Florida Music Director August 2026

Building Excellence in the

Orchestra Classroom

Building Community and Culture in the Music Program PLUS …

THE ARTS MATTER. SO DOES YOUR VOTE.

2026-2027 Leadership June M. Hinckley Music Education Scholarship Essays PRIMARY ELECTION DAY: AUGUST 18, 2026

GENERAL ELECTION DAY: NOVEMBER 3, 2026

From local school boards to state leadership, the representatives we elect shape Florida’s cultural landscape. Research the candidates and make your voice heard.

FLORIDA GENERAL ELECTION VOTER REGISTRATION DEADLINE: OCTOBER 5, 2026

RegisterToVoteFlorida.gov

AUGUST 2026

1

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FLORIDA MUSIC DIRECTOR

Contents AUGUST 2026

VOLUME 80

Executive Director Florida Music Education Association Scott Evans

Hinckley Center for Fine Arts Education

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

NUMBER 1

Editor-in-Chief

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

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

Editorial Committee Terice Allen (850) 245-8700, Tallahassee (tallen1962@hotmail.com) Judy Arthur, PhD Florida State University, KMU 222 (850) 644-3005 (jrarthur@fsu.edu) Alice-Ann Darrow, PhD (alifsu@mac.com) Jeanne Reynolds (jeannewrey@gmail.com) John K. Southall, PhD Indian River State College, Fort Pierce (772) 462-7810; (johnsouthall@FMEA.org)

Advertising Sales

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

Official FMEA and FMD Photographers

Bob O’Lary Amanda Crawford

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

Circulation & Copy Manager

Valeria Anderson, (800) 301-3632

Copy Editor

Susan Trainor

22

28

32

F E AT U R E S

2026-2027 Leadership. . . . . . . . . . . . . . . . . . . . 6-7 How do I get to the conference?.. . . . . . . . . . . . . 12 Important Conference Dates & Information . . . . . 13 June M. Hinckley Music Education Scholarship Essays . . . . . . . . . . . . . . . . . . . . 14-21 Celebrating the Life of Carlos R. Abril, PhD.. . . . . 22 Building Community and Culture in the Music Program. . . . . . . . . . . . 28 Building Excellence in the Orchestra Classroom:

A Practical Framework for String Instruction in the Public School Orchestra Classroom. . . . . . . . . . . . . . . 32 D E PA R T M E N T S Advertiser Index. . . . . . . . . . . . 4

Component News. . . . . . . . . . 40

Government Relations Report. . . 8

Council News. . . . . . . . . . . . . 48

President’s Message. . . . . . . . . . 5 FSMA Report. . . . . . . . . . . . . . 11

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

Academic Partners.. . . . . . . . . . 61

Immediate Impact. . . . . . . . . . 25

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

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

Officers and Directors. . . . . . .

Corporate Partners . . . . . . .

26-27 37

47

Executive Director’s Notes. . . .

62

70

71

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 2026

3

2026–27 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.

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.

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.

Advertiser Index

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FLORIDA MUSIC DIRECTOR

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FLMusicEd

President’s

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

MESSAGE

Happy New School Year, FMEA!

O

n behalf of the FMEA Board of Directors, we hope each of you has been able to spend some quality summertime with loved ones and you are recharged for another great school year

ahead. Our association was hard at work all summer, with SummerCon 2026 (FMEA Think Tank, Emerging Leaders, Multicultural Network Summer Workshop, and our inaugural Elementary Leadership Seminar), component summer conventions, council meetings, FSMA Leadership

Summit, and NAfME National Assembly and Hill Day. Our FMEA leaders have done an extraordi-

nary job juggling all these impactful events. A special shout-out to our staff at the Center for Fine Arts Education, who coordinated all the logistics for each of these initiatives. Thank you, Team CFAE!

