Florida Music Director August 2025

Principles of Dalcroze for Infants and Toddlers Music Class

The Clinician Is In

Welcoming a Guest to Work With PLUS: Your Band Hinckley Scholarship

Winners 2026 Conference Important Dates New FMEA Leadership

AUGUST 2025

1

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FLORIDA MUSIC DIRECTOR

Contents

AUGUST 2025

VOLUME 79

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

NUMBER 1

12

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) Alice-Ann Darrow, PhD (alifsu@mac.com) Jeanne Reynolds (jeannewrey@gmail.com) John K. Southall, PhD Indian River State College, Fort Pierce (772) 462-7810; (johnsouthall@fmea.org)

Advertising Sales

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

Official FMEA and FMD Photographers

Bob O’Lary Amanda Crawford

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

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28

40

F E AT U R E S

Introductions of 2025-26 Leadership. . . . . . . . . . . 8 FSMA: The Power of Purpose. . . . . . . . . . . . . . . 11 June M. Hinckley Music Education Scholarships. . . 12 How do I get to the conference?.. . . . . . . . . . . . . 18 Important Conference Dates & Information . . . . . . 19 Principles of Dalcroze for Infants and Toddlers Music Class. . . . . . . . . . . . . . . . . . . . . 20 The Clinician Is In: Welcoming a Guest to Work With Your Band. . . . . . . . . . . . . . . . . . . . 28 D E PA R T M E N T S

Circulation & Copy Manager

President’s Message. . . . . . . . . . . 4

Copy Editor

Advertiser Index. . . . . . . . . . . . . 5

Valeria Anderson, (800) 301-3632 Susan Trainor

President-Elect’s Message. . . . . . . 5 Advocacy Report. . . . . . . . . . . . . 6 Academic Partners. . . . . . . . . . .

FMEA Donors. . . . . . . . . . .

10

33-34

Council News. . . . . . . . . . . . . .

Committee News. . . . . . . . . . . .

39

Component News.. . . . . . . . . . . 44 Research Puzzles. . . . . . . . . . . . 50 Corporate Partners. . . . . . . . . . 52-53 Executive Director’s Notes. . . . . . 54 Officers and Directors.. . . . . . . .

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

AUGUST 2025

3

President’s

Harry “Skip” Pardee, EdD

MESSAGE

President Florida Music Education Association

Leading FMEA Into the Future

W

elcome to the start of another wonderful school

year! On behalf of the FMEA Board of Directors,

I hope you had a restful summer and look forward to an exciting year ahead. As you heard in my video message in

July, our board is well-positioned to lead FMEA into the future through thoughtful reflection, data-driven deci-

sion-making, and a student focus. The leaders assembled

to do that work are truly some of our industry’s most treasured professionals!

While the origin of the following phrase has been

debated, the sentiment rings true for leaders charged with

college music education professors, and other stakeholders.

w Complete our annual financial audit, and confer with

For the long term:

our financial advisors regarding FMEA’s short- and long-term investment strategies to safeguard our asso-

w Finalize the marketing, branding, and communicaciation’s financial health and vitality.

tions strategies into action steps over the course of the working academic year so our association brand can

when old men/women plant trees in whose shade they know w Continue building a catalogue of relevant professional they will never sit.” All of us responsible for leading FMEA learning experiences for members. w know that our decisions as leaders have a transformative Work with our FMEA Board of Directors, commumaking decisions for collective impact: “Society grows

be on the cutting edge.

impact on the lives of future generations of deserving

nity leaders, and our members in the field to identi-

As we look to the future, here are some goals we will

opportunities for the FMEA Professional Learning

Florida students, and we are honored to do this work.

work toward, in both the long and short terms. Our revised strategic plan will guide this work. For the imme-

w Compose and disseminate clear procedural pathdiate, short term:

ways for committees, councils, and components that

allow for the appropriate affiliation with FMEA per

fy potential business partnership and sponsorship

w Continue our pursuit of an unmatched music eduConference and other key events.

cation experience for all Florida students through

outstanding pedagogy, along with perpetual arts education advocacy in all government sectors.

As we navigate world challenges to provide a world-

the bylaw revisions of the past year. The board looks

class education for our Florida students, there will

constituent groups so the composition of our board

and speed bumps on the road. Rest assured, your FMEA

forward to reviewing materials from content-specific accurately reflects the rich variety of instruction and

w Obtain competitive bid responses from qualified venensembles in our state.

undoubtedly be more unexpected turns, roadblocks, Executive Committee and Board of Directors are working tirelessly to advocate for what is best for students.

Your voice is essential to this ongoing work in FMEA!

dors capable of assisting our CFAE staff with a refur-

For any member who would like to book a conversation

toward a more friendly user-interface for our mem-

or just to connect, please email me at

bishment of the FMEA website, and begin working

w Continue working with our corporate and academic bers.

partners to enhance the exhibition hall experience

at our annual conference, and work cohesively with component associations to intentionally plan all-state

w Plan an outstanding Collegiate Fall Conference with

with me regarding your thoughts, concerns, suggestions, org. I would love to hear from you.

Have a wonderful start to your school year!

Always musically,

rehearsal time to include exhibition hall visits.

participation from college music education student colleagues, music supervisors and program leaders,

4

FLORIDA MUSIC DIRECTOR

skippardee@fmea.

Harry “Skip” Pardee, EdD, President

Florida Music Education Association

Bernard “Bernie” Hendricks, Jr.

2025-26 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.

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.

President-Elect Florida Music Education Association

Are Ya Ready, Kids?!

B

efore I mention anything regarding the joys of what the new school year will bring, I must pause and say

thank you to the members of the Florida Music Education Association for affording me the opportunity to serve in this capacity. It is truly an honor to serve the teachers and

students of FMEA, and I look forward to the journey we will

take together over the next few years. As for now, it’s time to

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.

get back in the classroom and enjoy the many opportunities

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.

young person who enters your room. This is what we do,

Advertiser Index The Florida Music Director is made possible by businesses and organiza-

tions that advertise with us. They make it possible to provide you with a

we have as music educators. As we all head back to our music

rooms, please take a moment to reflect on the IMPACT that your music teachers had on you, which will directly correlate to the IMPACT you have and will continue to have on every

and the theme that President Skip Pardee has presented for the next two years will emphasize just that … the power and impact we have, especially when we work together on all levels of music education.

The new year brings fresh opportunities to do life together

with our students through the gift of music. On a daily basis we are fostering creativity in our musical preparation, building community through performance, and enabling cama-

raderie through our performing ensembles. These everyday, somewhat routine moments are what make our profession

so astronomically rewarding and keep us and our students

high-quality publication, and we gratefully acknowledge their support of

coming back for more day after day. The focus should never

ment and consider the products and services offered. It is another important

what you do have and continue to create powerful, mean-

our mission. We hope you will take special notice of the following advertiseway you can support your professional association and the enhancement of Florida music education.

The publisher does not endorse any particular company, product, or ser-

be on what you don’t have; simply be grateful and work with ingful, and artistic musical experiences for whomever walks through your doors. And please know that your FMEA

vice. The Florida Music Education Association (FMEA) is not responsible for

Executive Board is here to listen, support, and advocate for

any advertisement submitted for publication. Information for advertisers

of yourself physically, mentally, and spiritually. You are not

the content of any advertisement and reserves the right to accept or refuse (rate card, insertion orders, graphics requirements, etc.) can be found at

you in whatever way, shape, or form is necessary. Take care

FMEAMediaKit.org. Florida Music Director reserves the right to refuse any

on this journey alone as we are built to be in community with

with fees applied.

I look forward to a high-five or fist bump and hearing the

ad not prepared to the correct specifications OR to rework the ad as needed ADVERTISER

others. Wishing you all the best in the new school year, and stories of success from all over our great state.

Breezin’ Thru® Theory.............................................................................................. IFC

Florida International University............................................................................... 32

The advertisers shown in bold provide additional support to FMEA members through

Stay blessed, family.

membership in the Corporate and Academic Partners (FCAP) program. FCAP partners deserve your special recognition and attention.

Bernard (Bernie) Hendricks, Jr., President-Elect Florida Music Education Association

AUGUST 2025

5

Advocacy

Advocacy Committee Co-Chairpersons

REPORT

Welcome to Our Village – The Power of Collective Impact

I

t takes a village, the phrase attributed to an African

proverb, perfectly describes

successful advocacy. Building high-quality, comprehen-

sive school music programs involves gifted teachers,

supportive administrators,

active parents, engaged and knowledgeable community

of teaching music on my own,

no matter their background,

our Advocacy Committee

that spark ignites, it can literally

power of music.

colleague who has served on for many years. She will be

a great partner in expanding

our advocacy efforts for even

greater impact. Check out our recent conversation focused

on four important questions.

Jeanne Reynolds: Tell me

and state elected officials.

and how it informs your

these relationships have

Angela Hartvigsen: Both of

tions, and informed district

about your life in music

Nurturing and leveraging

advocacy.

Pardee’s Collective Impact

theme for his presidency

is right on target. There is

untapped power in our profession.

I am thrilled to welcome

Angela Hartvigsen as my FMEA advocacy

co-chairperson. Angela is a

Angela Hartvigsen

great friend and respected

members, local arts organiza-

powerful effects. President

Jeanne W. Reynolds

my parents were music educators and lifelong performing

musicians. I had a front-row

seat to the impact music had on

their own lives, and on the lives

of generations of students in the

Sarasota County schools. Being a musician was a natural step for

me, but I had to discover my love

not just by watching them. Once change the world, as it did mine.

Now, as the fine arts program

specialist for Sarasota County Schools, I get to champion

access to the arts every day.

And now, as FMEA advocacy co-chairperson, I’m learning

from incredible advocates like

Jeanne Reynolds and working to expand my impact even further

so that every student in Florida,

can experience the life-changing

JR: Sarasota has a thriv-

ing arts community and a

well-established tradition of supporting the arts

and arts advocacy. How does that environment impact your work?

AH: I know I was fortunate to be surrounded by the

amazingly vibrant creative

community that Sarasota is.

As a student, Sarasota’s many arts organizations allowed

me to complement my strong

school music experiences with additional performing and

music-learning opportunities.

As a teacher, and now in my

current position, I am extremely grateful for the support our

Arts and Cultural Alliance and community arts organizations give our schools and our students.

6

FLORIDA MUSIC DIRECTOR

Your Turn:

I

f we are going to

welcome more folks

to our village and enjoy

greater collective impact, take a few moments to reflect on those same

four topics Angela and I

discussed, but centered on

you, your school, and your community situation.

1. What’s your story

in music? How will

you share that story to inspire decision makers?

2. How does your larger

community contribute to, or challenge,

Without the unity of schools

and arts organizations working

together, students wouldn’t have nearly as many opportunities to expand their skills as they

do currently. This environment doesn’t just support my work; it inspires and amplifies it.

Knowing there’s a larger

community standing behind our mission gives me the confidence

to dream bigger, advocate harder, and ensure every student in Sarasota has access to the

transformative power of the arts.

JR: How do you think

FMEA can better meet

the needs of its members by building stronger rela-

tionships with state legislators?

AH: I really believe that

building strong relationships

funding, help to protect teaching

give our colleagues as

your success? What’s

policies that directly impact

year?

relationship you can

positions, and work to shape

they start the new school

our members. One of the most

AH: Advocacy really does

powerful things we can do is

share real stories, like inviting lawmakers to see a student

performance or visit a music

classroom, so they experience the impact firsthand.

It’s also important to connect

with legislators consistently and positively, not just when we

need something. Those ongoing

relationships matter. Senator Joe Gruters, for example, became a strong supporter of the recent change to the marching band/ PE credit legislation, in large

part because he already had a relationship with FMEA and

a real respect for the arts. You

never know where your advocacy allies will come from, so those

with state legislators is key to

connections are everything.

and center in Florida’s schools.

JR: As an arts supervisor,

the table, we can advocate for

begins at the school level.

keeping music education front When FMEA has a seat at

you know that advocacy What advice would you

start at the school level, and I always encourage teachers

to stay positive, and solution focused. It’s natural to be

intensely passionate about your own program—that passion is

what makes music educators so special, but sometimes we need

to take a step back and look at the bigger picture. How can what we do support the school’s overall

goals? How can we be part of the solution when challenges come up?

Also, I can’t stress this

enough: administrators at all levels are people too. They’re under a lot of pressure, and

building a good relationship with them makes a huge difference.

If we approach conversations with empathy, respect, and a

collaborative mindset, they’re

much more likely to listen and

support what we’re trying to do.

one community

nurture to positively

impact your program?

3. How can FMEA better meet your advocacy needs at the state

(legislation, policy) or local district level?

4. What one specific thing will you do

at your school level

this year to advocate for and grow your program?

Angela and I are

listening, and we are here to serve you. Contact us at

jeannewrey@

gmail.com or

angelahartvigsen@gmail. com. Let’s welcome more people to our village.

And let’s begin to realize the true potential of

our profession and the

collective impact we can have this year!

AUGUST 2025

7

2 02 5 -26 BOARD OF DIRECTORS

Jason P. Locker Past President

Jeff Cayer, EdD FBA President

Kyle Prescott, DMA FCMEA President

Meghan Alfaro FEMEA President

John J. Dupuis FMSA President

Andrea Szarowicz FOA President

Jeannine Stemmer FVA President

Jason Lane FL-NAfME Collegiate President

Steven N. Kelly, PhD Member-at-Large

Ex-Officio Members

Harry “Skip” Pardee, EdD President

8

John K. Southall, PhD Conference Planning Chairperson

Mary Palmer, EdD

Hall of Fame Chairperson

FLORIDA MUSIC DIRECTOR

Kathleen D. Sanz, PhD Bernard “Bernie” Hendricks, Jr. FMEA/FSMA Executive Director President-Elect

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

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

Benny L. Bolden, Jr., EdD FSMA President

2 02 5 -26 COMMIT TE E C HAIRPE RSON S

Jeanne W. Reynolds Advocacy (Co-Chairperson)

Angela Hartvigsen Advocacy (Co-Chairperson)

Clint Randles, PhD Contemporary Media

Christine Lapka, EdD Diverse Learners

Arnekua Jackson, PhD Multicultural Network

Ajori Spencer Professional Learning

Sondra A. W. Collins Awards

Harry “Skip” Pardee, EdD Budget/Finance, Development

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

D. Gregory Springer, 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 President............................................................................................................................ Kathleen D. Sanz, PhD (kdsanz@fmea.org) Director of Operations...................................................................................................... Valeria Anderson, IOM (val@fmea.org) Technology Director........................................................................................................................ Josh Bula, PhD (josh@fmea.org) Marketing & Membership Coordinator..................................................................... Jasmine VanWeelden (jasmine@fmea.org) Michael Antmann, EdD Student Engagement

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

AUGUST 2025

9

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

GOLD PARTNERS

BRONZE PARTNERS

Florida Gulf Coast University Florida Southern College Mercer University Rollins College Department of Music

Partners as of April 7, 2025.

