have you ever been working

incredibly important to form healthy habits now. The habits you back.

August 2024

27

FLORIDA ORCHESTRA ASSOCIATION

ComponentNews nd it’s a wrap! Summer has come and gone, and we are all back to school, excited and energized to shape our young

musicians. I hope you had a great and relaxing summer with family and friends and are pumped for the school year.

I am thrilled about all the new things this 2024-25 school

year brings for our Florida Orchestra Association. First, our illustrious executive director, Don Langland, is retiring. He has

dedicated 20-plus years and has served our association well.

He is a driving force who will definitely be missed. I have the privilege and honor to serve as your executive director, officially

Cheri A. Sleeper President

w Be sure to register and get your hotel booked for our 2024 Fall Professional Development Conference, October 10-11, 2024, at

the Hilton Orlando. We are fortunate to have as our keynote speaker Mr. Creston Herron, University of Kansas, as well as several informative and invigorating sessions. And you don’t want to miss out on visiting our on-site vendors.

— Deadline for early registration is September 24, 2024.

— Deadline for hotel reservations at the conference rate is September 27, 2024. ALL registration and reservation information can be found on our website, myfoa.org.

beginning September 1, 2024, and I look forward to continuing

— NEW THIS YEAR: a reduced rate for our remarkable

With me vacating my term of president early, I am proud to

As you plunge into another spectacular school year, keep some

to serve you and our association, as executive director.

FIRST-YEAR TEACHERS.

w No matter how difficult a moment gets, it will get better. into the presidency, that leaves our past president position open. w You are not alone! Your district chairpersons, district collet you know that Laurie Bitters has agreed to serve again as president to finish out the term. Also, because of Laurie moving

But have no fear! Matt Davis has graciously agreed to return to the executive committee and serve as your past president for

the remainder of this term. With their willingness to serve and the continuation of Andrea Szarowicz as president-elect, I am

confident our association will continue to progress and thrive in the future.

key positive points in mind:

leagues, and the association’s mentoring program are here

w Don’t be afraid to ask questions. No one knows everything, for YOU!

but someone may know something that can be of assistance

w When you feel frustration or just don’t think you can go one to you.

more moment … BREATHE!

w Remember to pay your FMEA/NAfME/component dues. Remember, your association, executive director, executive comOn to some immediate business of importance:

The deadline is September 1, 2024. You can register/renew now at fmea.org.

I wish you all the best of luck with your 2024-25 school year.

mittee, and district chairpersons are here to assist you with the tools for success. Never hesitate to reach out.

FOA/FLASTA FALL PROFESSIONAL DEVELOPMENT CONFERENCE October 10-11 Hilton Orlando myfoa.org/events/fall-conference/

28 F l o r i d a M u s i c D i r e c t o r

FLORIDA NAfME COLLEGIATE

Mark A. Belfast, Jr., PhD Advisor

Stepping Forward Into Growth ugust?! ALREADY?! It’s hard to believe summer break is ending, and it’s already

time to get focused on another academic year. I hope you all had a relaxing

and fulfilling June and July. Members of Florida NAfME Collegiate spent the sum-

mer advocating for music education and developing their leadership skills at the 2024 NAfME Collegiate Leadership Advocacy Summit and Hill Day in Washington,

D.C. The organization also provided fantastic professional development sessions

during virtual monthly meetings. If you weren’t able to attend any of those events, be sure to check the homepage of our website (flnafmecollegiate.com) for other

opportunities to get engaged.

Between mowing the lawn, building sand castles on the beach, and visiting

theme parks, I hope you were able to spend a few moments reflecting on the 2023-24

academic year. What do you feel went really well for you, and how can you ensure that success continues this year? Have you identified any specific areas of your life where you would like to see growth and development this year?

Abraham Maslow is often quoted as saying “In any given moment, we have two

options: to step forward into growth or step back into safety.” Change can be difficult. It is often uncomfortable and daunting because change inherently requires

conflict. Nevertheless, change is necessary. It’s an essential component of the human condition. We have survived, and even thrived, precisely because of our capacity

to adapt and overcome adverse situations. Who? Humans. Americans. Minoritized communities. Floridians. Educators. Me. YOU! Regular self-reflection is important,

but what we do after that time of reflection is crucial because reflection without action is unproductive.

So, what action do you plan to take this academic year? It need not be earth-shat-

tering or innovative. For example, I’m determined to ensure my students know I care about them, their success, and their well-being, and I’ve developed a plan to

systematically and intentionally demonstrate those sentiments this school year. I’m

also not happy with a few components of my syllabi, and I intend to get help from my classes to adjust the syllabi in ways the students feel will best benefit them personally, professionally, and academically. What actions are you taking?

There is beauty in embracing a spirit of adaptability and recognizing you don’t

know what you don’t know! If you’ve had an experience, reflected upon it, consid-

START OR RENEW YOUR CHAPTER TODAY! Join the only national music honor society for students in grades 6-12

ered alternatives, and determined a new approach, trying new things can become exciting. Remember, if in the end you’re not happy with the change, continue to to mature personally and professionally.

Learn more about this program: nafme.org/Tri-M

take action, with NAfME Collegiate. I look forward to seeing the amazing things

Contact us: Tri-M@nafme.org

reflect, learn, consider alternatives, and take action. Every experience will help you In the coming weeks, you’ll hear about great opportunities to get involved, to

you’re going to do. Please be sure to follow @flnafmecollegiate on Facebook and Instagram, and join the Florida NAfME Collegiate Discord (https://discord.com/ invite/P387qeV2gb) to stay connected.

August 2024

29

ComponentNews W

elcome back to another school year.

I trust you’ve had a rejuvenating

summer full of relaxation and much valu-

able time spent with friends and family.