While we celebrate the outstanding work of colleagues across our great state this summer, we

also must take time to acknowledge and prayerfully reflect on the legacy of our recently departed

mentor and friend, Dr. Carlos Abril. Carlos was nothing short of a master educator—an exemplary student-centered pedagogue, a world-class researcher whose publications will impact our field for generations, and a brilliant servant leader to the international music education community. Those of us who knew his heartful work through FMEA and NAfME know also that his brilliance was

only surpassed by his genuine kindness. Each of us remembers his infectious smile, his warm and thoughtful service to his students, and of course, his true celebrity status in our field. He will be

deeply missed. Colleagues, please be assured that FMEA leadership is considering many options to honor Dr. Abril’s legacy in perpetuity. We know your condolences are sent to his loved ones, and your fond memories of this amazing man are treasured.

Looking forward to this year, we know your students are busily preparing their all-state

auditions so they can be included in one of our world-class FMEA all-state ensembles set to perform at our annual Professional Learning Conference. We have a tremendous lineup of performers and

speakers contracted for the general sessions, and superb school ensemble performance invitations for the President’s Concert, concert hours, and mini-concerts at the 2027 conference, along with

an unmatched FMEA Exhibition Hall featuring our Corporate and Academic Partners. All of this is possible thanks to the teaching you commit yourselves to each day, which serves as a catalyst for our young musicians’ success. Thank you for all you do, and as always, if you would like to

book a one-on-one conversation, meeting, or check-in, I am happy to schedule with you personally (skippardee@FMEA.org). Have a great start to your school year!

Always musically,

Harry “Skip” Pardee, EdD, President

Florida Music Education Association

AUGUST 2026

5

2 026 –27 BOARD OF DIRECTORS

Harry “Skip” Pardee, EdD President

6

Jason P. Locker Past President

Bernard “Bernie” Hendricks, Jr. President-Elect

Michael Antmann, EdD FBA President

Kyle Prescott, DMA FCMEA President

Clint Randles, PhD FCMMA President

Meghan Alfaro FEMEA President

Christopher Perez FGEA President

John J. Dupuis FMSA President

Grace Wieckowski FL-NAfME Collegiate President

Andrea Szarowicz FOA President

William Sahely FSEA President

Jeannine Stemmer FVA President

Arnekua Jackson, PhD Multicultural Network

Steven N. Kelly, PhD Member-at-Large

FLORIDA MUSIC DIRECTOR

2 026 –27 COMMIT TE E C HAIRS

E X- OF F I C I O ME MBE RS

Harry “Skip” Pardee, EdD All-State Eligibility, Budget/ Finance, Development

Sondra A. W. Collins Awards

Christine Lapka, EdD Diverse Learners

John K. Southall, PhD Conference Planning Chair

David Pletincks DOE Arts Education Consultant

Jason Locker Emerging Leaders (Co-Chair)

Bernard “Bernie” Hendricks, Jr. Emerging Leaders (Co-Chair)

Fred Schiff Florida Corporate & Academic Partners

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

Scott Evans FMEA/FSMA Executive Director

Jeanne W. Reynolds Government Relations (Co-Chair)

Angela Hartvigsen Government Relations (Co-Chair)

Ajori Spencer Professional Learning

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

Keith Griffis FSMA President

D. Gregory Springer, PhD Research

Charlene Cannon Student Engagement

Mary Palmer, EdD Hall of Fame Chair

CENTER FOR FINE ARTS EDUCATION

PROFESSIONAL LEARNING CONFERENCE

President/CEO................................................................................Scott Evans (scottevans@flmusiced.org) Director of Operations..............................................................Valeria Anderson, IOM, QAS (val@FMEA.org) Technology Director............................................................................Josh Bula, PhD, CAE (josh@FMEA.org) Marketing & Membership Coordinator........................................Jasmine VanWeelden (jasmine@FMEA.org) Administrative Assistant............................................................................. Siena Deaton (siena@FMEA.org)

Exhibits Manager......................................................................................................fmeaexhibits@FMEA.org Local Chair....................................................................Jon Sever (813) 272-4861; jon.sever@sdhc.k12.fl.us

AUGUST 2026

7

Government Relations

Government Relations Committee Co-Chairs

REPORT

The Power of Our Collective Voice

Jeanne W. Reynolds

Angela Hartvigsen

Reflections From My First NAfME Hill Day

BY ANGEL A HART VIGSEN

I

n June, I had the opportunity to participate in

my first NAfME Hill Day,

an experience that was both

the national version up close

included the FMEA Executive

The Ask: Arts Funding

standing and purpose.