University of North Florida University of North Texas The University of Tampa

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

10

FLORIDA MUSIC DIRECTOR

Benny L. Bolden, Jr., EdD

President

N O T E S

FLORIDA SCHOOL MUSIC AS SO CIATION

Florida School Music Association

THE POWER OF PURPOSE: Welcoming a Transformational Year in Florida Music Education

D

ear colleagues and friends, it is with great humility, gratitude, and deep

respect for our shared mission that I introduce

myself as president of the Florida School Music

Association (FSMA). As we embark on the 2025-

26 school year, I stand on the shoulders of visionary

leaders who have helped build and sustain a legacy of

excellence in music education across the state of Florida.

My journey began as a young musician in Miami, molded by

passionate educators who saw music not just as a subject but as a way

of life. Over the years, I have had the privilege to serve as a music educator, school administrator, and now district leader. Each role has only deepened my conviction that music is not a luxury—it is a lifeline. It cultivates discipline, creativity, empathy, and community. It builds bridges across differences and gives students a voice when words fall short.

As president of FSMA, my commitment is threefold: to elevate our collective impact; expand access and

equity in music education; and amplify the power of connection between students, teachers, communities, and

the arts. I believe that if we teach and lead with intention, we will inspire a generation of young people to find both their voice and their value through music.

I am excited to work alongside each of you—teachers, administrators, conductors, parents, and

students—to ensure that music remains not only a core component of a well-rounded education but also a transformational force in the lives of every student in Florida. Together, we will build, challenge, celebrate, and uplift.

Thank you for the honor of serving. Let’s make this a year to remember.

In harmony and service,

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

AUGUST 2025

11

JUNE M. HINCKLEY MUSIC EDUCATION SCHOLARSHIP

Applicants were asked to respond to the prompts “Why do you wish to become a music educator?” and “Why should music be available to all students?” Baudek’s essay appears here with minor editing and the addition of a headline.

Inspiring Through Passion and Encouragement

M

BY AUDRE Y BAUDEK

My name is Audrey Baudek, and

younger, and had fond memo-

University in the fall to pursue a

in line and helped to make the

I will be attending Florida State

ries of the interns who kept us

career in choral music education.

production process a positive

I want to be a music educator

experience. Helping out with the

because music brings me joy, and

same camps I once participated

I want to be able to share that

in felt like a way I could give

joy and continue to inspire oth-

back, and I loved it. I’ve helped

ers in the way that I have been

out with six youth productions

inspired by my teachers. From a

and one mainstage show since

young age, my love for music has

then, and nothing makes me

been cultivated by the wonder-

happier than seeing the kids

ful educators who have shown

succeed and grow into them-

me what it means to inspire

selves and their talent through

those around you through pas-

the encouragement they receive

sion and encouragement. As a

from interns like me and the

choral music educator, I want to

directors that work with them. I

continue to share the love I have

consider myself extremely fortu-

for music and help to encour-

nate to have even bonded with

age the self-expression that goes

some of the students who have

along with participating in any

sort of music class. I’ve always

participated in multiple camps there since I’ve started volun-

known that I would pursue a career in

unteering as a production assistant for the

teering, and feel honored when I’m seen

six years old, and have been involved with

theater, The Henegar Center for the Arts,

help, advice, or just as a friendly face that

music. I’ve taken piano lessons since I was

numerous theater productions since I was ten. However, it wasn’t until I started vol-

12

FLORIDA MUSIC DIRECTOR

youth program at my local community that I realized I wanted to be a teacher. I

participated in the program when I was

as someone these kids can come to for makes them feel a little more comfortable during an audition.

It is crucial for young people to under-

how rewarding it felt to perform with

programs because they didn’t know what

holds. It can tell stories, evoke powerful

interpretation of a piece of music. All of

the wonderful experience of playing or

stand the transformative power music emotions, and even offer a different perspective on the world. However, none

of that can be taught or conveyed with-

out proper guidance from a teacher who

understands how important a positive experience in the arts truly is. I have

witnessed firsthand the effect a negative atmosphere can have on the music-mak-

ing process, and how it diminishes the enjoyment of the students involved.

Speaking from personal experience, I

understand what it feels like to not be given the opportunity to improve as a

musician due to lack of encouragement.

In elementary school, my music teacher

refused to let me audition for the FMEA Elementary All-State Chorus, and made me feel like I wasn’t worthy of doing what

I loved. In seventh grade, I was given the opportunity to audition again and proved

to myself that I was capable when I made

my peers and guide them through my the encouragement and support I have

received from not just my middle and high school choir directors, but also my

voice and piano instructors, have shown

me what it means to be a truly good music educator who focuses on uplift-

All-County Chorus was cancelled due to COVID-19.

That same belief is what motivated

me to keep pushing myself, and led me to perform as a soloist and a student conductor at the 2024 District Solo and

Ensemble for chorus this school year. I received a superior rating for my solo performance and an excellent rating for

my student conducted piece, which was

an experience that further invigorated me to become a choir teacher due to

good time, you have a hard time letting go of that experience.

Music is something that should be

frustrating things as a music student is

from them, and the things I have even learned from educators who don’t create the positive atmosphere that is crucial in

a learning environment, have allowed me to understand what kind of teacher

I want to become. I want to be the kind of music educator that inspires others

the way I have been inspired, is a role model to other young people, and shows

students how song can be more powerful than just words on their own.

I remember what it felt like during

to wait almost six months for my district

with the exception of 2021, when Brevard

program and you find yourself having a

to offer. All of the things I have learned

special community the music world has

choir teacher, and thanks to their belief in

seventh grade, and All-County every year

is, once you’ve been involved in a music

available and highly encouraged for all

COVID-19, sitting at home facing a com-

me I have made All-State every year since

singing with their peers. But the reality

ing students and showing them what a

it. My middle school choir teacher always encouraged me, as has my high school

it really felt like to come together and have

puter screen to do my classes, and having

to even allow my choir class to sing outside in the heat, socially distanced and

with masks on. I was so grateful to be back in an environment where I thrived,

but it was difficult not to feel discour-

aged by the things that still separated us from singing together like we used to.

During COVID-19, I realized how much

I had taken for granted because of how easy singing is. Sure, there’s a lot of technicality behind singing well, but using

your voice to make music and have fun is such an easy way to connect with others.

COVID dissuaded many students from continuing to involve themselves in music

students everywhere. One of the most that compared to sports and academics, music programs are commonly thought

of as less significant. However, music and the performing arts are just as important as any other class or extracurricular

activity. Music classes offer students a well-rounded curriculum and support their emotional needs by giving them a place to constructively and safely express

themselves. Much like a sports team,

music classes also require cooperation

and teach students the importance of working with others. In order for the

sound of any ensemble to be whole, and for a piece of music to come together, each and every student has to work equally

as hard as anyone else. Continually, the community that the students in any music program have is unparalleled. They provide the support system that all students

need, yet very few have, and foster relationships and connections between peo-

ple. Young people need creative outlets like music classes to process their emo-

tions in a positive way because there are few opportunities for students elsewhere.

Instead of trying to discourage the arts,

they should be seen as a necessary part of any school for the betterment of students’ education.

AUGUST 2025

13

JUNE M. HINCKLEY MUSIC EDUCATION SCHOLARSHIP

Applicants were asked to respond to the prompts “Why do you wish to become a music educator?” and “Why should music be available to all students?” Reggi’s essay appears here with minor editing and the addition of a headline.

The Gift of Music

M

BY CHRISTIAN REGGI

Music is the gateway into a per-

cer. She showed me how music

form of communication, tran-

on people. She dreamed of being

son’s inner being. It is the ultimate

can have an indescribable effect

scending spoken word by taking

a teacher, sharing her gift of song

a story or message beyond its

with everyone she met. I look back

meaning with rhythm and mel-

at the time my sister would sing

ody. A well written piece, even

with other kids battling cancer.

without lyrics, has the ability to

Noticing the children light up,

transfigure the mind of listener

with some only having months

with certain emotion. It is this

to live, opened my eyes to how

innate quality that draws in my

music can have a profound effect

curiosity everyday, enveloping

on others. She left this world

my mind.

leaving a lasting impact through

I was surrounded by a sonic

music and bringing joy to others;

landscape since birth; song was

she is my muse and inspiration to

always playing in my home. I have

pursue my passion.

to thank my father for my musi-

My major in college is going to

cal upbringing, always playing

be choral music education. With

on our rickety piano and singing

teaching license where I plan to

pieces by Chopin and Beethoven

this degree I will earn a K-12

silly songs to keep my sister and me entertained. It wouldn’t take

become a high school choir teacher. Teachers are pivotal to the

long until I’d meander my way onto the

I was young, yet the more I looked into

development of our modern, complex

I’ve always loved noise and how notes

immersed into the world of teaching and

without teachers. Students deserve the

piano and pick up singing along the way. interacted with each other. I would go on to join chorus in fifth grade and now,

education the more I saw myself being composing.

My journey with music, and wanting

as a senior in high school, continue to do

to become an educator, wouldn’t have

music my passion would be an under-

Lillian, who passed away at the age of six

the thing I love: making music. Calling statement. I dreamed of performing when

14

FLORIDA MUSIC DIRECTOR

been possible without my only sibling,

from glioblastoma multiforme brain can-

society. In fact, colleges wouldn’t exist chance to dive into the expansive world of music. It has the power to connect

others. I want to ignite the passion of music in my students, showing them how it can be used as a tool for learning

and recreation. I will challenge them

FL Music Ed

to go beyond the surface level of their

on task and behaving accordingly. I also

connections with the musical pieces we

a cappella groups I was in, which in a way

songs, finding the deeper meaning and perform. Teaching is a calling, and I enjoy

when students are engaged with content,

becoming enthralled with the essence of

created and arranged part tracks for two

was a teaching aspect as I also directed the groups.

Moreover, I also believe that the col-

curiosity. This passion for learning and

lective collaboration of all individuals in

with them to college, energizing students

cannot work if all pistons aren’t firing,

diving deeper into content will continue to pursue their own interests.

Music is a universal language that

is programmed into our bodies since

birth. From tapping your foot to a catchy rhythm to singing your heart out to a

song, humans are able to connect with each other through it. It is a valuable subject that is irreplaceable. There is no sub-

ject in school like it. Students would be losing out on crucial life skills without the

inclusion of music in our schools. Without music in the lives of our students, count-

a group is important for success. A car and so, too, does chorus fail when every-

one is unsure of our goal. In ELITE, I constantly remind them of why they are here

and who we represent. I remind them of humility, but also to stay confident as the

top choir at our school. We must set the example. Patience is key when making

music, and I understand that music can become frustrating, yet I assure them of

how their hard work will pay off to keep their confidence high.

Anywhere I go, I sing. Whether it’s for

less opportunities and lessons in life are

practice or an earworm, I sing. There is

I have opportunities to regularly con-

us humans to come together. Music takes

lost at the cost of saving money.

duct chorus class at school. This year I

am ELITE show choir president and last

year I was chamber choir president; both allowed myself to get hands-on experi-

ence of how to run a classroom. I work closely with both of my choral directors, Mr. Jeffry Bogue and Mrs. Miranda

Goodwin, to send out important infor-

mation such as event and music updates, as well as ensuring everyday classroom

rehearsal runs smoothly. In their absence,

I fill in as director and lead both ELITE Show Choir and Chamber Choir in practice and running through our perfor-

mance music. In addition, I work diligently to create part tracks and push my

peers to achieve success, never settling for

mediocrity. Behavior is an integral part in a classroom; I keep class conduct in check,

ensuring all members of the choir are

something special about it that compels

years of technique and perfecting to learn only the bare minimum. I have a nev-

er-ending hunger for music; I guess you

could call me a glutton because I can’t get enough of it. This is what drives me to pursue it. I see how the world right now

is hurting with war, political tension, and a myriad of other negative forces con-

stantly being pushed down our throats.

People everywhere are filled with fear and despair, convinced no one will hear them. But it doesn’t have to be this way.

I want to bridge that gap, to reach out

to those who need to understand that they are not alone. I have a gift; this gift

KEY CONVERSATIONS

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Tales from the Heart of Florida’s Music Education Community

Tune in as we delve into the heart of music education, exploring topics that resonate with our members and beyond.

Whether you are a seasoned educator or a passionate student, this podcast is for you. With six insightful episodes already available for streaming, there’s no better time to join in the conversation.

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is music. Nothing will stop me in my

pursuit, just as cancer never stopped my

sister, and I look forward to continuing to ignite joy in others through my love of music.

AUGUST 2025

15

JUNE M. HINCKLEY MUSIC EDUCATION SCHOLARSHIP

Applicants were asked to respond to the prompts “Why do you wish to become a music educator?” and “Why should music be available to all students?” Womble’s essay appears here with minor editing and the addition of a headline.

Love for Music and the Arts

T

BY LOG AN WOM B LE

Truthfully, I couldn’t begin to

joy. I know the feeling of having

Yes, it is my creative outlet, but it

want to give my future students

a spectacular performance, and I

imagine my life without music.

that same thrill. I want them to

is also what I am most passionate

walk off a stage, not shaking their

about. Through music and the

head frowning, but smiling about

life lessons I’ve learned on my

what they brought to the table

journey, I have grown as a per-

that day and envisioning just

son and matured as a player and

how much better the next perfor-

human. Through this comes my

mance will be. I also want to give

need to share what I’ve learned

students the same inclusive and

with others. I have been lucky

welcoming environment I have

enough to have a band director

been given throughout my years

that lets me do just this, giving

in high school. Out of everything,

me the opportunity to teach and

this is what gave me my first big

to share my knowledge of music.

pull toward music. The second I

Being on the podium is exulting;

walked into band camp, I became

there is nothing else like it. Giving

part of a strong and loving sup-

people my energy, watching as

port system. Through the work

the lightbulbs go off, and creating

of the director and leaders within

beautiful music through a com-

the program, I felt like I had a

mon determination and bond my

colleagues and I share has given

me a need to become a music educator.

I want to become a music educator

school wanting to quit band, yet I had to

sion for music. It’s everywhere, practically

I want to give people, but a feeling that I

More than anything, I want to share my

because I want to uncover people’s pas-

guide students on this path is a privilege

a natural part of our lives. It’s a way to

love for music and the arts. Helping to

and a period in my life that I can’t be more excited for.