FLORIDA VOCAL ASSOCIATION

the program as we begin navigating the

need any assistance or guidance from

graders.

teacher who can benefit from having

year without last year’s seniors or eighth Every teacher will fall into one of two

Each new year brings excitement and

categories. There is the experienced teach-

of students brings fresh enthusiasm to

going to do this year and doesn’t feel they

anticipation for what can be. A new class

David Pletincks President

er who confidently knows what they’re

other colleagues. The other is a newer someone to check up on them and give

them a helping hand. That would obvi-

ously be brand new teachers, but it doesn’t have to be. You may have been teaching for several years but still feel that it would

be helpful to run your ideas by someone or to get suggestions from time to time.

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

W

Sandra Sanchez Adorno, PhD President

ith the summer winding down, I hope we have all taken some time for ourselves and are feeling refreshed and invigorated for the new school

year. August is always an exciting time, as we are able to reflect on years past to

strengthen our teaching, creative work, and relationships in and around our edu-

cational communities for the year to come. At the same time, hundreds of future music educators are preparing to step into our university classrooms for the first

time. Some may be recent high school graduates or transfers who always wanted

to be a music teacher, some may be on the fence about teaching, and others might have started down a different path and found their way back to music. Some cannot wait to start while others may be anxious or skeptical.

University faculty play a huge role in sustaining the music teaching profession.

Thus, it is vital that we continue to think of ways to prepare and support our students for the ever-changing world around us. The great news is, we do not have

to do it alone. As an organization, FCMEA is committed to supporting university

faculty in Florida through professional development, opportunities for collaboration, and funding for creative projects and teaching resources. Our efforts have increased in this area since our vote to create a standing professional development

committee for our organization. Thank you to Patrick Cooper, Livia De Moraes,

Marc Decker, Margaret Flood, Lisa Foltz, and Kyle Prescott for volunteering to serve on this new committee. Be sure to visit our website, FCMEA.org, to find more information on our ongoing initiatives, including our mentorship program, Creative Explorations Grant, and Collaborative Connections in Higher Education Meeting, as well as new developments from the committee, such as session recordings from Accessibility Week Workshops with Dr. Rachel Grimsby last spring.

As for upcoming events, our fall general business

meeting will take place via Zoom on Sunday, October 20. Please mark the date on your calendars and plan to

attend. In September, an email with further details will be sent to the membership. We hope to see you there!

30 F l o r i d a M u s i c D i r e c t o r

If you fall into the seasoned teacher

category, then you can be the person the other teachers go to for that much needed help. There is no limit to the years a teach-

er can have a mentor. You may have been teaching for five or more years but still

feel you need to have questions answered about the MPA process, solo and ensem-

ble, or all-state. That is wonderful, and I want to encourage you to seek out that help.

If you want to have a mentor teacher

assigned to you, please talk with your mentoring coordinator in your district.

No one should ever feel like they are on

an island. Pardon the cliché, but we are

all in this together. (I know you just sang that in your head.) Mentoring is not just

the responsibility of a specific mentoring

teacher. We can all reach out to newer teachers and ask if they need help choos-

ing repertoire for MPA or any other issues they may be facing.

You are going to change students’ lives

this year. Whether you feel like you’re making a difference or not, there are stu-

dents who will love your class and, more

importantly, love you as their teacher. Be that teacher in a student’s day that makes them feel comfortable and appreciated.

Have an amazing year, everyone.

Please remember, your executive board

is here to help you. From your district

chairperson to myself, we all want to see

you succeed and be the best choral music educator you can be. You will be amazing!

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Ashley Peek President

W

elcome,

colleagues,

new

and

returning, to the 2024-25 school

year! As you begin the school year,

how are you feeling? Brand new music

for fun and exciting professional devel-

one music teacher in a school. This makes

comfort zone areas.

ant. Find a mentor teacher in your field

opment opportunities in and out of your Next, whether it be in or out of the

teachers, I imagine you are fired up to

classroom, work on managing your time

inspire young musicians to be their very

your time. While it’s natural to spend

have your very own classroom, ready to

best, and to begin an incredible career in

music education. I would also venture to guess there’s some nervous energy lurking around as well; and YES, even I still get that nervous energy going into a new school year and this will be year 13 for

me. Returning teachers, are you fired up?

Do you still have some of that nervous energy as well?

First-year teachers (and returning

effectively and being productive with

time working after school and even to take work home, there always needs to be a balance between work and home.

There WILL be times when it doesn’t

seem balanced; just remember to lean

back into that balanced state. Keeping

things balanced and practicing self-care will ultimately help us to be at our best for our students.

In addition to being intentional with

building relationships even more importyou can talk with frequently. If you are an experienced teacher, find a newer teacher you can mentor. Build relationships with the teachers in your school in other

subject areas. Equally as important to building relationships with the teachers

in your school, be SURE to build relationships with your paraprofessionals, office staff, custodians, and EVERYONE else

at your school. Our common goal is our

students, and growing relationships with people who share that goal is important

to our overall well-being and success, and important as an example for our students to see.

teachers), you’ve got this! As I reflect

your time, it is essential to work to grow

classroom, I see growth in every area and

tain you within your career and outside

ing it is for you, I encourage you to find

tered career, and building relationships is

room. Let your love of music radiate to

on my 12 years in the elementary music

strive to continue to grow daily in both

my career and personal life. Going into your first year of teaching, take a look at

where you feel very comfortable and also

the areas you need to develop more. Look

relationships that will help build and sus-

of it. Music education is a people-cenimperative. However, it is not uncommon at all for music teachers to feel as though

they are on an island, as there is often just

Finally, no matter what year of teach-

your joy inside and outside of the classyour students, and let this be your best year yet!