Pardee, Past President Jason

legislators to continue

added a new layer of under-

eye-opening and deeply grat-

Your Voice Matters

NAfME Hill Day is an annu-

was how powerfully Hill

ifying. For those unfamiliar, al, invitation-only advocacy event in Washington, D.C., where hundreds of music

education advocates meet

with members of Congress

and their staff to champion

federal policies that expand

access to high-quality music education. Here in Florida,

FMEA hosts a similar event each spring with our own

state legislators, but seeing

What struck me immediately Day affirms the importance of each person’s individual voice. It also reminded me

that our nation’s legislators,

and their staffers, are simply people, just like all of us.

They respond to authentic

stories, genuine passion, and the lived experiences we

bring from our classrooms and communities.

Florida’s delegation

Committee (President Skip

We were there to urge

Locker, and President-Elect

funding Titles I, II, and IV-A

Bernie Hendricks), FMEA Executive Director and

CFAE President/CEO Scott Evans, a few long-time

advocates (Jeanne Reynolds, Christopher Perez, and me), and six outstanding Florida NAfME Collegiate students

from across the state (named below). Together, we spent the day walking the halls of Congress, sharing our

stories, and advocating for

the students and teachers we serve.

Important Election Dates

✪ Primary Election: August 18, 2026 Registration Deadline ✪ Voter for General Election: October 5, 2026 ✪ General Election: November 3, 2026 For deadlines and information about vote-by-mail (absentee ballots), early voting, and specific precinct locations, visit your county’s supervisor of elections website.

Go to FMEA.org/Advocacy/Vote and click “Find Your Supervisor of Elections.”

at the levels Congress has

supported in the past rather than the levels proposed in

the president’s budget. This same type of advocacy was successful last year when a similar situation arose. We

also encouraged legislators to support the Guarantee

Access to Arts and Music

Education Act of 2026, which

would amend the Elementary and Secondary Education

Act to encourage the use of

Title I funds to hire certified music and arts educators

and to support the purchase of instruments, professional learning, and music instruction.

w Legislators value hearing My biggest takeaways:

directly from educators.

Again and again, we

heard how meaningful it

was that we took the time as citizen educators and

future educators, not lob-

byists, to speak with them.

Our stories from “the

trenches” matter, and they

8

FLORIDA MUSIC DIRECTOR

Government Relations REPORT

shape policy more often

and the leadership they

w The nation’s legislative

w Our FMEA/CFAE lead-

maze of buildings, floors,

music educators. From

than we realize.

hallways truly belong

to its citizens. While the

and security can feel overwhelming at first, once inside you see groups

from every imaginable

interest area, all there to advocate for what they

believe in. It is a powerful reminder that our democracy is participatory, and we are meant to be part

w The future of our proof it.

fession is bright. The

are already demonstrating. ership works tirelessly

were quite young, in some

of scheduling meetings for our three delegate groups to standing shoulder to

shoulder with our colle-

giate members, our lead-

ership team demonstrated unwavering commitment to elevating the power of music education for all

Florida students in every conversation.

The experience was not

Florida State University

(Sebastian Bravo), Stetson (Grace Wieckowski), the University of Miami

(Ella Pelligra), and the University of North

Florida (Christina Beaver) were eloquent, strategic,

and poised as they shared their stories with legislators and staffers. We

saw the same strength during April’s Florida

Collegiate Advocacy Day

in Tallahassee. Had I been afforded such an opportunity as a young adult,

my advocacy skills would be even more well-honed today. I left with deep

respect and gratitude for our collegiate members

Of course, there were

navigating the labyrinth

from Florida International and Jordan Mash),

bosses.

also surprises. Many of

Challenges and

University (Malik Nicolas

for further study with their

on behalf of Florida’s

Florida NAfME Collegiate members who joined us

information we left behind

Opportunities

without its challenges.