16

FLORIDA MUSIC DIRECTOR

second family. I came into high

express emotions and feelings, as well as to bring yourself a sense of excitement or

stay for more. This isn’t just a feeling that

need to give to people. I need to give peo-

ple a loving environment, I need to give

them support, I need to give them this

spark and this common love for some-

of my relatives died, I needed music.

reasons I fell in love with music. Because

need to help my students not just grow as

without bottling up emotions and feel-

every ensemble. It will always be different

thing that can be so raw and real, and I musicians, but also as people.

What has been super important for

me during high school is the connection between my band director and her students. Yes, we are her students, but we’re

also her friends. She’s helped guide us

all through four years of high school and taught us many lessons in and outside of music, and I want to be able to do this too.

Most of all, I want to be able to teach the

It gave me a way to express my grief,

ing hopeless, through improvising. Being

able to express my pain in such a natural

thing goes for when I’m feeling happy;

grateful for. I want to share my love and

to overcome these emotions. The same

it’s reflected in what I play. Maybe instead of playing in a minor key, I might choose

to play in major. The lines I play become faster, higher, and overall, more exciting.

Furthermore, music creates a very

and encourage them to pursue music past

is a family waiting to be made. In gen-

er this be as a hobby, or as a career.

In my eyes, music is a fundamental part

of education. It’s a proven fact that schools with music programs such as band and

choir have a higher graduation rate. This

is because it gives students a commitment to something fun and something greater

than themselves. When you don’t show up, you aren’t just letting yourself down,

but you’re letting your friends down as

well. If you have a group project, you’re

expected to chip in. The same thing goes into music. It’s one large project, from the

day you step into that room, to the day

you leave. This encourages students to keep showing up and to keep putting in the effort, as they understand it’s not a minor task at hand.

As well as giving students a reason to

show up, music gives them a creative out-

let to express themselves. This is essential

to all peoples as it can benefit a person’s mental well-being, reduce stress, and pro-

mote a healthy way to cope with stronger emotions. From my own experience, I

can confirm this is true. When multiple

Just like gravity, music pulls me in.

It’s not just a passion or a hobby, but it’s

powerful and unique bond between stu-

middle school or past high school, wheth-

in some way, and that’s extraordinary.

feeling way is the reason why I was able

next generation of musicians and music educators. I want to inspire my students

just like music is ever changing, so is

dents. Where there is teamwork, there eral, the performing arts is an amazing

example of this concept. You don’t walk

into the room to judge others, to sing or play an instrument louder, or to worry

a desire and something that I am truly

my appreciation for music with students

and with the world; I want to teach and

inspire people to continue playing and

performing. I am confident in the future of music and music education, and I am

excited to begin my career in the field.

Until then, and even past then, I will keep being a sponge, keep learning and being

interested, and I will keep working hard

and remembering why I want to do what I am going to do.

about who can act better. You walk in

the room to create, uncaring about who else is in that room because at the end of

the day it doesn’t matter who it’s with.

You are creating something beautiful and

unique, and there really isn’t anything

as special as this. To create something amazing with someone or with multiple people naturally bonds everyone togeth-

er. This is because of all the effort that

goes in. All the times where there could be humor, frustration, and raw emotions

that everyone can experience together. It’s one of those rare experiences where random people of all ages can come together

and laugh and be excited for what they’re doing. The most alluring part of most ensembles is that no ensemble will ever

be the same. When I perform in honor

bands or even in my high school’s band, the first thing I am told is that after the

performance, or after the year is up, this group will cease to exist. This is one of the

AUGUST 2025

17

How do I get to the conference?

G

Making your case to attend the 2026 FMEA Professional Learning Conference

Music Education Association Professional w Write down three of the most Getting approval to attend the Florida

Learning Conference may require devel-

oping a proposal. Due to tight budgets in today’s economy, school principals and

districts 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 stu-

Develop Your Case

important goals and strategies being

w Think about how you personally conaddressed in your school’s plan.

tribute to those three goals and strate-

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

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

sonal contributions to your school’s w Write down your case for how attendyour school? Make a list of your per-

ing your administrators are aware of the w Review the conference’s professional

and bookmark your sessions.

goals and strategies.

ing the FMEA Professional Learning

critical importance of you professionally

learning schedule to better under-

there will help you contribute to your

consider submitting a formal proposal.

will support your school’s goals. Mark

dents in your school. Rather than assum-

benefitting from content-specific sessions,

Through this proposal, you can demon-

strate how your participation directly

relates to the strategies and the objectives of your school (including 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.

18

FLORIDA MUSIC DIRECTOR

stand how the information provided meetings that relate to your list of

personal contributions to the attain-

ment of those goals and strategies,

Conference and meeting the people

school’s goals and strategies, and use

this case with your administrators when making your request to attend the conference.

Important Conference Dates & Information (subject to change)

When you create your proposal, in

addition to providing a summary of the

Early registration opens.

funding you will need, detail your case

for attending. List your school’s goals,

download the conference schedule, list

September 12, 2025

the sessions and the clinicians and presenters who will be there, and list the spe-

Nominations open for Student Conference Experience (FMEA.org/conference/studentexperience/) and Tri-M Experience (FMEA.org/conference/tri-m-experience/).

September 27, 2025

Hotels begin taking reservations at 9:00 am.

October 1, 2025

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

October 24, 2025

Popular Music Collective submission deadline (FMEA.org/programs/all-state/popular-musiccollective/).

let your administrators know that this

October 30, 2025

administrators, students, and parents in

Student Conference Experience nomination deadline (FMEA.org/conference/student-experience/).

November 3, 2025

Hotel room cancellation deadline is 5:00 pm.

cation conference in the nation.

November 7, 2025

Digital Music Showcase submission deadline (FMEA.org/programs/digital-music-showcase/).

November 11, 2025

Hotels will charge your credit card a nonrefundable deposit for the first night of each room that was not cancelled by the deadline.

cific 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 program-

ming and conducting ideas). Additionally, conference has more than 10,000 teachers, attendance, the second largest music eduFinally, ask your administrators to sup-

port you to attend the FMEA Professional Learning Conference in Tampa, Florida, January 14-17, 2026.

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

December 12, 2025

December 15, 2025

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.

AUGUST 2025

19

F E AT U R E

Principles of

DALCROZE

E

for Infants and Toddlers Music Class

BY RE Y SUNGL AO

Early childhood education forms the foundation of a

two years (infants and toddlers) and their musical devel-

to eight years old, it is the earliest level of education. It

and rationales for music in early childhood education.

quality basic education. Spanning the period from birth can be divided into three stages according to the child’s

development: infants and toddlers (0–24 months), preschool (2–4 years), and school age (approximately 5–8 years). Early childhood has a direct impact on a child’s

cognitive, social, emotional, and physical development

Then, I will present the Dalcroze method and its elements.

Lastly, I will offer suggestions on how the Dalcroze principles may be implemented in early childhood music classrooms, particularly for infants and toddlers.

(UNICEF, n.d.). Additionally, young children are ready

Rationales for Music in Early Childhood

and are largely dependent on gestures and movements to

The recognition of early childhood music education

to benefit from music. They love to move, explore spaces, express themselves. Bautista et al. (2022) noted that music

teaching and learning should be given to young children

from this early stage of their development. Further, in

recognition of the importance of early childhood, the National Association for Music Educators (NAfME) has music standards for early childhood music education.

These standards focus on important musical skills and knowledge that are critical to developing children, such

as moving and responding to music, singing and playing

instruments, and creating music for children (NAfME, 2014).

The Dalcroze approach is an effective and developmen-

tally appropriate approach to use in early childhood education. Scholars have supported its efficacy (Anderson,

2011; Joseph, 1982; Juntunen, 2016). The approach centers on three main elements that are reflective of essential music standards: eurhythmics, solfège, and improvisa-

tion. In this article, I will focus on children aged birth to

20

opment. I will first discuss children’s musical capacities

FLORIDA MUSIC DIRECTOR

Education

can be traced back to as early as the late 1960s. It is

manifested in several meetings in the Music Educators

National Conference (now NAfME), published articles, and research studies (Greenberg, 1976). Michel (1973)

emphasized that the early years of life are significant

in both the general music education of a child and the early identification of those who are musically gifted.

Gordon (2012) also asserted that the period from birth to 18 months of age is a critical age for music guidance. This sensitive age is sustained until approximately five years of age. Further, what happens from birth through the

preschool years has a significant effect on a child for life

(Scott-Kassner, 1999). Researchers have demonstrated the role that music has played in child development and its

implications for day care and early childhood programs.

In Lamont’s (2020) study of musical engagement through

movements, Lamont found that the earliest reaction to continued on page 22

AUGUST 2025

21

DALCROZE continued from page 20

physical activity: stimulating physiological development, creating functional motor ability, and organizing the

brain for cognitive processing. Arrasmith (2020) affirmed that infants move in various ways as they acculturate in

music: they demonstrate music responses by first listen-

ing to music, then moving unrelated to music, and finally trying to move in relation to music. Further, infants and

toddlers between five and 24 months do spontaneous movements more frequently with drums and music than

with speech (Lamont, 2020). Metz (1989) argued that since musical elements are naturally linked to movement con-

cepts, music through movements may be an ideal medi-

um for music teaching and learning in early childhood education.

music and sound is naturally physical. Therefore, movements are a critical starting point to consider in early childhood years.

Children’s Musical Capacities

This section explores the musical capacities of children aged birth to two years. At this early age, movement plays

a foundational role in their engagement and expression in music. Infants and toddlers begin to develop aural skills through listening and responding to sounds. They also show early development in improvisa-

tion, such as spontaneous vocal play and

movements. These capacities highlight the importance of nurturing musical

experiences from these early childhood years.

Moving

Physical activities are an essential part

Studies suggest success in training vocal ability and

pitch discrimination in the early childhood population

(Geringer, 1983). Ilari and Sundara (2009) posited that infants show a clear auditory preference at birth, they

recognize and are attracted to the human voice, and they

have the capacity to produce a wide range of pitches (Fox, 1990). However, infants’ auditory preferences are not

limited to voices, but they also have some clear musical

preferences. Infants and toddlers can distinguish two pitches, and this pitch perception becomes more accurate when they reach 24 months

(Schwartz, 2008). Children are first introduced to and are responsive

to pitch functions that include only two pitches. They typically respond

to tonic and dominant functions on both descending and ascending patterns (Gordon, 2013).

Infants perform vocal respons-

of life, and they are manifested in many

es to songs that are either famil-

(National Association for the Education

tions evolve as they age, and they

forms during the early childhood years

iar or unfamiliar. Their vocaliza-

of Young Children [NAEYC], 2009).

use them to express themselves and explore sounds

dren have a natural tendency to move. It is an inherent

first month, infants produce simple sounds. From about

Rudolf Laban, a movement theorist, asserted that chilinclination in young children. Connecting movement to

teaching and learning initiates a mind and body relation

that enhances a child’s learning. Furmanek (2014) posited that a child’s happiness is dependent on a rich movement

life. Young children endlessly do movements. They can jump, hop, and skip to show their feelings.

NAEYC (2009) identified three primary purposes of

22

Listening and Vocalizing

FLORIDA MUSIC DIRECTOR

(Arrasmith, 2020). Tafuri (2010) asserted that during the four to six months, they explore their own voice and

then lead on to their first word as they reach one year

old. Through the expansion of listening abilities, children become aware of the sounds surrounding them. They can

recognize and can imitate different world sounds such as

wind, rain, a dog’s bark, and other surrounding sounds (Sanchez & Miller, 1991).

Creating

Improvisation in music is a natural way of expres-

sion, comparable to conversation in language (Azzara

& Grunow, 2010). Infants begin to make vocalizations

when they hear sounds. Initially, those vocalizations can

incorporated body movements in his pedagogy to allow

musical experiences to be more embodied (Juntunen, 2016). The Dalcroze approach is divided into three core principles: eurhythmics, solfège, and improvisation:

be interpreted as random noises. However, with musical

Eurythmics

babble that leads to music improvisation (Valerio, n.d.).

music by engaging one’s mind and body. It is listening

communication, those vocalizations translate to music Humming, a genuine expression for young children, is closely related to singing (Kalmar & Balasko, 1987).

Schwartz (2008) noted that children from birth to nine months increase the quality of sound they produce, and

they can vocalize pitches and will continue to improve. At 18 months, the vocalization shifts to singing more recognizable pitches and pitch contours.

Filippa and Young (2020) posited that infants and tod-

dlers are motivated to explore sounds through physical interaction with objects. In terms of the use of musical

instruments, Reinhardt (1990) asserted that improvisation

on musical instruments is a natural musical behavior for

Dalcroze eurythmics provides a holistic approach to and responding to music through movements. Anderson (2011) posited that eurythmic activities can start inter-

nally where a child is encouraged to internalize and explore rhythm by movements. Moreover, by moving and responding to music, children become more active in

communicating their intellectual and emotional respons-

es (Sanchez & Miller, 1991). Developing body placement,

balance, locomotive movement, and coordination are the emphasis in teaching young children, and the Dalcroze

approach uses body movements to improve overall motor skills and body coordination (Juntunen, 2020).

early childhood learners where its process allows them

Solfège or Ear-Training

and sound. Coates (2021) asserted that playing musical

ment of ear-training skills (Mead, 1994). Juntunen (2016)

to gather and organize their knowledge about music

instruments such as drums is a good option for infants and toddlers as they are durable and helpful for them to experiment with beats and rhythms. More importantly, children at this age can develop structured musical

ideas through free play with instruments (Keren et al., 2021).

The Dalcroze Approach

Emile Jaques-Dalcroze (1865–1950) was a professor at the

Geneva Conservatory. While teaching, he noticed that his students would exhibit spontaneous movements such as swaying and tapping feet. Dalcroze began to explore

these natural gestures and invited his students to walk

and move their arms as they sang or listened to music. He called this study of music through movement “eurhyth-

A strength of the Dalcroze approach is the developasserted that Dalcroze believed that music teaching and learning should emphasize listening skills and that it is important to start at as early an age as possible (Juntunen, 2016). Jaques-Dalcroze (1930) asserted that the ear is the recipient of music and that it should

be trained to real-

ize and discrimi-

nate sounds and rhythm.