August 2024

31

ResearchPuzzles

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

FOR MUSIC TEACHERS

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

Social Emotional Development in P-12 Music s a new school year begins, it is important to consider

Methodology

not only the musical concepts and skills our stu-

The researchers contacted 665 music teacher education pro-

(SED). SED refers to how students develop the skills

Preparation Data, asking them to complete an online survey.

(b) establish and maintain positive relationships, and

grate SED into their curriculum, asking about the existence

emotional development is the Collaborative for Academic,

other programmatic elements that address SED. Responses

dents need but also their social emotional development

grams listed in the 2019 Title II Report of National Teacher

necessary to (a) understand and manage their emotions,

The survey focused on identifying how these programs inte-

(c) make responsible decisions. One framework for social

and nature of embedded coursework, field experiences, and

Social, and Emotional Learning’s (CASEL, 2024) social

were analyzed from 133 faculty in these programs.

SEL around five core competencies: (a) self-awareness,

Results

skills, and (e) responsible decision-making. In recent

teacher education programs address SED. Key findings

sional development for in-service teachers while also

1. Coursework: Most programs reported having some

tion. Researchers Mara E. Culp, Christina Svec, Michelle

of SED. These courses often addressed topics such as

Melago, and Holly Smith were interested in learning how

teaching practices.

emotional learning (SEL) model. CASEL organizes

(b) self-management, (c) social awareness, (d) relationship

The results highlighted significant variability in how music

years SED/SEL has become a common topic of profes-

included:

being integrated into preservice music teacher educa-

coursework that explicitly or implicitly covered aspects

McConkey, Scott Edgar, Daniel S. Hellman, Kathleen

emotional intelligence, student well-being, and inclusive

collegiate music teacher education programs were prepar-

2. Field Experiences: Many programs included field expe-

and emotional development (SED) of P-12 learners. The

engage with diverse student populations and practice

ing preservice music teachers (PMTs) to address the social

riences or practicum components that allowed PMTs to

following summarizes their study (Culp et al., 2024).

socioemotional teaching strategies in real-world settings.

However, the extent and depth of these experiences varied widely.

3. Conceptual Frameworks: Programs varied in their conceptualization of SED. Some programs integrated com-

prehensive frameworks like social emotional learning

(SEL), while others included SED components in a more fragmented or incidental manner.

4. Professional Development: Some programs offered professional development opportunities focused on SED for

both faculty and students. This included workshops, seminars, and guest lectures.

Implications and Conclusions

The authors emphasized the importance of a well-rounded education that prepares PMTs not only for the technical aspects of music teaching but also for the socioemotional

32 F l o r i d a M u s i c D i r e c t o r

Email your questions and feedback to wbauer@ufl.edu with a subject heading Research Puzzles.

Education challenges they will encounter in the classroom. The variability

in program approaches may suggest a need for more standard-

ized guidelines and best practices to ensure all PMTs receive adequate preparation in this area.

The researchers also noted the increasing recognition of

the role of SED in student success and well-being. Given the broader educational shifts toward SEL and holistic education,

the authors called for music teacher education programs to place greater emphasis on these components. They suggest

that integrating SED more systematically into the curriculum

can help future music teachers better support their students’ overall development.

The authors concluded that while there is a growing aware-

ness of the importance of SED in music teacher education, there is still much work to be done to ensure consistent and

comprehensive preparation for PMTs. The authors recommend that music teacher education programs:

1. Develop clearer, more consistent frameworks for integrating SED into their curricula.

2. Increase the availability and quality of field experiences that focus on socioemotional teaching practices.

3. Provide ongoing professional development for faculty and students to stay current with best practices in SED.

By addressing these areas, music teacher education pro-

grams can better equip future teachers to meet the socioemo-

tional needs of their students, ultimately contributing to a more supportive and effective learning environment. A holistic

approach to teacher education that recognizes the intercon-

nectedness of academic, social, and emotional development

is needed. To learn more, read the full article, which can be accessed as part of your FMEA/NAfME membership at https:// tinyurl.com/journal-jrme.

References CASEL. (2024, July 8). Fundamentals of SEL. https://casel.org/ fundamentals-of-sel/ Culp, M. E., Svec, C., McConkey, M., Edgar, S., Hellman, D. S., Melago, K., & Smith, H. (2024). Meeting the social and emotional needs of P-12 learners: A descriptive study of music teacher education programs. Journal of Research in Music Education, 72(1), 5–27. https:// doi.org/10.1177/00224294231174606

Now Accepting Exhibitor Reservations for the 2025 Conference!

LEARN MORE AT:

FMEA.ORG/

CONFERENCE/

EXHIBITORINFORMATION/

August 2024

33

CommitteeReports

STUDENT ENGAGEMENT COMMITTEE

Michael Antmann, EdD Chairperson

often students can see our frustrations and think the job can be frustrating. It can be frustrating, but for me, the positives far

outweigh the perceived negatives. I get

to stand in a room every day and teach

great young people how to make music.

Most businesses know that customers

usually only leave reviews after negative

experiences. We can be guilty of the same.

What can we do to be more positive about our jobs?

I will find more ways to have my

students share their music in the community. This goes beyond parades (which are important). I try often to get my band

students involved in community events.

This includes our local Relay for Life, the

S

ummer has always been a time of reflection for me. After school ends,

recently as an all-state student.

The biggest group of stakeholders in

most of my reflection centers on the last

our profession is students. For every sec-

have been better? As the new school year

probably around 100 music students. For

school year. What went well? What could approaches, the train of thought becomes

more about what I will do differently.

How can I be more efficient? How can

I better serve my students? This year the reflection took a slightly different direction.