In almost every case, our

delegate groups met with a

legislator’s staffer rather than with the representative or

senator themselves. However, the aides are generally very

influential and tend to have specific assignments (such

as “Education” or “Arts and Culture”). We made strong

the aides we met with

cases barely older than

the collegiate members in our delegate group. This

made the presence of our collegiate members even

more impactful, because we

watched genuine connections take place. As we listened

to staffers share reflections about their own musical

experiences, it became clear that they might be more individually supportive

than we realize. It is a good reminder that supporting

music education is widely

viewed as a “white hat” issue, meaning it is broadly seen

as positive and completely

nonpartisan. We now hope that the funding currently

hanging in the balance will be maintained, or even

increased, from the previous year.

connections with the aides,

Next Steps

our conversations with them

the power of advocacy is

but we left wondering how

will translate into meaningful change, especially for the legislators who are not

typically as supportive of our

mission. This reminded me of the importance of following up with those staffers so

we remain present in their minds and increase the

likelihood they will share the

Hill Day reminded me that simply educators, future educators, and music

education leaders telling the truth about our students, their programs, and the

transformative power of

music. Whether we are in

Washington, Tallahassee, or speaking with a legislator

in their home office in our

district, our voices matter and they make a difference.

As we enter primary

season, please take a

moment to ensure your

voter registration is current and active. Because school

board elections in Florida are nonpartisan, many of these

races are effectively decided during the primary. It is

essential to stay informed

and to make your voice heard in both the primary and the general election.

As the FMEA campaign

reminds us:

THE ARTS MATTER. SO DOES YOUR VOTE. PRIMARY ELECTION DAY: AUGUST 18, 2026

GENERAL ELECTION DAY: NOVEMBER 3, 2026

Please confirm any voting

representatives we elect shapean Florida’s cultural information with official landscape. Research the candidates and make your From local school boards to state leadership, the

source such as the Florida voice heard.

FLORIDA GENERAL ELECTION VOTER REGISTRATION DEADLINE: OCTOBER 5, 2026

Division of Elections or your RegisterToVoteFlorida.gov

local supervisor of elections.

Check your voter registration status, particularly if you recently renewed your

license. If you choose to vote by mail, check your vote-bymail status as well.

I returned home from

NAfME Hill Day energized,

grateful, and more committed than ever to ensuring that every Florida student has

access to the high-quality

music education they deserve.

Our collective voice is

strong, and when we show

up together, it becomes even stronger. I am honored to be

part of this work and excited for what we will continue to accomplish as a statewide community of advocates.

AUGUST 2026

9

THE ARTS MATTER. SO DOES YOUR VOTE. PRIMARY ELECTION DAY: AUGUST 18, 2026

GENERAL ELECTION DAY: NOVEMBER 3, 2026

From local school boards to state leadership, the representatives we elect shape Florida’s cultural landscape. Research the candidates and make your voice heard.

FLORIDA GENERAL ELECTION VOTER REGISTRATION DEADLINE: OCTOBER 5, 2026 RegisterToVoteFlorida.gov

10

FLORIDA MUSIC DIRECTOR

Keith Griffis

President

N O T E S

FLORIDA SCHOOL MUSIC AS SO CIATION

Florida School Music Association

Transformational Teaching

G

reetings, Florida music family! It’s my sincere hope that you’ve enjoyed a restful sum-

mer and that, like me, you feel recharged for the coming year. It is with great humility

and appreciation that I introduce myself as president of the Florida School Music Association (FSMA) and express my excitement for the 2026–27 school year!

My commitment to promoting quality music education in our schools runs deep. Growing

up as a student in Florida, my experiences in school music programs were not just enjoyable; they were transformational. Like so many of you, my gratitude for these school music experiences and my extraordinary teachers is immense and is simply a part of who I am. As music

educators, we are driven by our mission to create opportunities for students to experience musical growth and artistry at the highest level. It is this same mission that drives our work in the Florida School Music Association.