Developing the listening abil-

ity at an early age is Dalcroze’s

advocacy (Sanchez & Miller, 1991).

mics” (Dalcroze Society of America, n.d.). Juntunen (2016) posited that Dalcroze initiated his method after realizing

problems in music teaching and learning practices. His concern was children in early music education settings

were primarily trained to sing and play but seldom to listen. In the late 19th century, Dalcroze dedicated himself to music teaching and learning reformation so that children could develop hearing abilities, espe-

cially “inner hearing.” Further, Jaques-Dalcroze

believed that music called for body responses. He

continued on page 24 AUGUST 2025

23

DALCROZE continued from page 23

Music teachers can help students become better listeners

improviser, as shown in their natural behavior during

2011). The aim of solfège is to develop one’s skills in

ers can use improvisational skills in their classroom to

and musicians via Dalcroze solfège techniques (Thomsen

listening, hearing, responding, singing, playing, and

remembering. Dalcroze solfège is based on the fixed-

do system to develop pitch memory and to teach pitch

early childhood (Azzara & Grunow, 2010), and teachachieve a goal of creative, holistic, and playful interventions with children.

interrelationships and pitch functions (Dalcroze Canada,

Suggestions for Practice

classroom may involve showing a pitch level with the use

education (Reinhardt, 1990). “The ideas of Dalcroze ped-

2022). Furthermore, pitch functions in a Dalcroze-inspired of hand movements (Juntunen, 2016).

Improvisation

Improvisation is an essential part of the Dalcroze

approach. It encourages musical expression and improves creativity (Anderson, 2011). Kalmar and Balasko (1987) posited that the early childhood years are crucial in creative development. It is also in these years when children

first try to explore things that are new and interesting to them. The same process is seen in the way children create sounds. Just like speaking, improvisation should

Dalcroze is an appropriate approach for early childhood agogy can be applied to all levels of music education,

including early childhood education programs and com-

munity settings for newborns” (Juntunen, 2016, p. 19). The Dalcroze approach has had a broad range of application,

and its use in early years learning focuses on the needs

and potentials of children, including infants and toddlers (Dalcroze Australia, 2022). Importantly, the application of

the Dalcroze approach as an effective and developmentally appropriate approach in early childhood music education has displayed favorable results (Joseph, 1982).

In this section, I offer suggestions for early childhood

be encouraged as a natural form of expression (Kalmar

music educators on how to implement the principles of the

invited to express their musical ideas using their voices.

are informed by my past observations of music classes

& Balasko, 1987). In the Dalcroze classroom, students are

They are also encouraged to use musical instruments and even body movements when improvising (Mead, 1994).

O’Neill (2013) posited that improvisation has been used

in early childhood classroom activities. Every child is an

Dalcroze approach in their classrooms. These suggestions

for infants and toddlers. While it was not explicitly stated that the teachers I observed used the Dalcroze approach, I

recognized the elements of its principles in their teaching practices.

Movement/Eurhythmics

Teachers may consider encouraging parents/

caregivers to act as an extension of their child’s body during movement activities, especially

in music classes for infants and toddlers.

Steady beat is a basic musical element that is

important to establish at an early age. It is ben-

eficial to introduce a steady beat early through

simple actions like clapping along with famil-

iar songs, particularly during routine songs (good morning and goodbye songs). However, while this is essential, infants and toddlers

may not be ready to perform a steady beat.

Therefore, parents/caregivers can support this

experience by guiding their child’s hands in clapping the beat.

Parents/caregivers play a critical role in

introducing sensorimotor movements. These

activities may include bounces, tickles, and

24

FLORIDA MUSIC DIRECTOR

jiggles, and may be accompanied by music. For example,

classical music can be used to experience rondo form by assigning different sensorimotor movements to each section. Parents/caregivers might bounce their child during the A section, sway side to side during the B section, and sway forward and back during the C section.

Rhymes can also be assisted with gentle touch, inviting the adults to tap their child’s fingers, toes, and belly,

finishing with a playful tickle. Songs like “Tideo” are

also well-suited for movement exploration. Adults in the

class can carry their child in a circle and pause and jiggle them on the words like “jingle.” Lastly, free movement activities accompanied by music and props, like scarves and ribbons, can be an engaging way for children and their parents/caregivers to explore movements and music together. These interactive and playful activities support musical development while

fostering a stronger parent/caregiver-child bond.

Solfège or Ear-Training

To support children’s aural development, consider incor-

porating both toys and real instruments, such as hand drums, into sound exploration activities. Another helpful way is to use engaging songs that prompt children

to experiment with and experience a variety of sounds.

This can include both environmental, animal, and body

sounds. Since infants and toddlers may not always be

scarves on the ground, reinforcing the idea of musical

to invite adults to model familiar sounds. For example,

dlers are responsive to tonic and dominant pitch patterns,

able to produce sounds on cue, one effective approach is

teachers can invite the adults to mimic familiar noises

such as a dog’s bark, a cow’s moo, a lion’s roar, or a cat’s meow. Similarly, they can explore sounds using their own

bodies, like coughing, sneezing, shouting, or whispering.

direction and resolution. Further, since infants and todteachers can engage the children by singing So-Do pat-

terns while using expressive hand gestures, such as lifting hands for So and tapping the floor for Do.

Teachers can also consider explaining the musical

In terms of supporting children’s experiences with

concepts behind each activity to the parents/caregivers.

scale of Do-Re-Mi-Fa-So-La-Ti-Do. As the scale ascends,

children’s developing sense of pitch through experien-

pitch, teachers can introduce a scarf activity using a vocal

encourage the adults to guide their child’s hands and

move the scarves freely, creating motions such as wiggles, circles, or floating gestures to match the rising tones. On the tonic of the descending scale, teachers can invite the children and their parents/caregivers to gently place the

This will help them see how playful movements support

tial learning. This communication can strengthen the home-school connection. Importantly, encourage parents/ caregivers to reinforce such activities in their home, for

instance, by using transition songs with So-Mi-Re-Do melodic patterns:

continued on page 26 AUGUST 2025

25

DALCROZE continued from page 25

Conclusion

Infants and toddlers are born with a music potential,

and early interactions with music may affect their music

achievement positively. The musical activities I suggest-

ed for infants and toddlers class are guided by parents/ caregivers. The role of the adults is essential as they help in enhancing the musical experiences by deepening their understanding of the child’s musical develop-

ment (Arrasmith, 2020). Feierabend (1996) asserted that

the responses expected from infants are different from those of toddlers. Infants can be passive as they are still

constructing knowledge through absorption. However, during activities, toddlers usually take a more active role.

The objective is to offer young children enough interac-

tions with music. The teacher and the parents/caregivers are critical in this process as they assist in developing appropriate musical experiences for the children.

While teachers may have different methodological

approaches, the principles of Dalcroze: eurhythmics,

solfège, and improvisation may be implemented in early childhood music classes, particularly for infants and todImprovisation

Teachers can consider encouraging improvisation through sound exploration by making toy instruments readily

available at the beginning of the class. For example, place a large bin of toy instruments at the center of the room.

This invites the children to explore sounds in their own way. Infants and toddlers may initially want to mouth the toys, but they often begin to engage by shaking, pressing, or tapping them to discover the sounds they can produce.

accompanied with clapping and other activities promot-

ing movements. Solfège or ear-training, on the other hand, can be incorporated through sound exploration and

the use of pitch functions. When it comes to improvisation, parents/caregivers and the children can be creative

through free movement activities. Further, children are

allowed to explore sounds and improvise through toy instruments and real musical instruments.

Juntunen (2016) asserted that the Dalcroze method is

In addition to instrument play, teachers can invite chil-

an effective tool for music teaching and learning. The

or bell bracelets during free movement activities. This

early childhood classroom can greatly enhance children’s

dren and the adults to improvise with scarves, ribbons,

activity often leads to a joyful dance and spontaneous movement, creating an engaging and developmentally rich experience.

In supporting rhythmic awareness, teachers may use

a hand drum to guide a “walk and stop” game, inviting

children to move and freeze with drum cues. At the end of the activity, each child can be invited to the center of the

circle to improvise and create sound on the hand drum.

Naturally, infants and toddlers may need guidance from their parents/caregivers in encouraging and supporting their child in participation. This support helps children

feel safe and confident as they explore musical expressions.

26

dlers. Eurhythmics can be applied through routine songs

FLORIDA MUSIC DIRECTOR

effectiveness of Dalcroze and its incorporation in the musical development. There is a limited study on the efficacy of the Dalcroze approach to a music class for

infants and toddlers. However, since the period from birth to 18 months of age is a critical and sensitive age for music guidance (Gordon, 2012), infants and toddlers may

benefit from a music class where the Dalcroze principles are implemented. It may be valuable for future research

to explore how infants and toddlers respond to Dalcrozeinspired music classes. Further studies could help evaluate the effectiveness of the Dalcroze approach in supporting early child growth, offering insights that could

inform early childhood music educators and curriculum designers for this age group.

Rey Sunglao is a PhD in music education student at Frost School of Music, University of

Ilari, B. & Sundara, M. (2009). Music listening preferences in early life: Infants’ responses to accompanied versus unaccompanied singing. Journal of Research in Music Education, 56, 357–369.

music education and double bass from Eastman

Jaques-Dalcroze, E. (1930). Eurhythmics and its implications (F. Rothwell, Trans.). The Musical Quarterly, 16, 358–365.

Miami. He holds a double master of music in

research explores sociocultural issues, double

Joseph, A. S. (1982). A Dalcroze eurhythmics approach to music learning in kindergarten through rhythmic movement, eartraining and improvisation. [Dissertation, Carnegie Mellon University].

References

Juntunen, M.-L. (2016). The Dalcroze approach: Experiencing and knowing music through the embodied exploration. In C. R. Abril & B. Gault (Eds.), Approaches to teaching general music: methods, issues, and viewpoints. Oxford University Press.

School of Music, University of Rochester. His

bass pedagogy, and Philippine music education.

Anderson, W. T. (2011). The Dalcroze approach to music education.

General Music Today, 26(1), 27–33.

Arrasmith, K. (2019). Infant music development and music experiences: A literature review. Update: Applications of Research in Music Education, 38(3), 9–17.

Azzara, C. D., Grunow, R. F. (2010). Developing musicianship through improvisation. GIA Publications.

Bautista, A., Yeung, J., Mclaren, M. L. and Ilari, B. (2022). Music in early childhood teacher education: Raising awareness of a worrisome reality and proposing strategies to move forward.

Arts Education Policy Review, 1–11.

Coates, B. (2021). Benefits of musical instruments for babies and toddlers. Melbourne Music Centre. https://www. melbournemusiccentre.com.au/blogs/news/benefits-ofmusical-instruments-for-babies-toddlers Dalcroze Australia (2022). Dalcroze applications. Dalcroze Australia. https://www.dalcroze.org.au/dalcroze-applications Dalcroze Canada (2022). Dalcroze eurhythmics. Dalcroze Canada. https://www.dalcrozecanada.com/index.php/en/home/about/ dalcroze-eurhythmics Dalcroze Society of America (n.d.). Emile Jacues-Dalcroze.

Dalcroze Society of America. https://dalcrozeusa.org/aboutdalcroze/what-is-dalcroze/emile-jaques-dalcroze/ Dalcroze Society of America (n.d.). Branches of Dalcroze education. Dalcroze Society of America. https://dalcrozeusa. org/about-dalcroze/branches-of-dalcroze-education/ Feierabend, J. M. (1996). Music and movement for infants and toddlers: Naturally wonder-full. GIA Publications.

Filippa, M., & Young, S. (2020). Playing with sounds in the first years: Relevant research and pedagogical propositions for early childhood music education. International Journal of Music in Early Childhood, 15(2), 183–197.

Fox, D. B. (1990). An analysis of the pitch characteristics of infant vocalizations. Psychomusicology: A Journal of Research in Music Cognition, 9(1), 21–30.

Furmanek, D. (2014). Preschool through grade 2: Classroom choreography: Enhancing learning through movement.

YC Young Children, 69(4), 80–85.

Geringer, J. M. (1983). The relationship of pitch-matching and pitch-discrimination abilities of preschool and fourth-grade students. Journal of Research in Music Education, 31(2), 93–99.

Gordon, E. (2012). Learning sequences in music: skill, content, and patterns. GIA Publications.

Gordon, E. (2013). A music learning theory for newborn and young children. GIA Publications.

Greenberg, M. (1976). Research in music in early childhood education: A survey with recommendations. Bulletin of the Council for Research in Music Education, 45, 1–20.

Juntunen, M.-L. (2020). Ways to enhance embodied learning in Dalcroze-inspired music education. International Journal of Music in Early Childhood, 15(1), 39–59.

Kalmar, M., & Balasko, G. (1987). Musical mother tongue and creativity in preschool children’s melody improvisations.

Bulletin of the Council for Research in Music Education, 91, 77–86.

Lamont, A. (2020). Moving towards music: Viewing early years musical engagement through the lenses of movement, interaction, motivation, agency, identity and context.

International Journal of Music in Early Childhood, 15(1), 25–38.

Keren, I., Gilboa, A., & Cohen, V. (2021). The emergence of musical structures in instrumental free play of toddlers. International Journal of Music in Early Childhood, 16(1), 7–25.

Mead, V. H. (1994). Dalcroze Eurhythmics in today’s music classroom.

Schott Music Corporation.

Metz, E. (1989). Movement as a musical response among preschool children. Journal of Research in Music Education, 37(1), 48–60.

Michel, P. (1973). The optimum development of musical abilities in the first years of life, Psychology of Music, 1(2), 14–20.

National Association for the Education of Young Children. (2009).

Developmentally appropriate practice in early childhood programs serving children from birth through age 8. https://www.naeyc.org/sites/default/files/globally-shared/ downloads/PDFs/resources/position-statements/PSDAP.pdf National Association for Music Educators. (2014). 2014 Music standards (PK-8 General Music). https://nafme.org/ wp-content/uploads/2014/11/2014-Music-Standards-PK-8Strand.pdf O’Neill, B. E. (2013). Preschool: Improvisational play interventions: Fostering social-emotional development in inclusive classrooms. YC Young Children, 68(3), 62–69.

Reinhardt, D. A. (1990). Preschool children’s use of rhythm in improvisation. Contributions to Music Education, 17, 7–19.

Sanchez, M., & Miller, J. K. (1991). Dalcroze, Montessori and preschool music teaching. American Music Teacher, 40(6), 24–58.

Schwartz, E. (2008). Music, therapy, and early childhood. Barcelona Publishers.

Scott-Kassner, C. (1999). Developing teachers for early childhood programs. Music Educators Journal, 86(1), 19–25.

Tafuri, J. (2010). Infant musicality, new research for educators and parents (1st ed.). Routledge.

Thomsen, K. M. (2011). Hearing is believing: Dalcroze solfège and musical understanding, Music Educators Journal, 98(2), 69–76.