Both of my daughters plan to pursue

music. My older daughter, Kathleen, is

now a music therapy major. My younger daughter, Julia, plans to pursue a career in music education. Upon returning from a summer music camp, she brought up the topic of advocacy. Through social

media, an organization reached out to

her about being a student music educa-

tion advocate. This led her to do some research and made her think. She’s heard the term advocacy tossed around before, but really didn’t know much

about it. She’s a child of music teachers.

If she didn’t know, then many others don’t, either. She’s been going to the

FMEA conference her whole life, most

34 F l o r i d a M u s i c D i r e c t o r

ondary school music teacher, there are

farmers market, and volunteer opportuni-

ties at our middle and elementary schools.

More importantly, I will prioritize having

them speak, rather than me, to share about their experiences.

I will have my leadership students

elementary music teachers, this could be

participate in advocacy projects. At our

nities to engage and empower a group of

advocacy videos about why they partic-

1,000 (or more)! Are we missing opportu-

people who could be our most powerful advocates? Twenty years from now, these

students will be the decision makers,

teachers, and consumers who will impact our profession. Five years from now, some

of these students will be in the classroom

leadership camp, our students often make

ipate in music. This will be a part of our

social media plan. “Find them where they are.” Most young people are getting their

information and content on social media.

We need to go to them.

I will look for opportunities for my

shaping future generations. Next year,

students who show an interest in pur-

deciding whether or not they want to

events, summer music camps, and FMEA-

or right now, many of these students are

pursue a career in music. We have devoted much time and resources to recruiting

the next generation of teachers. Are we including the most important stakehold-

ers in the conversation? This is far too

broad of a topic for a monthly column, but this conversation has made me consider

ways I can empower and encourage my own students.

I will remind my students regularly

that I really do love my job. I think too

suing music. This includes workshops,

sponsored activities like the Student

Conference Experience. Each year, the Student Conference Experience students are engaged in advocacy-related conver-

sations and tasks. They are hearing from music education leaders and performing

artists. In my opinion, this is one of the best opportunities for our most important

stakeholders. Check out the FMEA website to learn more.

See you in Tampa!

MULTICULTURAL NETWORK COMMITTEE

Arnekua Jackson, PhD Chairperson

Embracing Music Multiculturalism: Four Tips for Starting the New School Year

W

elcome back, fellow music educators!

Showcase Diversity in Music: Organize music appreciation sessions

Music is a powerful tool for celebrating

where students can listen to and discuss music from diverse cultural

standing in the classroom. As educa-

musicians from different countries or regions.

integrating music multiculturalism can

Collaborate With Guest Musicians: Invite local musicians or cultural

and promote inclusivity. Here are four

strations or virtual presentations where musicians can showcase instru-

diversity and fostering cultural under-

tors prepare for the new school year,

backgrounds. Use multimedia resources to showcase performances by

enrich students’ learning experiences

performers to share their expertise with students. Arrange live demon-

practical tips to start the school year

ments, songs, and musical techniques from their cultural heritage.

focus.

Create Cross-Cultural Collaborations: Facilitate opportunities for

educators can create a dynamic and

multicultural music ensembles or projects where students can learn

with music multiculturalism as a central By incorporating these strategies,

inclusive learning environment where

music multiculturalism serves as a cata-

lyst for cultural appreciation and under-

standing. Embracing diverse musical traditions not only enhances students’ musical literacy but also nurtures empathy, respect, and global awareness in the classroom community.

students to collaborate across cultural lines through music. Organize to play instruments from different traditions, compose cross-cultural music pieces, or choreograph dances inspired by diverse musical styles.

Discuss Social and Historical Contexts: Provide context for the music by discussing its social, historical, and political significance within different cultures. Explore how music has been used to express resistance, to celebrate milestones, or to preserve cultural heritages.

Partners Make It Possible For more information, visit:

FMEA.org/partners

August 2024

35

CommitteeReports

DIVERSE LEARNERS COMMITTEE

Christine Lapka, EdD Chairperson

TAKING STOCK A Healthy New Year

s I think about the start of year 38,

In addition to the feel-good hormones,

w Lowering blood pressure (good for are many negative voices in the media your heart) reporting about the teaching profession. w Living longer After reading a new book on health, I w Reducing cortisol (can make you feel I wanted to look at the effects

of teaching on health. After all, there

learned about the importance of service and how helping others increases

helping others has the following effects:

less anxious)

In addition to helping, take steps to

w When something good happens, give yourself credit. w Remind yourself that setbacks are temporary.

As you expect the above from your

students, model these behaviors and tell them that you are working on these

actions for your health, too. We are in

oxytocin. With a little more digging, I

tune out negativity. If that means less time

Cleveland Clinic (2022), “Why Giving Is

about teaching frustrations at lunch, take

make sure you take stock in positive out-

optimism is healthy (Lear, 2020). In addi-

a few cleansing breaths and then make a

located a related health article from the Good for Your Health.” Immediately, we

can make the connection to teaching and our efforts in teaching diverse learners.

Our students may not thank us

for teaching them, but when we take

the time to create visuals or to locate motivational music, our brains secrete

serotonin, dopamine, and oxytocin.

These chemicals relate to mood, pleasure, and connection respectively. The

on certain social media sites or not talking

those steps. Why? Because we know that tion to our actions remaining or becoming

more positive about teaching, we can also expect our students to be more “glass is half full.” Perhaps you add “be positive”

to your list of classroom expectations.

Refer to these expectations often as your diverse learners need reminders. Maybe

you want to borrow this list of actions

w Notice good things as they happen. think many of us selected teaching as a w Train your mind to believe good career because we like helping others. things can happen. w It is nice to know the positive feeling is Don’t blame yourself when things go outcomes explain why I love creating visual presentations for my students. I

very real.

36 F l o r i d a M u s i c D i r e c t o r

from Nemours TeensHealth:

wrong.

this together.