The coming year will undoubtedly bring new twists, turns, and challenges. Equally so, how-

ever, the year will present opportunities for discovery, music to perform, and goals to achieve.

It’s my hope that the prospect of changing lives through music will propel you through each difficulty you face, and that you will be reminded that your music program is more than just

a subject to study or a course on a class schedule. The musical experiences created in our programs this year will positively shape students’ lives and become part of who they are.

The mission of the Florida School Music Association is clear: to provide leadership, advoca-

cy, and services for school music programs in support of quality music education experiences

for students. It will be my honor to continue our work supporting Florida music programs in providing impactful assessments and meaningful musical experiences. I have full confidence

that our work, together, will continue to lead to more transformational musical experiences for our Florida students.

Sincerely,

Keith Griffis, President

Florida School Music Association

AUGUST 2026

11

How do I get to the conference?

Making your case to attend the 2027 FMEA Professional Learning Conference

G

Association Professional Learning Conference may w Write down three of the most important goals and strategies being addressed in your school’s plan. require developing a proposal. Due to tight budgets in w Think about how you personally contribute to those today’s economy, school principals and districts scrutiGetting approval to attend the Florida Music Education

Develop Your Case

nize requests to attend professional learning. That does

three goals and strategies. How does your work as

ing your administrators how your attendance will benefit

school? Make a list of your personal contributions to

not mean you should not give it your best effort by show-

a music educator affect the overall mission of your

administrators are aware of the critical importance of you w Review the conference’s professional learning schedthe students in your school. Rather than assuming your

your school’s goals and strategies.

professionally benefiting from content-specific sessions,

ule to better understand how the information provid-

Through this proposal, you can demonstrate how

that relate to your list of personal contributions to the

consider submitting a formal proposal.

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.

ed will support your school’s goals. Mark meetings

attainment of those goals and strategies and make note of the clinicians and others you will be able to observe

and/or with whom you will be able to interact while at the conference. List the high-quality performances

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

website and bookmark your sessions. Write down your case for how attending the FMEA Professional Learning Conference and meeting the people there

will help you contribute to your school’s goals and

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

12

FLORIDA MUSIC DIRECTOR

THE POWER IN 20 2 7 OUR PROFESSION

MUSIC EDUCATION FOR COLLECTIVE IMPACT FMEA 2027 Professional Learning Conference & All-State Concerts

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When you create your proposal, in addition to provid-

ing a summary of the funding you will need, detail your case for attending. List your school’s goals, download the conference schedule, list the sessions and the clinicians

and presenters who will be there, and list the specific ses-

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

by these well-known conductors (from whom you can gain programming and conducting ideas). Additionally,

Important Conference Dates & Information (subject to change)

11, 2026 wSeptember Early registration opens. w Nominations are open for Student Conference Experience

w

and Tri-M Experience.

September 26, 2026 Hotels begin taking reservations at 9:00 am.

w

October 1, 2026 Presenters’ deadline for editing session details and requesting A/V equipment

w

let your administrators know that this conference has

October 22, 2026 Popular Music Collective submission deadline

parents in attendance, the second largest music education

October 31, 2026 Student Conference Experience nomination deadline

more than 10,000 teachers, administrators, students, and conference in the nation.

Finally, ask your administrators to support you to

attend the FMEA Professional Learning Conference in Tampa, Florida, January 13–16, 2027.

w w

November 6, 2026 Digital Music Showcase submission deadline

w

November 7, 2025 Hotel room cancellation deadline is 5:00 pm.

w

November 10, 2026 Hotels will charge your credit card a nonrefundable deposit for the first night of each room that was not cancelled by the deadline.

w

December 11, 2026 Early registration closes at 11:59:59 pm Eastern Time (10:59:59 pm Central). Prices increase to the regular registration rates. You may continue to register and pay online until the conference.