UNICEF. (n.d). Early childhood education. https://data.unicef. org/topic/early-childhood-development/early-childhoodeducation/ Valerio, W. (n.d.). The Gordon approach: Music learning theory. https://www.allianceamm.org/resources/gordon/ AUGUST 2025

27

F E AT U R E

The Clinician Welcoming a Guest to Work With Your Band

T

There’s something unforgettable about our first-year teaching.

Each of the challenges we faced had a profound impact on the educators we would become, and the victories—even the smallest

of them—felt extraordinary. This was certainly true for me during

my first year as a high school band director in a rural Michigan town. I still remember the snow falling on Lake Michigan as the marching season ended. The holiday concert was a success, and

soon afterward we turned our focus to preparing for band contest.

It was sometime in mid-January that I received an email from a retired teacher who lived nearby. She said she had worked with

my band as a clinician in previous years and offered to stop by once more. I normally respond to emails within a day, but this one took a bit longer. What was this person after? Would my students respond well to a guest? Should I wait to bring them in?

Every rehearsal is precious after all, and I didn’t want to lose a

minute. I asked a valued mentor her opinion and after a gleaming

recommendation, I cautiously invited this guest to work with my students.

I was nervous to welcome anyone to my classroom, but those

worries were unwarranted. This clinician was a pleasure to work

with, treated my students with respect, and provided actionable and helpful comments for the group—and for me—to work on.

some perspective. I would not be the educator I am today

other retired directors, friends, and colleagues to work with my

music teachers in Florida to open their classroom doors

Throughout the years I would have her back, as well as several students. Each provided valuable feedback and, as they worked with my bands, gave me an opportunity to step back to gain

28

FLORIDA MUSIC DIRECTOR

without them. The purpose of this article is to encourage

to guests and provide a few tips on making this the best experience it can be for you and your students.

Is In

BY MARC DECKER , DMA

Whom to Invite as a Clinician

program directors, to name just a few. Much of the deci-

clinicians to invite to your classroom, each with their

students to gain, so here are a few thoughts as you search

There are many different colleagues that can be excellent

own perspective and expertise to share, including retired teachers, colleagues from nearby schools, and feeder

sion on whom to invite depends on what you want your for someone.

continued on page 30 AUGUST 2025

29

The Clinician Is In continued from page 29

Retired band directors are master teachers with tre-

that’s because it depends. If you have a budget to invite

cian, but their motivation. They are often eager to help for

other ways to show your appreciation. One of the retired

remarkable is not just the wisdom they bring as a clinia day because they have a strong connection to your com-

munity and want to reconnect with you, the school, and students. The feedback they provide is excellent, but just

as important is that they can serve as a mentor, and we

all need a little mentorship. If you are new to your school and don’t have any connections, ask around. You will be surprised by the highly experienced but still very active retired individuals living in your community.

Active teachers are also great to invite to the classroom.

I had one friend come in each year from a nearby school who had great comments for my students. We were both about the same age and experience, but his approach

on the podium was different than mine. I learned a lot watching him, and my students were able to experience

someone on the podium with a different teaching style.

Find a colleague you trust and invite them in. It’s very possible the school district will consider the time away as professional development for your colleague.

Finally, it is great to invite your feeder program direc-

tors, or the directors of the schools you feed into. As a

high school teacher, the mid-

“

It is never too early to invite a guest to work with your students! … they can define key concepts for developing superior fundamentals and set your students up for long-term success.

”

dle school director I worked

guests, then you should offer. But if not, there are many directors I would often invite taught applied lessons in

the area, so the payment she expected was a few minutes at the end to advertise her lessons and to leave a stack of brochures for the students. I believe everyone appreciates a group photo at the end and a kind social media post. In

summary, don’t let a limited budget stop you from asking someone to visit.

What Can You Expect From a Guest Clinician?

Guests always provide meaningful feedback, and throughout the years I noticed that most comments

would fall into three categories. The first of these, which

is both the most common and my personal favorite, is

when a guest says something to the students you’ve

told them dozens of times before, but for some reason, they finally do it! I can’t fully explain this phenomenon.

It could be the way the guest phrases the feedback, or perhaps the students are extra attentive when a guest

speaks. Regardless, when you hear your words parroted

by a guest, the students will look over at you for a quick chuckle before finally deciding to do it.

The second most common comments are when a guest

with had a special connec-

works on things we haven’t gotten to yet, or occasionally

weren’t just comfortable with

does this because there are many ways to approach

tion with my students. They

her instructional style; they

loved her and treasured the memories working with her in middle school. In exchange for a visit or two from her

each year, she would let me

clinic her eighth graders, and this helped with retention as her students transitioned into

high school. Likewise, the

nearby college directors were

on something we haven’t noticed. I love it when a guest rehearsal and work a band. This is particularly important

for new band directors in their first few years, but it’s true even of the most experienced directors. I tend to address

fixing musical challenges in a very specific way, address-

ing fundamentals often at great length before going on to other components of musicianship; however, it is refresh-

ing to see another director jump right into something that

we haven’t gotten to or thought of yet. Experiences like this have a profound impact on all of us, shaping us into more impactful educators.

The final category for feedback from clinicians is the

always eager to talk with my

most uncommon and the one we fear the most. What if

college and were happy to provide a clinic in exchange.

on one hand the extremely few times this happened to

seniors about continuing to play their instruments in There are plenty of experienced folks willing to visit your

school for an afternoon who genuinely want to help your

students and strengthen their relationship with you and your students.

30

We haven’t yet talked about payment for clinicians, and

mendous knowledge and experience. What makes them

FLORIDA MUSIC DIRECTOR

a guest says something we disagree with? I can recall me, but it was never a problem. The most egregious was a clinician who I adored that insisted articulations in

march style be much too short for my taste. It was almost a staccato style that was highly precise, but I feel lacked

the full resonant sound of wind instruments. After she would leave, I simply changed it back to the way I liked

it, and the students had no problem understanding that a musical performance is filled with interpretation and opinion. I welcome those sorts of comments because they

frame the educational process in a beneficial light and

open the door for discussing with the students how the music assessment process is subjective.

Scheduling and Communicating With Clinicians

It is never too early to invite a guest to work with your

students! Too many of us wait to bring in a guest until just

a few weeks before assessment, and that is still helpful, but not nearly as impactful as bringing someone earlier.

Most of our students don’t know how to practice, and a

January guest is perfectly positioned to teach them how to set personal goals, create an actionable rehearsal plan,

and explore what to do when they are in the practice room. They can also help establish rehearsal etiquette and decorum, establish a warm-up routine, and even provide tricks and tips for classroom management. Additionally,

they can define key concepts for developing superior fun-

damentals and set your students up for long-term success.

Basically, the January guest is the most important and impactful guest to work with your students.

The second and third guests you bring in, typically

in February, will be able to work with a more refined

product, but don’t be discouraged if the students are still learning the notes and rhythms. Your second and third

guests can reinforce concepts you’re already working on and plant the seeds for more advanced artistry and musi-

cianship. This is the time to share with your students the judging form and bring in a guest familiar with the pro-

w A brief update on what the students have been working on, and a few general learning outcomes of what you want your students to get out of the clinic

I find it very helpful to know what the students have

cess who can talk through key concepts. It’s the February

been working on recently. Are they still working on notes

toward success and nudge it toward even greater musi-

they are preparing for? What are some things you’ve been

clinicians who will help students progress on a trajectory cianship.

Now that you’ve created a schedule and invited several

guests, it’s time to communicate with the guests to ensure the best experience for your students. Clinicians are busy

folks, so be sure to reach out to them weeks in advance of

and rhythms? Do you have an upcoming pre-MPA concert

working on that still need further development? A few

sentences about where the students are and what you’d like them to gain can lead to significantly better outcomes.

Finally, music is added every year to the MPA list,

and it is very possible that the clinician won’t know your

w Driving and parking instructions of the repertoire you are performing, links to recordings w Directions to the school’s single point of entry when possible, and if you have the appropriate copyright w Instructions on how to get to your band room permissions, copies of the scores. The more information w A list of the music they will be working on with links you can provide in advance, the better. the clinic date. They will need:

to recordings

repertoire. For that reason, it’s important to include a list

continued on page 32

AUGUST 2025

31

The Clinician Is In continued from page 31

What to Do During the Clinic

afterward. It was during those precious moments that I

a notepad while the clinician takes full control? Do I con-

ment, thoughts on repertoire, and life in general in the

This was always awkward for me! Do I sit in the back with duct while they give comments? Do we tag-team and take turns giving feedback? The answer to these questions

depends on what your band needs, your style of teaching, and the clinician. Once you’ve worked with someone long

enough, you get a sense for how they like to work, but if you are inviting someone new to work with your group, it

might be worthwhile to ask them what they think would be the most effective structure for the clinic. Include this question in the email you send out in advance.

After the Clinic and Final Thoughts

If you enjoyed the clinic, let the clinician know. A thank you email is always appreciated. It also doesn’t

hurt to book them for next year. When I was teaching

in Michigan, I had a lunch period after rehearsal, and that allowed me to talk informally with the clinician

could ask direct questions about my classroom managesmall corner of Michigan where we lived. It’s very easy

to feel disconnected as a band director, and the guests I invited in helped me become a better teacher while

connecting me with the musical community throughout

the region. It can be scary to welcome a clinician to work with your students, but it’s invaluable to do so because

it allows us and our students to grow into the best musicians we can be.

Marc Decker, DMA, is an associate profes-

sor of music at Florida Atlantic University

where he serves as associate director of bands.

He was previously a high school band director

at South Haven High School in Michigan and is an active arranger, drill writer, guest conductor, and adjudicator.

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Forget Tacos, It’s Raining Lizards!

W

hat do you know about green iguanas (Iguana

iguana)? They are fascinat-

ing creatures! This summer, I spent some time down in

South Florida, and they were everywhere! Iguanas are the squirrels of South Florida,

and they have a few superpowers:

They’re fast, MUCH

faster than most of us. Some

They can get big too …

really big! An adult iguana can reach six feet in length

(from tip to tail) and weigh

up to 20 pounds! Imagine that for a moment … you’re out

in your yard and just happen to look up in a tree. What do you see? A six-foot, twenty-

pound lizard staring back at you. No. Thanks.

When they’re not in trees

iguanas can sprint at speeds

freaking people out, or

U.S. sprinter Noah Lyles (who

lot of Wendy’s, they’re in the

over 20 miles per hour! When trains right here in Florida) won the 100-meter event in the Paris Olympics, he was running at roughly 22.85

miles per hour. Our lizard

friend might not have won

that race, but it would have had a pretty good shot of making the Paris final!

Like squirrels, iguanas

have sharp claws that enable

them to climb trees with ease.

They are arboreal, which

means they spend most of their time up in the tree canopy.

sunbathing in the parking water. Yep! These suckers

ALSO swim. They hang their stubby little legs by their

sides and propel themselves

through the water with their tail like a gator!

All of those abilities help

the iguanas avoid predators and thrive in the warm

South Florida climate …

until there’s a cold snap!

South America, the true home of the iguana, the tropical

they can do for themselves

temperature nice and toasty.

to slow down, or stop, and

climate keeps their body

So, when it gets unusually

cold in tropical South Florida, it rains lizards. The animals become extremely sluggish or immobilized, and they

literally fall from the trees!

Not to worry, though, iguanas have been known to fall from 50 feet without experiencing injury, and once they warm

up, they are good to go again!

Fascinating. Right?

There’s a lot we can learn

Then, none of those traits

from the green iguana. You

not native to Florida. They

many gifts that enable them

matter. You see, iguanas are are considered an invasive

species. Back in Central and

see, despite having a great to thrive here in Florida,

there are times when nothing

is enough. They are forced wait. Then, when their

environment is right, they

carry on. Whether this is your first college semester or just

your next one, remember the green iguana when things get tough. Consider your

environment, and ensure

you have a safe place where

you can be still when things

aren’t going as planned. That might mean changing your environment. At the very

least, it means surrounding

yourself with people willing to catch you when you fall.

Then, after taking a beat, pick yourself up and carry on.

START OR RENEW YOUR CHAPTER TODAY! Join the only national music honor society for students in grades 6-12 Learn more about this program: nafme.org/Tri-M Contact us: Tri-M@nafme.org AUGUST 2025

35

MULTICULTURAL NETWORK

Arnekua Jackson, PhD Chairperson

A New Year With the FMEA Multicultural Network:

Recharged, Reconnected, Ready s the 2025-26 school year begins, the FMEA

Multicultural Network

(MCN) returns recharged, reconnected, and ready to

lead the way in making music education more inclusive,

empowering, and culturally

responsive. Whether you’re a

classroom teacher, ensemble

Workshop, hosted at

impact students through

student teacher, or a music

Miami Gardens, was a

are and where they come

director, collegiate professor, education teacher seeking support, we want you to

know this is your community and your presence matters.

This summer’s Florida

Multicultural Network Music

St. Thomas University in powerful reminder of what

is possible when passionate educators come together.

We shared space, stories,

and strategies, leaving us

music that reflects who they from. The energy in the room was undeniable, and we are carrying it with us into the school year.

inspired and equipped to

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

Kyle Prescott, DMA, President

To keep that momentum

T

he Florida College Music Education Association (FCMEA) is committed to serving

going, we are proud to

collective action, the FCMEA addresses the shared challenges faced by its members. While

System Initiative this fall.

Florida Music Education Association, the FCMEA stands out as the associated council spe-

pairs experienced educators

versity teaching.

students, and music education

energizing new challenge: following the untiring Dr. Sandra Adorna into the FCMEA

encouragement, and guidance.

music faculty members at colleges and universities within the state of Florida. Through

college and university teachers hold memberships within each of the components of the

This mentorship program

cifically focused on this level of education and the distinctive challenges of college and uni-

with new teachers, collegiate

In my 22nd year as a music professor at Florida Atlantic University, I embark on an

teachers seeking connection,

presidency. Here are some insights into our organization.

Through intentional monthly

w To promote teaching at the collegiate level in the state of Florida w To encourage improvement and advancement in college and university music programs w To encourage communication between the colleges and universities in the state of Florida w To address common issues at the colleges and universities in the state of Florida w To encourage and assist the professional growth of the membership

and real conversations, this

The established purposes of the FCMEA are as follows:

The FCMEA offers two grant opportunities annually for its members, with

w The Visiting Scholar Program provides up to $1,500 to invite an expert in music education to your campus for presentation and workshops. w The Creative Explorations Grant provides up to $1,500 to support active FCMEA

applications open in October:

members engaged in research or creative activities that align with the mission of the association.

For further information, please visit our website,

36

launch our MCN Buddy

FLORIDA MUSIC DIRECTOR

fcmea.org.

engagement, resource sharing, initiative is building bridges across generations of music educators. No one should

navigate this profession alone, and now they do not have to.