As you prepare for this school year,

comes. Think about ending the day with mental list of a few things you did for others. Finally, remind yourself that helping and optimism have measurable benefits.

References Cleveland Clinic. (2022, December 6). Why giving is good for your health: Helping others can boost your heart and mind. https://health.clevelandclinic.org/whygiving-is-good-for-your-health Lear, S. (2020, March 5). How optimism benefits your health. Heart and Stroke Foundation of Canada. https://www.heartandstroke.ca/ articles/how-optimism-benefits-your-health Nemours TeensHealth. Optimism. Nemours Children’s Health. https://kidshealth.org/ en/teens/optimism.html

AWARDS COMMITTEE

Sondra A. W. Collins Chairperson

T

he 2025 FMEA Award Nominations period is now officially OPEN! Your

FMEA Awards program offers several

awards in recognition of the efforts and

accomplishments of those who have made outstanding contributions to music edu-

cation. Your active involvement in the nomination process ensures that FMEA recognizes the most deserving individu-

als throughout our state. The deadline for all categories (except the Music Education

Service and the Music Enrollment awards) is September 11, 2024. Please check the

2024 FMEA College Music Educator of the Year

Dr. Carlos Abril

“I am sincerely honored to receive the 2024 FMEA College Music Educator of the Year

FMEA website for details (FMEA.org/pro-

award.

deserving, today!

music education journey, starting in high school, playing in the All-State Orchestra, which

grams/awards) and nominate someone

I am continuing to share with you

a little of the brilliance that our 2024

FMEA awardees have to offer, speaking

their truth about music education and the

passion that drives them. These words of inspiration I share with you to give you the confidence to be the light to your own students, as well as the drive to help shine

a light on others in this current nomination period.

Here is your monthly dose of inspira-

tion, through words of gratefulness and

appreciation from our 2024 FMEA College Music Educator of the Year, Dr. Carlos

Abril, professor of music education and associate dean of research at the Frost School of Music, University of Miami:

This recognition holds a special place in my heart, as FMEA has been integral to my

stretched me as a musician and opened my eyes to a life of music. Later as a collegiate and

general music specialist, attending conferences informed my teaching and helped me build

a professional network. Finally returning to Florida, as a professor at the Frost School of

Music, many years later, I naturally found myself back at FMEA, this time as a music teacher educator and clinician.

Being recognized by FMEA is truly meaningful to me. These awards embody a col-

lective dedication of the many people committed to the transformative power of music education. They mark the early part of my journey, shaped by some extraordinary music

educators. We can all think of people who were instrumental in the formative years of our music journeys. Without those educators, administrators, commu-

nity partners, and parents, many of us would not be where we are today. They contribute to a healthy music education ecosystem. They are the people who work together toward a common goal of bringing transformative, relevant, and meaningful music programs to the lives of students.

I share this award with mentors who’ve guided me, colleagues who’ve inspired me, and

every student who I’ve had the privilege of teaching.”

August 2024

37

ExecutiveDirector’sNotes

FMEA Executive Director Kathleen D. Sanz, PhD

The mission of The Florida Music Education Association is to promote quality, comprehensive music education for all Florida students as a part of their complete education.

Welcome Back!

W

elcome back for the 2024-25 school year! It was

quite a hot and steamy summer, and hopefully

you had an opportunity to refresh and relax. FMEA looks forward to working with all of our members.

Professional Learning Opportunities for Members

The 2025 Legislative Session will begin on March 4,

2025, and will end on May 2, 2025. Please look for communication from FMEA asking you to assist us with reviewing the bills. If you have any questions about the bills as

they move through the process, please call Dr. Kathleen Sanz at the FMEA office.

The Florida Seal of Fine Arts (HB 523) passed unani-

Registration for the 2025 FMEA Professional Learning

mously through the Florida Senate and House and was

ME, opens on September 13, 2024*. We look forward to

seniors at the end of the 2024-25 school year.

and All-State Concerts, Music Education Begins with coming together January 8-11, 2025, in Tampa.

signed by the governor to become effective for graduating While we were thrilled with the passage of HB 523,

The Professional Learning Committee, chaired by

Governor Ron DeSantis on June 12 vetoed $32 million in

opportunities through podcasts and webinars. Watch

and Culture budget. The loss of the funding will have

Ajori Spencer, has been developing professional learning

for the announcements in your email and on the FMEA

website. To view the current and past podcasts, go to the FMEA website FMEA.org/programs/podcast/.

allocated grant funding for the state’s Division of Arts

an impact on FMEA’s programs. (More information can

be found in President Locker’s July 1 email to all FMEA members.)

We encourage you to be an engaged and informed

Legislative Session/Advocacy

voter. Your vote is your voice, so please register and vote

Reynolds, and the FMEA lobbyists are reviewing all of

federal elections.

The FMEA Advocacy Committee, chaired by Jeanne

the new laws impacting education that have or will take effect. We will provide an updated report on the FMEA website.

38 F l o r i d a M u s i c D i r e c t o r

in the upcoming August and November local, state, and Please read the advocacy article by Jeanne Reynolds

in this magazine and remember … VOTE! VISIT! VIGILANCE!

*subject to change

Key Election Dates for 2024 Visit

https://dos.fl.gov/elections/forms-publications/

publicationsreports/ for the comprehensive 2024-2025

Elections Dates-Activities Calendar. The following are the key election dates for registration and voting in the 2024 election cycle:

PRIMARY ELECTION 2024 Deadline to register to vote or change party affiliation.......................................July 22, 2024 Deadline to request that ballot be mailed............................................................August 8, 2024 Early voting period (mandatory period)..................................August 10-17, 2024 Election Day....................................................August 20, 2024 GENERAL ELECTION 2024

w TriM – Consider starting a TriM chapter for your midStudent Opportunities

dle and high school students. TriM is the only national

music society for student musicians. Through perfor-

mance and community service they will develop confidence, creativity, critical thinking, compassion, and leadership

w NAfME Collegiates – The Florida NAfME Collegiates skills. For more information visit NAfME.org.

are planning their annual Fall Conference to be held

October 19-20, 2024, at the University of North Florida

in Jacksonville. College and university faculty, please encourage your students to participate in this event.