As the year unfolds, MCN

w Promoting inclusive and

remains dedicated to:

diverse music program-

ming that honors student

w Supporting teachers workidentity

ing in Title I, rural, urban, and under-resourced communities

FLORIDA MUSIC SUPERVISION ASSOCIATION

John J. Dupuis President

w Building sustainable mentorship and networking

w Centering multicultural opportunities

perspectives in our cur-

riculum, conferences, and conversations

We are also proud to

O

n behalf of the Florida Music Supervision Association (FMSA), welcome to the

2025-26 school year! After 15 years as a high school band and orchestra director

and eight years serving as music supervisor for Volusia County Schools, I am honored to further strengthen my advocacy for music education by assuming the role of presi-

dent of the Florida Music Supervision Association. As we embark on a new musical and academic journey together, we extend our heartfelt gratitude for your continued ded-

ication to inspiring, educating, and empowering Florida’s students through music. As

supervisors and advocates of music education, we recognize the passion, creativity, and dedication you bring to your students each day. Your commitment continues to elevate the importance of music in our schools and communities.

This year, we are excited to build on the momentum of recent

continue our Multicultural

successes (like the Florida Seal of Fine Arts) while looking ahead

Scholarships. Elementary

educators across Florida are leading the way in designing

Network All-State

through high school students selected for an all-state

ensemble are eligible to

apply. To be considered, the student’s teacher must be a paid dues member ($30) of

the Multicultural Network

(MCN). These scholarships

to fresh opportunities for growth and innovation. Music exciting and engaging student-centered programs that

reflect both musical excellence and program quality. Your

influence goes far beyond the notes on a page; you are shaping

communities rooted in collaboration, leadership, intentionality,

and teamwork. Whether you are beginning your first year in the

classroom or returning as a seasoned professional, we recognize the vital role you play in shaping the lives of young musicians.

FMSA remains steadfast in our mission to support you as leaders in your schools

are limited and aim to

and districts. Throughout the year, we will continue to provide guidance on curriculum

students who may face

and policy advocacy. We are also proud to collaborate with the Florida Music

support participation for financial barriers. More information to come …

Multicultural music

education is not just a trend.

development, assessment strategies, recruitment and retention, instructional support, Education Association (FMEA), Florida School Music Association (FSMA), and all of

our performing arts partners to align efforts that enhance student access and teacher success statewide.

As we look forward to the 2026 FMEA Professional

It is a necessary shift in

Development Conference, themed The Power in Our Profession:

and connect. It empowers

explore the powerful connections between professional

the way we teach, lead,

students, challenges biases, and creates classrooms where all cultures are celebrated.

So, here’s to a new year

with new possibilities. A year

Music Education for Collective Impact, we encourage you to

learning and classroom practice. The conference will once

again serve as a hub for pedagogical workshops, performance excellence, and meaningful dialogue. We urge you to engage

in sessions that not only refine your craft but inspire innovation in your program and community.

We know the school year will bring both challenges and triumphs, and FMSA

where we listen deeply, teach

is here to walk alongside you every step of the way. As always, we encourage open

On behalf of the FMEA

Your insight and experience are vital to shaping the future of music education in

boldly, and grow together.

Multicultural Network,

welcome back. Let’s make this a year of impact and inspiration.

communication with your local music supervisor(s) and with our statewide network.

Florida, and we are grateful for your partnership.

Thank you for all that you do to enrich the lives of Florida’s students through music.

Here’s to a dynamic, purposeful, and joyful 2025-26 school year.

AUGUST 2025

37

FLORIDA NAfME COLLEGIATE

Jason Lane President

Meet Jason Lane:

FAMU Drum Major and Florida NAfME Collegiate President

G

reetings, my name is

of Kappa Kappa Psi, where

year music education scholar

efficiency, transparency,

Jason Lane, a fourth-

from Atlanta, and I’m hon-

ored to serve as the 2025-26

president of Florida NAfME Collegiate and as a drum

major for the world-renowned Florida A & M University

Marching “100.” As a student at Florida A & M University, my mission is to inspire,

empower, and advocate for

the next generation of music

educators across the state and beyond.

In my role as Florida

NAfME Collegiate president, I represent more than 500 collegiate members and

I’ve worked to increase

and communication within

the organization. I also help

students at FAMU recognize what NAfME is and how

they can actively shape the

profession through the many

opportunities and resources it provides. As a past secretary

and treasurer for our campus chapter and the school’s first NAfME state president, I’ve focused on connecting our

students to the broader vision of music education and the critical role they play in its future.

This year, I’m incredibly

lead initiatives focused

proud to take on the role

development, and student

Marching “100”—a legacy I

on advocacy, professional engagement. I’ve had the

opportunity to plan statewide conferences, support our

Executive Board in expanding outreach efforts, and foster meaningful collaboration

between music education

students and professionals.

Leadership is at the heart

of everything I do. I proudly serve as parliamentarian of the Delta Iota Chapter

38

of drum major for the

do not take lightly. Leading

and instructor in local Leon

opportunities that FMEA,

taught me the importance of

Summer Band Camp, and any

and our broader music

such an iconic ensemble has

discipline, unity, and setting

the standard both on and off

the field. My time as principal saxophone section leader and vice president of the band

has prepared me to lead with

purpose, humility, and pride.

Outside of the collegiate

sphere, I serve as a mentor

FLORIDA MUSIC DIRECTOR

County schools, the FAMU

community I am present in,

where I work with students in grades 6–12 on musicianship, etiquette, and showmanship.

Seeing the impact music can have on young lives

continues to fuel my passion for teaching.

I’m grateful for the

Florida A & M University, education community have

provided me. I look forward

to continuing to serve, learn, and grow as a future music educator—and to helping ensure that all students

in Florida have access to

meaningful, high-quality music education.

AWARDS COMMITTEE

Sondra A. W. Collins Chairperson

T

A

he 2026 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 education. Your active involvement in the nomination process ensures that FMEA recognizes the most deserving individuals throughout our state. The deadline for all categories (except the Music Education Service and the Music Enrollment Awards) is a NEW deadline of September 1, 2025.

Please check the FMEA website for details at FMEA.org/programs/ awards and nominate someone deserving, today!

I am continuing to share with you a little of the brilliance that our 2025 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 that 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 inspiration, through words of gratitude and conviction, from our 2025 FMEA College Music Educator of the Year, Dr. Sandra Sanchez Adorno, assistant professor of music education and area coordinator of the Music Education Department at Florida International University and immediate past president of the Florida College Music Education Association.

DR. SANDRA SANCHEZ ADORNO 2025 FMEA College Music Educator of the Year

“As a Florida native and product

of Pinellas County Schools, being

recognized as Florida’s College Music Educator of the Year feels like an

absolute dream. This award is especially humbling due to my nomination by Jessica Gronberg, on behalf of the

Florida Elementary Music Educators

Association. Since becoming a college

professor, it has been a true mission of mine to support my fellow elementary music educators and their students

through professional development and collaboration. Our reciprocal learning relationships have only made me a

better educator and person. I would also like to thank my family and the many

impactful mentors I’ve had throughout my music education journey. Most

were in the room at the FMEA Awards

Ceremony in January, which shows just how all-encompassing and necessary the Florida

Music Education Association is to our great state and its music educators and students at all levels. Lastly, I’d like to thank the students and alumni at Florida International University. I feel so privileged to be able to witness their growth musically, professionally, and personally, and I am so grateful for our alumni who continue to mentor and support them. It is such an honor to be a part of the FIU family. Go, Panthers!

I believe that every student in Florida has the right to a meaningful music

education: one that responds to a wide range of musical contexts, cultures, and interests; one that encourages musical growth, expression, and creativity; and one that connects

students to each other and the world around them. Let us continue to advocate for our students, ensuring their access to music education, regardless of their age, background, or

ability level. Let us embrace innovation in music education, exploring new technologies, incorporating diverse musical styles, and finding creative ways to engage all students. Let

us continue to support each other as music educators, sharing best practices, offering mentorship, and creating a strong collaborative teaching community. Let us inspire the

next generation of musicians and music educators, ensuring that the legacy of music education in Florida continues to thrive.

No one ever said it would be easy being a music educator, but I think most

can agree that there are few professions as enjoyable and rewarding as teaching music.”

AUGUST 2025

39

DIVERSE LEARNERS COMMITTEE

Christine Lapka, EdD Chairperson

Important Information About School Choice and Exceptional Education

T

he Individuals with

children with disabilities

Act (IDEA) began in 1975

tion. With the law, the U.S.

Disabilities Education

as the Education for All

Handicapped Children Act

(Public Law 94-142). Prior to

the IDEA, nearly 1.8 million

were excluded from educahas progressed to providing

more than 8 million children with disabilities with special

education and related services

Comparison of IDEA Rights: Public vs. Private (Voucher) Placements Rights/Protections Under IDEA Free Appropriate Public Education (FAPE) Individualized Education Plan (IEP) Educated in the Least Restrictive Environment (LRE)

Public School

✅ ✅ ✅

Procedural safeguards under IDEA (due process hearings, mediation, stay-put, etc.)

✅

Responsibility to comply with IDEA

✅ ✅

ADA & Section 504 protections 40

FLORIDA MUSIC DIRECTOR

Yes. Guaranteed by IDEA.

Parentally Placed Private School (including vouchers) Not guaranteed; private school does not have to provide FAPE.

Yes. Must be developed and Does not have to develop an IEP; must have a services plan. followed.

Yes. Required to include with non-disabled peers to maximum extent appropriate.

LRE requirements do not apply in private placements by parents.

Yes. Full procedural protections apply.

Procedural safeguards under IDEA generally do not apply to private schools chosen by parents.

Yes. Must comply fully.

Generally, do not have to comply with IDEA.

⚠

Yes, if the private school accepts Yes. Must provide federal funds or is open to the public. reasonable accommodations Must comply with ADA/504 for access, and avoid discrimination. not full IDEA rights.

in the 2022-23 school year (USDOE, n.d.).

IDEA protects students in

public schools, but private schools are not bound by IDEA. It is important for

parents to understand that choosing to send their

children to private schools,

even with a public voucher, may mean they will not

receive the same services

or education as students in

public schools (USDOE, 2022).

The chart on the previous page outlines some of the differences.

It is essential to understand

that even though private schools are not required

to follow IDEA, some may choose to follow similar

safeguards. Parents who do their research might

find private schools that

offer equal or even better

support for students with disabilities. This is often

true of specialized schools for students with autism

spectrum disorder or for

those who are Deaf, hard of hearing, or have other sensory differences.

However, if you want

to make sure that IDEA

is in place in the private school, have the school

district determine that the

parents to research the school

Restrictive Environment.

make informed decisions.

specialized school is the Least For example, if the student is blind, the school district

and the parents may decide

that a special private school

will be the best place for the

student to learn. In that case,

the public school pays the full cost for tuition and related

services and the child has all of IDEA’s safeguards. In that

case, even though the parents are involved, the private school is not considered

parental placement. It acts

as a substitute for the public school based on a child’s

need (IDEA statute, 20 U.S.C. § 1412(a)(10)(B)).

With the popularity of

vouchers, it is important for

and know the law so they can

References According to the U.S. Department of Education: “Statefunded School Voucher and Scholarship Programs— clarifying that children with disabilities who use State vouchers and scholarships to attend private schools are considered parentally-placed private school children. No parentally-placed private school child with a disability has an individual right to receive some or all of the special education and related services that the child would receive if enrolled in a public school” (34 C.F.R. § 300.137(a)). https://sites.ed.gov/ idea/files/QA_on_Private_ Schools_02-28-2022.pdf Wrightslaw explains: “Children who attend public schools are entitled to a free appropriate education and an IEP, and they receive funding from the federal government. Private

schools do not receive this funding and are not required to provide a free appropriate education or an IEP. They are not required to provide special education services to children with disabilities.

Private schools are bound

by Section 504 and cannot discriminate against a child with a disability for reasons related to the disability and might be responsible for providing modifications, accommodations, and access to educational opportunities (such as a ramp for a child in a wheelchair).” https://www. wrightslaw.com/blog/idea2004-and-private-schools/ U.S. Department of Education (USDOE). (n.d.). A history of the Individuals with Disabilities Education Act. Retrieved July 10, 2025, from https://sites.ed.gov/ idea/IDEA-History U.S. Department of Education (USDOE). (2022). U.S. Department of Education Q & A on private schools and IDEA. Retrieved July 10, 2025, from https://sites.ed.gov/ idea/files/QA_on_Private_ Schools_02-28-2022.pdf AUGUST 2025

41

STUDENT ENGAGEMENT COMMITTEE

Michael Antmann, EdD Chairperson

Experiences That Inspire and Lead

D

id you know that most

Florida music educators

were not a part of an all-state ensemble when they were

Engagement Committee facilitates several opportunities for our students?

build their leadership

students from throughout the

dents at our state conference are there to participate in an

all-state ensemble. Now more than ever, it is important to

identify and provide opportunities for all our students who might be interested in

pursuing music education as a career. How can we pro-

vide all our students incredible, life-changing opportunities?

Did you know that the

Florida Music Education Association’s Student

Workshop takes place

to the annual conference to

thirds of our music teachers group, yet most of the stu-

The Tri-M Experience

activities with their peers. provides students with

Experience expands access

were not in an all-state

one of these experiences.

The Student Conference

high school? In fact, accord-

ing to a recent survey, two-

in networking and social

state. Participating students will interact with amazing clinicians and educators, college representatives,

and incredible performing

groups. These students will

have memorable experiences

they can take back and share with their high school music programs. The program will take place on Thursday and Friday of the 2026 FMEA

Professional Development Conference. Students will participate in workshops,

observe rehearsals, attend

College Night, and engage

Partners Make It Possible

experiences that will

and advocacy skills, as well as expose them to

the experiences available

at the annual conference.

Participating students will interact with amazing

clinicians and educators, college representatives,

and incredible performing

groups. These students will

FLORIDA MUSIC DIRECTOR

on the Wednesday of the

FMEA conference. This is open to all Florida high school music students.

Both the Tri-M and Student Conference Experience

students can also participate in the Student Leadership

Workshop. Participants have the opportunity to learn

from world-class leadership experts.

Please visit the FMEA

have memorable experiences

website for details about

share with their high school

other opportunities. If you

they can take back and

music programs. The Tri-M and Student Conference

Experiences run concurrently with some overlap; schools

can choose to participate in

these events, as well as

have any questions, please email Michael Antmann,

committee chairperson, at

michaelantmann@mac.

com.

The Florida Corporate and Academic partners help strengthen music education in Florida through their tireless work to support teachers.

Join or Renew TODAY …

42

The Student Leadership

For more information, visit:

FMEA.org/partners

PROFESSIONAL LEARNING COMMITTEE

Ajori Spencer Chairperson

In Pursuit of Joy PART 1

“Maybe this is just what happens …”

“

M

aybe this is just what happens when you

grow up. You feel less joy.”

This line from Pixar’s hit Inside Out 2 left me, and

many others, in an existential daze. The joyful moments

of creation yield some of my

fondest classroom memories,

and yet it is easy to lose sight of joy in an ever-changing, post-pandemic world. The

pandemic forced many of us to operate in survival mode, focusing on logistics and

managing uncertainty. There

was little room left for joy and exploration. As routines have

for our mental and emotional

and relatedness. Autonomy

From the sessions we’ve

rekindle their passion and

sense of control over one’s

Professional Learning

well-being. When educators

joy, students feel that energy and respond in kind. Even

small, intentional moments of joy, whether in a successful

rehearsal or shared laughter in the classroom, can create meaningful experiences.

Striving for joy does not mean ignoring challenges; instead,

it allows us to navigate them with hope and resilience,

fostering a classroom culture where both joy and struggle

coexist. How do we get there?

Self-determination

involves experiencing a

life or environment while competence refers to the

perception of effectiveness in interacting with one’s

environment. Relatedness

pertains to the formation of meaningful and supportive relationships. We must

address all three of these basic needs when having

any discussion related to the creation of joy. Nurturing these needs is how we flourish.

Joy has, in many ways,

slowly returned to normal,

theory identifies three

been a guiding thread for

as a luxury, but as a necessity

autonomy, competence,

Committee in recent years.

we must actively seek joy, not

fundamental human needs:

the Professional Learning

curated for the FMEA

Conference to the podcast episodes we’ve shared (

FMEA.org/programs/

podcast), we’ve intentionally highlighted the joy that

music education brings.

Over the course of this year, the Professional Learning

Committee will assist you

in YOUR pursuit, providing practical advice to make joy

a reality in your professional life. I am grateful for the opportunity to lead this important work, and I

can’t wait to see what we’ll accomplish together. Let’s make this year amazing.

AUGUST 2025

43

FLORIDA BANDMASTERS ASSOCIATION

Jeff Cayer, EdD President

Another Summer Comes to a Close – Reflections, Celebrations, and a Look Ahead

As the final days of

summer draw to a

close and the school year

kicks off once again, I find myself reflecting on the

growth, joy, and purpose this past season has brought. My

time at North Cayerolina—my

beloved summer getaway—

was particularly special this year. A huge construction

project has been completed, and I am thrilled with the results. It’s been a labor of

love and a long-term project

44

for me, something I’ve been

investing in not just for today, but for my future.

No, I’m not retiring

anytime soon—but I am a

planner. I believe in preparing ahead so when that day does come, I can transition with peace of mind and a sense

of fulfillment. Whether it’s setting aside time for selfcare, building financial

security, or staying connected to a sense of purpose, these small decisions today lay

FLORIDA MUSIC DIRECTOR

the groundwork for a bright

Here’s the great news:

tomorrow.

You’re not alone in figuring

What About You? Let’s

to some fantastic career

So let me ask you—what’s

advisors, and mentors who

it out. We have access

Talk Long-Term Plans

planning resources, financial

your long-term plan? Have

can help you chart a course

you started thinking about

your own version of a “North Cayerolina”? Have you taken steps to build your nest

egg? Are you on a career path that brings you not

just satisfaction today, but stability tomorrow?

toward a future that’s not

just secure, but rewarding.

Whether you’re in your

second year of teaching or your 20th, it’s never too

early—or too late—to start

planning ahead. Let us know how we can help.

Summer Professional Development Conference –

Support Is Always Available –

This year’s Summer Professional Development Conference was

Navigating the school year can be overwhelming at times,

What a Hit!

an overwhelming success! If you were there, you already know what I mean. If you missed it, let me just say—you missed something truly special.

Dr. Paula Crider (yes, the PC) delivered sessions that were

both deeply inspirational and immensely practical. She

reminded us not only of the “why” behind what we do, but

gave us tools and ideas we could implement immediately in

our programs. The mix of learning, playing, and meaningful connection was just what we needed to reenergize for the school year.

The conference is more than just a place to earn PD credit—

it’s a place to grow, be heard, and feel part of something bigger than ourselves. Mark your calendars now for next year’s event: Summer Conference 2026 – July 8–9 You won’t want to miss it!

Jazz Is Alive and Well – Summer Jazz Institute & All State News

The Summer Jazz Institute continues to build momentum, and

Lean on the Mentoring Committee

especially with everything we juggle as educators. That’s why the Mentoring Committee is here—to support you, encourage you, and help you grow. Whether you’re in your first year or

your 15th, a fresh perspective and experienced feedback can go a long way.

Have a rehearsal coming up? Send in a recording for the

“Extra Ears” program!

🎼

Amber Hansen will get your concert band recordings

🎷

Rick Fowler offers the same for jazz band rehearsals—

into the hands of some phenomenal musicians who can provide expert feedback.

constructive, professional advice that can transform your next performance.

Don’t wait until later in the year. Submitting a recording

now gives you time to make adjustments, improve, and feel confident in your preparations.

we couldn’t be more thrilled with the growth in participation

Back to the Classroom – Let’s Make It Count

together to share, create, and collaborate. Whether you’re a

bittersweet—but I come back to the classroom feeling

and enthusiasm. Jazz educators, clinicians, and students came seasoned jazz educator or just starting to dip your toe into the

swing of things, this event is a fantastic opportunity to sharpen your skills and share your passion.

Jazz Institute 2026 – July 9–10, immediately following the FBA Summer Conference

And speaking of jazz—major congratulations are in order: The 2024 Florida All State Middle School Jazz Band

has officially won the Downbeat Award for Large Honors

Leaving the peace of my summer retreat is always a little refreshed, motivated, and ready to make a difference. And let’s not forget the truth at the heart of what we do: You make a difference.

For some students, you are the reason they look forward to

coming to school.

For many, you’re the reason they succeed in their other

classes.

For more than a few, you’re the adult in their life who listens,

Ensemble! That’s right—they won it all! Not an honorable

encourages, and believes in them—when no one else might.

Hats off to Bobby Keating, director, and every one of those

every concert—it all adds up. The influence we have extends

performance was a masterclass

are building futures. You are making this world a better place.

mention, not a finalist … they took home the top honor. talented young musicians. Their in musicality, unity, and

expression. If you were lucky enough to be in the audience that day, you know exactly

what I’m talking about—it was unforgettable.

The work we do matters. Every rehearsal, every lesson,

far beyond the stage or classroom. You are shaping lives. You So as we begin another year, let’s keep pushing forward

with passion and purpose. Let’s keep showing up—not just for our students, but for ourselves and for each other.

We’re here to support you every step of the way.

Let us know how we can help.

🎶

GO, BAND!

AUGUST 2025

45

FLORIDA VOCAL ASSOCIATION

Jeannine Stemmer President

Growing Fruit Where Purpose Lives

T

his spring, I decided to grow a tomato plant. I

placed it near a large, sunlit window inside my home— a spot where other plants

had flourished in the past.

Confident that the bright light would be enough, I

waited, imagining the juicy

and healthy. It stretched

of where I wanted it, but it

that it eventually touched the

was meant to be.

upward with such strength

ceiling. There were no signs

1. FVA has been my com-

there was one problem: not a

messy, and frustrating. But

made it through 26 years

all appearances, thriving. But single tomato.

I was confused. How

And the

perfect, bear no fruit? Then

grow—tall, vibrant,

so beautiful, and seemingly it dawned on me—it didn’t

clean—it can be exhausting, purpose rarely grows in

perfect conditions. It often

shows up in the thick of the storm, where things stretch us the most.

munity. I wouldn’t have

in the classroom without

it—and I’m going back for more. FVA has sustained me, challenged me, and reminded me why this work matters.

want to bear fruit indoors.

2. I love FVA, and I have a

controlled environment, it

innovation this organiza-

deep desire to invest in the

Despite the ideal lighting and

tion needs.

was not in the place it needed

3. I am not alone. We have

to be to fulfill its purpose.

the most incredible team. I

I hesitated to move

am never more than a text

it outside. I knew the

risks: unpredictable

weather, pests, and

the constant care it

PLETINCKS I’ll always be grateful

would require. But

to David Pletincks for his

and took the plant

over the past two years. He

eventually, I gave in outdoors.

Sure enough,

within the first week, the leaves wilted under the

sun, bugs appeared, and

it took much more effort to maintain. I had to

water it more often, protect

it from pests, and pay closer

extraordinary leadership

modeled wisdom, balance, and drive. David showed me that there are enough

tall and strong in the comfort FLORIDA MUSIC DIRECTOR

4. I love people. Truly. I

thrive on connection and find so much joy in community, collaboration,

and shared purpose. And finally,

said yes for that reason

David, on a remarkable presidency.

to. Honestly, I would’ve

alone.

As for me, I was preparing

to walk into the sunset. But

me a powerful lesson. It grew

encourage, and step in.

time wisely. Congratulations,

the world—if you use your

happened—fruit began to

That tomato plant taught

who are ready to help,

5. Michael Dye asked me

to step away. After 10 years

appear.

or call away from people

hours in the day to conquer

attention to its needs. But

then, something beautiful

46

Here’s why:

isn’t always comfortable or

could something so strong,

plant did

Fulfilling our purpose

decision. Why say yes?

of disease or pests. It was, by

tomatoes it would

soon produce.

would only bear fruit where it

transition. I wrestled with the

on the board, I was ready

then came a call—to serve

the Florida Vocal Association one more time as interim

president during a season of

DYE

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Meghan Alfaro President

If you’ve never had the

privilege of working with

Michael Dye, you’re missing out. He is the ultimate

professional. Thorough,

thoughtful, and tireless—

there were times I wondered if he ever slept. But what

makes him unforgettable is not just his dedication, but

his heart. He is kind, gentle,

Creating Musical Footprints: Guiding Students Toward a Bright Future

and humble. He leads with a servant’s spirit. He loves

FVA—but even more, he loves its people. I will honor his

legacy. He is worth that and more.

So yes, I’ll step outside

again—into the unpredictable

H

ello, elementary colleagues! My name is Meghan Alfaro, and I am thrilled to begin

my tenure as your FEMEA president. I have 20 years of elementary music experience,

most recently as performing arts instructional staff developer for Pinellas County Schools. I

weather, with all the bugs

want to thank Ashley Peek for her service and for being a wonderful mentor to me as I pre-

because people don’t need a

FEMEA has been a part of my music educator journey from the beginning of my career.

and risk of withering leaves—

pared to take on the role of president.

picture-perfect plant. They

I have found the conference sessions vital to my classroom success. I have had students

And that, I am willing to

opportunities have been life-changing for them! The work of FEMEA really does change

need its fruit.

participate in All-State Elementary Chorus and FEMEA regionals, and these student

give.

lives.

school year, pouring into the

supports and engagement opportunities to even more elementary teachers. Elementary

these thoughts close to heart:

musical foundation that sets up our students for success. Many students begin to self-

community—they will

and member engagement chair initiatives, professional learning opportunities, or all-state

you’re feeling dry. Remember

the state of Florida because ALL students deserve access to a high-quality elementary music

As you embark on this new

lives of your students, keep

As president, I look forward to expanding FEMEA’s footprint in the state and providing

teachers are an untapped resource, and our secondary colleagues need us! We are the

Lean into your FVA

identify as musicians in elementary school. Whether through our new student engagement

hydrate your soul when

and regional ensembles, FEMEA will strive to promote elementary music education across

why you began this journey:

experience!

than yourself. Surround

how FEMEA can continue to support you as elementary music educators. As you begin

friends who nourish and

you for all you do to educate and bring JOY to our youngest musicians. Have a wonderful

to fulfill a purpose greater

I look forward to serving alongside our amazing board. We welcome your input as to

yourself with fruit-bearing

your school year, remember that YOU are the best part of someone’s day or week. Thank

encourage you, so that you, in

start to your school year!

turn, can pour into those who

You can reach me at

meghan@femea.flmusiced.org.

need you most.

AUGUST 2025

47

FLORIDA ORCHESTRA ASSOCIATION

Andrea Szarowicz President

Together in Harmony: Launching the 2025-26 Year With Purpose and Passion

W

elcome back, col-

knowledge, and attention to

all-state recording win-

music education—where did

our organization, and it has

September 15-21, 2025, and

leagues and friends of

the summer go? I hope your

summer was restful, relaxing, and rejuvenating, filled with

detail have been invaluable to truly been a pleasure working alongside him.

None of what we

time for reflection, fun times

accomplish would be possible

moments with family. As we

our FOA board members.

with friends, and meaningful step into the 2025-26 school

year, I am honored to begin my first of two years serv-

ing as your FOA president.

Working alongside you, getting to know you, and helping move our organization

forward are at the heart of my mission this year.

I would like to begin

by expressing my sincere

without the dedication of

Your service, commitment,

and willingness to support

both the association and your district members keep our

organization alive, vibrant,

and thriving. Thank you for

all that you do to ensure the continued success of our

programs and the students we serve.

As all of you diligently

gratitude to our past

prepare for the school year,

and Laurie Bitters. Both

important registration

presidents Matt Davis

individuals demonstrate outstanding leadership,

dedication, and willingness to go above and beyond,

please keep in mind several

w Membership dues for deadlines.

FMEA, NAFME, and

FOA must be paid by

and have set a remarkable

September 15, 2025. I

example for all of us. I also

encourage you to check

want to warmly welcome

with your district chair-

our president-elect, Lauren

person to confirm dead-

Pardee, and extend my heartfelt thanks to our

executive director, Cheri

Sleeper, who has done an

incredible job in her first full

year in this role. Additionally,

lines for postmark sub-

w All-state registration and

I want to recognize our financial director, Tom

Silliman. His guidance, fiscal

48

missions versus online

FLORIDA MUSIC DIRECTOR

submissions.

eligibility details are available on both the FMEA website (

FMEA.org)

and the FOA website (

myfoa.org). Our

dow will take place

your district chairperson

can provide you with specific recording dates for

w In addition to individual your area.

membership dues, don’t

HERRON

forget that your school’s FSMA (Florida School

Music Association) dues must also be paid to

ensure your students are eligible to participate in

music performance assessments (MPAs) during the year. The early payment discount deadline for

FSMA is September 15,

POPE

2025. You can check your

Professional Development

visiting the FSMA website

Champion, which will be

school’s payment status by (

floridaschoolmusic.

org).