Florida School Music Association

The Florida School Music Association (FSMA) hosted a

Deadline to register to vote....................... October 7, 2024 (no deadline to change party affiliation)

Leadership Workshop for music educators to assist in

Deadline to request that ballot be mailed...........................................October 24, 2024

and FVA. FSMA works with secondary component orga-

Early voting period (mandatory period)........... October 26-November 2, 2024 Election Day............................................... November 5, 2024 Thank you for your continued passion for and support

of music and arts education.

developing leadership for our components FBA, FOA, nizations to provide oversight for interscholastic music activities.

FMEA is looking forward to the 2024-25 school year!

Keep in tune and involved with your state professional association.

Musically,

Kathleen D. Sanz, PhD August 2024

39

GOLD

Partners as of July 24, 2024.

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

40 F l o r i d a M u s i c D i r e c t o r

Please take time to thank and support our 2023-2024 and 2024-2025 Academic Partners.

PARTNERS

BRONZE PARTNERS Florida Gulf Coast University Florida Southern College Rollins College Department of Music St. Thomas University University of North Florida University of North Texas August 2024

41

GOLD

SILVER PARTNERS Bornoff Foundation for the Advancement of String Education (FASE, Inc.) Partners as of July 24, 2024.

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

42 F l o r i d a M u s i c D i r e c t o r

Please take time to thank and support our 2023-2024 and 2024-2025 Corporate Partners.

PARTNERS

BRONZE PARTNERS

Amazing Student Tours FloridaFundraiser.com Head’s House of Music Heartsong AV Services Institute for Music Business J.W. Pepper & Son, Inc. Mark Custom Recording Service, Inc.

Music & Arts Music is Elementary National Concerts Romeo Music Sight Reading Factory Trevor James Flutes West Music Company August 2024

43

FLORIDA MUSIC EDUCATION ASSOCIATION

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.

2023-2024 & 2024-2025 DONORS

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

June M. Hinckley Scholarship

Music Education Advocacy

Professional Development for Members

General Fund

Mel & Sally Schiff Music Education Relief Fund

The following have graciously donated to FMEA from April 1, 2023, through July 24, 2024.

MAESTRO’S CIRCLE $10,000 and up

No current donors at this time.

ARTIST’S CIRCLE $1,000 – $9,999

All County Music Artie Almeida

In Honor of my mother, June Audrey Grace, & my niece, Katie Grace Miller

Frank Howes

In Memory of Vashti Jordan Howes

Clifford Madsen

Mary Palmer Russell Robinson Louis Schiff

SUSTAINERS $100 – $999

Carlos Abril

In Honor of Dr. Joyce Jordan & Dr. Alice-Ann Darrow

Andre Arrouet

In Memory of Dr. James Croft

Lucinda Balistreri

In Honor of Sarasota County Music Educators

Trent Brown

In Honor of J. Mark Scott

Dale Choate

In Honor of R. Wayne Bailey

Alice-Ann Darrow In Memory of Mr. & Mrs. O.B. Darrow

Virginia Densmore

In Honor of Dr. Shelby Chipman

Virginia Dickert

In Memory of Lindsay Keller, Teri Wester, & Debbie Liles

44 F l o r i d a M u s i c D i r e c t o r

Michael Dye

In Honor of Mark & Brenda Scott for their lifetime dedication to Florida vocal music education

Carolyn Minear

In Memory of Alice Fague

John Nista

On Behalf of Stanley Dmitrenko

William Fredrickson Shelby Fullerton

In Memory of Dr. Bobby Adams

Rita Hersom

In Honor of Alexis & Jonnie Pletincks

In Memory of Dan Fullerton In Memory of Billy Bryant, Jr.

Marsha Juday Sheila King

In Memory of John W. King

Jason Locker

In Memory of June M. Hinckley

Kevin Lusk Deborah Mar

Douglas Phillips David Pletincks

Clinton Randles Jeanne Reynolds

In Honor of Pinellas County Performing Arts Teachers

Mary Catherine Salo

In Memory of Gary Rivenbark & Wes Rainer

Steven Salo

In Memory of Barbara Kingman

In Honor of Dr. William Prince & John “Buck” Jamison

In Memory of Dorothy Wells Skinner

In Memory of June Hinckley

Brenda McGlohon Mitchell

Kathleen Sanz

SUSTAINERS $100 – $999

Fred Schiff J. Mark Scott

In Dedication to Dr. Andre Thomas, Dr. Judy Arthur, Dr. Judy Bowers, & Jason Locker

Alan Skaggs D. Gregory Springer Harry Spyker

In Honor of Fred & Marlene Miller

Jeannine Stemmer

In Memory of Barbara Kingman & Lauren Alonso

Valerie Terry Leiland Theriot

In Memory of Clayton Krehbiel

Rebecca Traenkner

On Behalf of Hillsborough County Elementary Music Educators Council

Richard Uhler David Verdoni

Howard Weinstein

In Memory of Barry Weinstein

Doris Elaine Wells

In Memory of Dorothy Wells Skinner

Kenneth Williams Daniel Wood

In Memory of Robert W. Smith

Anonymous (1)