Looking ahead, I invite

you to join us for the

2025 FOA/FLASTA Fall

Conference, Ignite Your Inner held at the Hilton Orlando Hotel October 16-17, 2025.

This year, we are excited to welcome two outstanding

keynote speakers: Professor

Creston Herron, director of

orchestras at the University of Kansas, and Dr. David

encourage you to register now on the FOA website.

If you’re looking for

Pope, professor of music

another reason to attend

University Conservatory of

more involved, consider

education at Baldwin Wallace Performing Arts. These two

individuals bring tremendous expertise and inspiration to

the world of string education, and we are fortunate to have them share their knowledge with us. In addition to our keynote speakers, we will feature several incredible

educators from across our

great state, offering practical and inspiring sessions to

help reenergize what we do

best—teach. This conference is always a fabulous time to learn, grow, network with colleagues, and refresh us for the second quarter. I

the Fall Conference and get participating in the all-

you to stay connected and

Music Education for Collective

district meetings, which will

have many great speakers

involved by attending your be starting soon. If you’re

new to the profession or new to the state, you can find

your district chairperson’s

Impact. This conference will

from all over the country and Florida.

Thank you for choosing

contact information on the

to be part of the greatest and

2025, immediately following

To all our new educators:

in the world. Whether you

to student recordings

out to your colleagues for

state adjudication process on Saturday, October 18,

the conference. Listening

provides valuable insight

into the level of preparation and dedication that goes

into these auditions, and

your involvement makes a real difference. If you are

interested in helping with

FOA website (

myfoa.org).

welcome! I urge you to reach guidance and support. Every one of us has experienced

the challenges of a first year, and your peers are eager to share their knowledge and encouragement.

Don’t forget to block off

this important work, please

your calendar for FMEA

chairperson.

in Tampa, Florida, January

reach out to your district As we kick off a new

school year, I encourage

2026, which will be held

14-17, 2026. This year’s theme

is The Power In Our Profession:

most impactful profession

are a teacher, parent, student, or supporter of the arts, your contributions matter deeply and help shape the future of music education in our

state. If you need anything

throughout the year, please don’t hesitate to reach out

to any member of the FOA

Board. We are here to serve and support you.

Wishing you a joyful,

successful, and music-filled school year!

AUGUST 2025

49

Research Puzzles

FMEA RESEARCH COMMITTEE

D. Gregory Springer, PhD, Chairperson Florida State University

FOR MUSIC TEACHERS

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

Teaching Elementary Students With Autism Spectrum Disorder

I

n my experience working with preservice and in-

service teachers, one of the most common concerns

I hear is related to teaching students with disabil-

ities. Preservice teachers do not typically receive

much preparation for teaching students with disabilities in their undergraduate programs (Allan,

2025; Grimsby, 2020; VanWeelden & Whipple, 2014).

Furthermore, professional development conferences for music teachers may not offer much content in

this area either (VanWeelden & Meehan, 2016). For

DRAPER

BROWN

JELLISON

these reasons, many teachers lack the confidence to

14 and 25 years of teaching experience, respectively. They also

and pedagogical skills in this important area.

classroom. By analyzing the interview transcripts, observation

teach students with disabilities and need more knowledge Drs. Ellary Draper, Laura Brown, and Judith Jellison

recently published an article in Update: Applications of

Research in Music Education focused on elementary music teachers’ experiences teaching students with autism

spectrum disorder (ASD; Draper et al., 2025). The purpose of their study was “to identify elements for creating a culture of inclusion and implementing the inclusion of students

with ASD” (p. 42). They used a descriptive qualitative design to explore two elementary music teachers’ experiences

teaching students with ASD in inclusive music classes. Like other types of qualitative research, descriptive qualitative designs include an analysis of textual data to understand experiences and complex phenomena. In this study, the

authors interviewed two elementary music teachers with

50

FLORIDA MUSIC DIRECTOR

observed one of the teachers on four separate visits to their notes, and other data sources, the researchers derived four

w School contexts, policies, and procedures. Both teachers

common themes:

experienced challenges due to school policies and proce-

dures that needed improvement. For example, there were

certain barriers to attendance at individual education plan (IEP) meetings because they often conflicted with their

teaching schedule. Additionally, they both benefited from paraprofessional support, but they often had to submit

w Attitudes and interactions. Both teachers demonstrated requests to receive this support.

positivity and optimism. Also, these teachers developed

a culture in their classrooms where neurotypical students

would serve as helpers for their peers with ASD and include

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

2026 FMEA Professional Development Conference January 14-17, 2026

them in their learning activities. These attitudes and

interactions were part of the success these teachers expe-

w Music curriculum goals and instruction. Teachers rienced.

expressed a primary goal of music learning for their students with ASD and made efforts to include them in all

music programs. To that end, both teachers used flexible instructional approaches to adapt lesson plans for their students with ASD. These teachers also collaborated

extensively with other teachers and paraprofessionals in

w Preparation and training. Both teachers admitted that their building to ensure success for their students.

they had a lack of coursework and hands-on experiences (e.g., fieldwork, practica, student teaching experiences) related to teaching students with disabilities in their undergraduate program.

Grimsby (2020) explained that “teaching is a personal

art, and students are a delicate canvas” (p. 87). Findings from Draper et al.’s (2025) study help to clarify some of

the elements necessary for creating a positive culture of inclusion for students with ASD. All teachers should be

aware of these common elements and reflect on the extent

CALL FOR EXHIBITORS

to which they are present in their own pedagogical practice.

I encourage you to read the complete article. Members of

NAfME can access articles in Update: Applications for Research in Music Education for free as part of their membership.

Be sure to sign up for email alerts as well so you can be informed when new articles are published online.

References Allan, A. (2025). Three inclusion barriers: An examination of elementary music teachers’ preparation to teach learners with exceptionalities. Journal of Music Teacher Education. Advance online publication. https://doi.org/10.1177/10570837241307249 Draper, E. A., Brown, L. S., & Jellison, J. A. (2025). Identifying elements of inclusion: Interviews with elementary music teachers about their students with Autism Spectrum Disorder. Update: Applications of Research in Music Education, 43(2), 41–52. https://doi. org/10.1177/87551233241237498 Grimsby, R. (2020). “Anything is better than nothing!” Inservice teacher preparation for teaching students with disabilities.

Journal of Music Teacher Education, 29(3), 77–90. https://doi. org/10.1177/1057083719893116 VanWeelden, K., & Meehan, L. (2016). Teaching children with disabilities: Preparation through state music educators association conferences. Update: Applications of Research in Music Education, 35(1), 5–12. https://doi.org/10.1177/8755123315582069 VanWeelden, K., & Whipple, J. (2014). Music educators’ perceptions of preparation and supports available for inclusion.

Journal of Music Teacher Education, 23(2), 33–51. https://doi. org/10.1177/1057083713484585

CONTACT US (850) 878-6844 Toll-Free 1-800-301-FMEA exhibits@FMEA.org

Register at

FMEA.org/conference/exhibitor-information

Booth Discount for Corporate and Academic Partners AUGUST 2025

51

GOLD

Partners as of April 7, 2025.

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

52

FLORIDA MUSIC DIRECTOR

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

PARTNERS

BRONZE PARTNERS CCIS Travel Eastman Music Company FloridaFundraiser.com GIA Publications, Inc. Head’s House of Music J.W. Pepper & Son, Inc.

Mark Custom Recording Service, Inc. Music & Arts Music is Elementary Romeo Music Sight Reading Factory West Music Company AUGUST 2025

53

Executive Director’s

FMEA Executive Director Kathleen D. Sanz, PhD

NOTES

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

Opportunities Abound in the New Year

W

elcome back for the 2025-26 school year! We hope

you had an opportunity to learn, refresh, and relax

over the summer. FMEA looks forward to engaging with

each member and encouraging you to be involved in your association, including advocacy and the legislative process, to provide for strong music programs in our state.

Professional Learning Opportunities for Members The 2026 FMEA Professional Development and All-State

Concerts, The Power in Our Profession, Music Education for Collective Impact, is scheduled for January 14-17, 2026, in

Tampa. Registration begins on September 12, 2025. We look forward to coming together in Tampa.

The Professional Learning Committee, chaired by

Ajori Spencer, has been developing professional learning opportunities through podcasts and webinars. Watch for the announcements to come to your email and on the

FMEA website. To view the current and past podcasts, go to the FMEA website,

FMEA.org/programs/podcast/.

Legislative Session/Government Relations

The FMEA Advocacy Committee, under co-chairpersons

Jeanne Reynolds and Angela Hartvigsen, is reviewing the new laws impacting education. We will be providing an

will collect and review the data to determine how the implementation plan is working by determining the

number of students who received the Seal in each school district. The next steps will involve working with FAEA and the Florida School Music Association (FSMA) to

develop legislative and advocacy plans, based on the

data results. The ultimate goal will be for the students

who receive the Seal to count in the school grade through acceleration points.

w TriM: Consider starting a TriM chapter for your middle Student Opportunities

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 skills.

w NAfME Collegiate: The Florida NAfME Collegiate

For more information, visit the NAfME.org website.

members, music supervisors, and college professors

are planning their annual Fall Conference to be held

November 8-9, 2025, in Tallahassee. Colleges and uni-

versities, please encourage your students to participate in this event.

updated report on the FMEA website. The 2026 Legislative

Florida School Music Association

13, 2026. Please look for communication from FMEA to

Leadership Symposium, Unlocking the Potential: Empowering

Session will begin on January 13, 2026, and end on March assist us in reviewing proposed bills. If you have any

questions about the bills as they progress, please call Dr. Kathleen Sanz at the FMEA office.

Florida Seal of Fine Arts Program

During the 2024 Legislative Session, the Florida Seal of Fine Arts passed unanimously in both the House

The Florida School Music Association (FSMA) hosted a

Music Educators through Leadership, for music educators to assist in developing leadership for our components FBA,

FOA, and FVA. FSMA works with secondary component organizations to provide oversight for interscholastic music activities.

FMEA is looking forward to a productive 2025-26

and the Senate. During the 2024-25 school year, school

school year! Keep in tune and involved with your state

seniors. The Florida Art Education Association (FAEA)

call the FMEA office.

districts worked on implementing the Seal for graduating

professional association. If you have any questions, please

Kathleen D. Sanz, PhD

54

FLORIDA MUSIC DIRECTOR

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

Officers and Directors

EXECUTIVE BOARD President

Harry “Skip” Pardee, EdD

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

Jason P. Locker

EX-OFFICIO MEMBERS 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

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

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

FMEA COMPONENTS

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

President-Elect

Bernard “Bernie” Hendricks, Jr.

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

1925 Ocoee Crown Point Pkwy.; Orlando, FL 34761

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

FBA President

FMEA COMMITTEES & COUNCILS

Marshall Middle Magnet School 18 S. Maryland Ave.; Plant City, FL 33563-6008 (813) 757-9360; president@fba.flmusiced.org

COUNCILS

(407) 905-3009; bernard.hendricks@ocps.net

Jeff Cayer, EdD

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

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

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

Ocoee High School

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

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

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

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

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION President..................................................................................... Meghan Alfaro Pinellas District Office; 301 4th St. SW; Largo, FL 33770-3536 (727) 588-6055; meghan@femea.flmusiced.org

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

Past President................................................................................ Ashley Peek Holley-Navarre Intermediate; 1936 Navarre School Rd.; Navarre, FL 32566-7504; ashley@femea.flmusiced.org

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

FLORIDA NAFME COLLEGIATE

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

FEMEA President

FLORIDA MUSIC SUPERVISION ASSOCIATION

Pinellas District Office 301 4th St. SW; Largo, FL 33770-3536 (727) 588-6055; meghan@femea.flmusiced.org

MULTICULTURAL NETWORK

FCMEA President

Kyle Prescott, DMA

Meghan Alfaro

Florida NAfME Collegiate President

Jason Lane

Florida A&M University jason1.lane@famu.edu FMSA President

John J. Dupuis

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

President...........................................................................................Jason Lane Florida A&M University; jason1.lane@famu.edu President..................................................................................... John J. Dupuis Volusia County Schools; 200 N. Clara Ave.; DeLand, FL 32720-4207 (813) 787-6790; jjdupuis@volusia.k12.fl.us Chairperson................................................................... Arnekua Jackson, PhD St. Thomas University; 16401 NW 37th Ave.; Miami Gardens, FL 33054 arnekuajackson@gmail.com

COMMITTEES Advocacy.................................................Jeanne W. Reynolds, Co-Chairperson (727) 744-7252; jeannewrey@gmail.com Advocacy................................................... Angela Hartvigsen, Co-Chairperson School Board of Sarasota County; 1960 Landings Blvd.; Sarasota, FL 34231 (941) 927-9000; angela.hartvigsen@sarasotacountyschools.net All-State Eligibility.................................................... Harry “Skip” Pardee, EdD Collier County Public Schools; 5775 Osceola Trail; Naples, FL 34109-0919 (239) 377-0087; pardeh@collierschools.com

Andrea Szarowicz

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

5575 W. Lutz Lake Fern Rd.; Lutz, FL 33558-9234

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

FVA President

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

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

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

Steinbrenner High School

(813) 792-5131; aszarowicz@myfoa.org

Jeannine Stemmer

Member-at-Large

Steven N. Kelly, PhD

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

FLORIDA ORCHESTRA ASSOCIATION President................................................................................Andrea Szarowicz Steinbrenner High School; 5575 W. Lutz Lake Fern Rd.; Lutz, FL 33558-9234 (813) 792-5131; aszarowicz@myfoa.org Past President..............................................................................Laurie Bitters Winter Park High School; 2100 Summerfield Rd.; Winter Park, FL 32792 (407) 622-3200; laurie.bitters@gmail.com Executive Director....................................................................Cheri A. Sleeper 1915 S. 47th St.; Tampa, FL 33619; (813) 363-4139; csleeper@myfoa.org

FLORIDA VOCAL ASSOCIATION President...............................................................................Jeannine Stemmer Florida Christian School; 4200 SW 89th Ave.; Miami, FL 33165 (305) 226-8152; jeannine@fva.net Past President...........................................................................David Pletincks Powell Middle School; 4100 Barclay Ave.; Brooksville, FL 34609-0860 (352) 403-8437; david@fva.net Executive Director....................................................................... David Verdoni verdoni@fva.net Business Manager....................................................................... Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; business@fva.net

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

President/CEO................................. 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)

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

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

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

PROFESSIONAL LEARNING CONFERENCE

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

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

AUGUST 2025

55

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FLORIDA MUSIC DIRECTOR