In Memory of Judith Strachman

PATRONS $25 – $99

Sandra Adorno

Meghan Alfaro

Michael Antmann Judy Arthur

Sasha Aufschneider

Anna Marie Friars

In Memory of Matthew McLaughlin

Sandra Geres

In Memory of Dorothy Wells Skinner

Dakeyan Graham

Justin Plante

Edward Prasse Marie Radloff

Rudolf Radocy Melissa Rawls

Rebecca Hammac

In Honor of Nancy Bartels

Garza Baldwin

Bernie Hendricks

In Memory of James O. Johnston & Herbert Beam

William Bauer

Jacob Hyer

William Rose

Gale Baker

In Memory of William Bryant, Jr. In Memory of Dorothy Wells Skinner

David Bayardelle

In Honor of Harry Spyker

Cynthia Heidel Alexis Hobbs Yangqian Hu

Martha Huntley

Mark Belfast

In Memory of Dorothy Skinner, Safety Harbor, FL

Johnathan Bosse

Alexander Jimenez

Melanie Brown

Mary Keyloun Cruz

In Memory of Dr. Mark A. Belfast, Sr. In Honor of Rosanne and Michael Bosse In Memory of Dorothy Skinner

Jamie Bryan

Aaron Kass

In Memory of George Keyloun & Pauline Antaki

Kasia Bugaj

Marsha Kindall-Smith

Stanley Butts

Christine Lapka

Christopher Burns Greg Carswell

On Behalf of all the Florida choral directors who have passed on

Jeff Cayer

Shelby Chipman

In Memory of Herbert Rhodes, Sr.

Blair Clawson

In Honor of Tina Mason

Dayna Cole

In Memory of Linda Mann

Deborah Confredo

In Honor of All the Music Educators of FMEA

Scott Evans

Bradley Franks

In Memory of Gary W. Rivenbark

Cynthia Kohanek Craig Lilly

Joseph Luechauer

Matthew McCutchen

In Honor of John Carmichael

Katie McGuire Menges Kelly Miller

Victor Mongillo Mark Morette

Daniel Murphy

In Memory of Billy Bryant

C. William Renfroe Diana Rollo

Ian Schwindt

Cheri Sleeper

Eddie Steadman Mark Stevens

In Honor of Dr. Clifford Madsen

Phil Tempkins

In Memory of Sue McCray

Kathleen Thompson Ellen Turko

In Memory of Billy Bryant

Matthew Weihmuller Elizabeth Weir

Sondra Wenninger Collins Seth Wexler

In Honor of Mr. James Monroe

Edith Wright Anonymous (7)

On Behalf of Derek Schaumann’s Birthday In Honor of Columbia County Music Teachers In Memory of Carol Pollock

Stephen Nelson Marialyce Orr

In Memory of Robert & Bonnie Bragg

Ashley Peek

August 2024

45

FRIENDS up to $24

Michael Belyea Crystal Berner Thomas Brown

In Dedication to Dr. Sanmel A. Floyd

Ernesta Chicklowski On Behalf of Roosevelt Elementary Musicians

Eduard Ciobotaru Beth Ann Delmar Jodie Donahoo Christopher Dunn Debbie Fahmie Dretha Fennell Thomas Gamache

Tina Gill

In Memory of Gary Rivenbark

Alvaro Gomez Edepson Gonzalez James Haggins Angela Hartvigsen William Hazlett Llewellyn Humphrey Arnekua Jackson Kathleen James Jason Jerald Celeste Laburda In Honor of Eleanora Fagan

Pauline Latorre Lu Anne Leone Gerald Madrinan P. L. Malcolm John Marshall Khemya Mitrahina

In Memory of Kamau Seitu

Anthony Moore Merleon Morgan Mary Palmer Mikael Patriarca Hank Phillips Alexandra Rameau

Gary Smith John Southall Kelly Southall Ajori Spencer Hailey Swanson Andrea Szarowicz Lindsey Williams

Anonymous (14)

In Memory of William Bryant, Jr.

DONATE TODAY FOR A STRONGER TOMORROW With your support, FMEA will continue to grow its programs for teachers and students, strengthen united advocacy efforts, and improve your professional development opportunities.

Visit FMEA.org to learn more information about each fund and to make a donation.

Advertiser Index

2024-25 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.

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

CIRCULATION: The circulation of the Florida Music Director is 4,500 educators. Published eight times annually by The Florida Music Education Association, Hinckley Center for Fine Arts Education: 402 Office Plaza, Tallahassee, FL 32301-2757. FMEA reserves the right to approve any application for appearance and to edit all materials proposed for distribution. Permission is granted to all FMEA members to reprint articles from the Florida Music Director for non-commercial, educational purposes. Non-members may request permission from the FMEA office.

SUBMISSIONS: 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: Kelly Miller, DMA, kelly.miller@ucf.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.

46 F l o r i d a M u s i c D i r e c t o r

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.

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.

ADVERTISERS

Breezin’ Thru, Inc. .................................................IFC This advertiser provides additional support to FMEA members through membership in the Florida Corporate and Academic Partners (FCAP) program.

FCAP partners deserve your special recognition and attention.

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

Jason P. Locker

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

Shelby R. 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 President-Elect

Harry “Skip” Pardee

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

Jeff Cayer, EdD

president@fba.flmusiced.org FCMEA President

Sandra Sanchez Adorno, PhD Florida International University 10910 SW 17 St.; Miami, FL 33199 sadorno@fiu.edu FEMEA President

Ashley Peek

Holley-Navarre Intermediate 1936 Navarre School Rd.; Navarre, FL 32566-7504 ashley@femea.flmusiced.org Florida NAfME Collegiate President

Megan Robichaud University of North Florida n01492523@unf.edu

Florida NAfME Collegiate Advisor

Mark A. Belfast, Jr., PhD Florida State University mbelfast@fsu.edu FMSA President

Christopher Burns, PhD

School District of Osceola County (407) 870-4901; christopher.burns@ osceolaschools.net FOA President

Laurie Bitters

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

David Pletincks

Powell Middle School 4100 Barclay Ave.; Brooksville, FL 34609-0860 (352) 403-8437; david@fva.net Member-at-Large

Steven N. Kelly, PhD

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

EX-OFFICIO MEMBERS

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

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

President......................................................Sandra Sanchez Adorno, PhD Florida International University; 10910 SW 17 St.; Miami, FL 33199 sadorno@fiu.edu

Editor-in-Chief.................................................................Kelly Miller, DMA University of Central Florida; 12488 Centaurus Blvd.; Orlando, FL 32816-8009 (407) 823-4545; kelly.miller@ucf.edu Conference Planning Committee Chairperson........John K. Southall, PhD Indian River State College; 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 418-9133; johnsouthall@me.com FSMA President..................................................Benny L. Bolden, Jr., EdD laruemusic99@gmail.com Hall of Fame Chairperson...............................................Mary Palmer, EdD (407) 252-5172; mpalmerassoc@aol.com

FMEA COMMITTEE CHAIRPERSONS Advocacy..................................................................... Jeanne W. Reynolds (727) 744-7252; jeannewrey@gmail.com Awards........................................................................Sondra A. W. Collins sondra.collins@marion.k12.fl.us Budget/Finance, Development...........................................Jason P. Locker Orange County Public Schools; 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jasonlocker@fmea.org

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

FLORIDA NAFME COLLEGIATE President................................................................. Megan Robichaud University of North Florida; n01492523@unf.edu Past President..................................................................Colin Urbina University of Central Florida; co006947@ucf.edu

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION President..................................................................................Ashley Peek Holley-Navarre Intermediate; 1936 Navarre School Rd.; Navarre, FL 32566-7504; ashley@femea.flmusiced.org Past President......................................................................Joani Slawson Holy Trinity Episcopal Academy; 1720 Peachtree St.; Melbourne, FL 32901 joanislawson@gmail.com Executive Director............................................................Jennifer Sullivan 1750 Common Way Rd., Orlando, FL 32814 (321) 624-5433; slljenn@aol.com

FLORIDA MUSIC SUPERVISION ASSOCIATION

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

President............................................................... Christopher Burns, PhD School District of Osceola County (407) 870-4901; christopher.burns@osceolaschools.net

Diverse Learners....................................................... Christine Lapka, EdD University of Central Florida; 12488 Centaurus Blvd.; Orlando, FL 32816-2372; christine.lapka@ucf.edu

Past President.................................................... Lindsey R. Williams, PhD Seminole County Public Schools (407) 320-0434; willialz2@scps.k12.fl.us

Emerging Leaders.............................Dakeyan C. Graham, PhD, EdD, DMA Alachua County Public Schools; 3600 NE 15th St.; Gainesville, FL 32609 dregraham@gmail.com

FLORIDA ORCHESTRA ASSOCIATION

Florida Corporate & Academic Partners...................................Fred Schiff All County Music; 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fred@allcountymusic.com Health & Wellness..................................................................... Aaron Kass Lake Nona High School; 12500 Narcoossee Rd.; Orlando, FL 32832-6922 (407) 956-8327; aaron.kass@ocps.net Multicultural Network............................................Arnekua Jackson, PhD Boynton Beach Community High School; 4975 Park Ridge Blvd.; Boynton Beach, FL 33426-8318 (561) 713-6851; arnekua.jackson@palmbeachschools.org

President.............................................................................. Laurie Bitters Winter Park High School; 2100 Summerfield Rd.; Winter Park, FL 32792 (407) 622-3200; laurie.bitters@gmail.com Past President................................................................ Matthew L. Davis Harrison School of the Arts; 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 393-4232 Executive Director............................................................ Cheri A. Sleeper 1915 S. 47th St.; Tampa, FL 33619 (813) 363-4139; csleeper@myfoa.org

FLORIDA VOCAL ASSOCIATION

Professional Learning............................................................Ajori Spencer Pinellas District Office; 301 4th St. SW; Largo, FL 33770-3536 (727) 588-6055; spencera@pcsb.org

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

Research....................................................................William I. Bauer, PhD University of Florida; (352) 273-3182; wbauer@ufl.edu

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

Secondary General Music............................................................Ed Prasse Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net Student Engagement..............................................Michael Antmann, EdD Freedom High School; 2500 W. Taft-Vineland Rd.; Orlando, FL 32837 (407) 816-5600; michael.antmann@ocps.net

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

FLORIDA BANDMASTERS ASSOCIATION President.............................................................................Jeff Cayer, EdD president@fba.flmusiced.org Past President..........................................Bernard (Bernie) Hendricks, Jr. Ocoee High School; 1925 Ocoee Crown Point Pkwy.; Ocoee, FL 34761 bernard.hendricks@ocps.net Executive Director...................................................................Neil Jenkins Florida Bandmasters Association P.O. Box 840135; Pembroke Pines, FL 33084 (954) 432-4111; Fax: (954) 432-4909; exec@fba.flmusiced.org

Executive Director...................................................................Michael Dye 231 S. Bayshore Dr.; Valparaiso, FL 32580 (850) 217-7419; mike@fva.net Business Manager................................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; business@fva.net

CENTER FOR FINE ARTS EDUCATION 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 Executive Director..................... Kathleen D. Sanz, PhD (kdsanz@fmea.org) Director of Operations...................... Valeria Anderson, IOM (val@fmea.org) Technology Director....................................Josh Bula, PhD (josh@fmea.org) Marketing & Membership Coordinator.........................Jasmine VanWeelden (jasmine@fmea.org) Administrative Assistant..............................Siena Deaton (siena@fmea.org)

AFFILIATIONS

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

August 2024

47

48 F l o r i d a M u s i c D i r e c t o r