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 a check must be brought with you to the conference.

w w

December 14, 2026 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

w

in the FMEA blocks are released back to hotels.

AUGUST 2026

13

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?” Julia’s essay appears here with minor editing and the addition of a headline.

A

Helping and Guiding Others to Grow as Musicians

BY JULIA ANTMANN

At nine years old, I watched from the

education is the path for me. I want to

ing technology can be avenged by leaders

of kids my age trying new instruments

for music with the future generations by

out of bed in the morning, and I look

ensemble as my dad directed a group full

at summer camp. I had just picked up a trombone because no one else seemed to

do it, and I always strived to be unique.

Eight years later, I found myself standing in front of my own ensemble, conducting

a brass choir of younger students, being driven by their joy from their own suc-

cesses. From the age of five, singing along to my favorite songs, to walking out of my first college audition, I’ve had a life-

long commitment and passion for music.

I fell in love with playing the trombone after making All-State for the first time in eighth grade, securing that music was my

path. However, a few years later, I earned

a spot on the Operations Team for my high school marching band for my soph-

omore year, which led me to apply and achieve a section leader role my junior

year. Upon earning my section leader

band leadership title at school, I gained

a new love: one for helping and guiding others to grow as musicians, just as much as I had for improving myself.

As I’m nearing the end of high school,

I am confident that instrumental music

14

FLORIDA MUSIC DIRECTOR

dedicate my life to spreading my love

being a band director, just like all of my

music instructors did for me. Specifically, I aim to teach middle schoolers. Due to the psychological stage of developing minds and self-discovery at that age, I believe that I can have the biggest impact

on their musical journeys at this stage of life, spreading a long-lasting love for making music that I source from my own.

But looking in a short-term lens, I want to begin by pursuing a four-year bachelor’s degree in instrumental music education

at a university, filling in all the knowledge gaps I may have on what it takes to lead

a group of aspiring musicians and how to tailor to their diverse needs. I believe

that a key to being an impactful educator, along with a drive and passion for what

fired with passion for art. Music gets me

forward to whenever I can share, make, and listen to it. With time, students are

losing drive in the arts, as many lack a motivating reason to come to school, such as a teacher or community that embodies

their fervor. From personal experience,

I’ve learned that passion results from a leader who carries the most passion in the room, characterizing the leader I

strive to be for future generations. I want to spread the joy and achievement music

has given me from the podium, and shape young minds to self-express through art.

From the lens of my future, being a band director is the ultimate vision I carry for

myself, and it is my primary purpose and aspiration.

Building on that, arts education is a

you do, is being a library of knowledge on

valuable resource and experience that all

cation has always been a highlight and

is part of my motivation in becoming a

the subjects that you teach. My own edupriority of mine, and I want to receive as much more in the future as I can get. That

highlight is also a primary drive for my goal in being an educator as well.

The loss of creativity through develop-

students should be able to access, which music educator. While all students are

required to come to school to achieve a common goal, learning and succeeding

in their core education, their drive is what sets them apart and makes them

unique. These drives can come

ipating in marching band myself,

grams, and for many, the arts and

as a high school band director, I’ve

from sports, clubs, specialized pro-

and having a father who taught it

music. Students who may be fail-

seen how the activity truly gives

ing various classes, but are inter-

a learning experience that is com-

ested in music, can be brought to

plex and stimulating, fostering an

attend school by their passion for

unreplicable effect. Students, many

their music education. For exam-

of which don’t primarily speak the

ple, the Tri-M Music Honor Society at my school held a Music in Our

language of their teacher or have struggled in earlier education, are

Schools Week, which held daily musi-

ent backgrounds can merge together with

taught in one season how to march in

more engaged and active in their partic-

that anyone can learn. As a band member

orize challenging musical works, display

cal lunch activities, where students were ipation than they may have been in their

previous class period’s lecture. If a goal of a school is to improve attendance and

performance in their students’ education, providing them with an intrinsic incen-

tive such as their school’s music programs can help them achieve that. Additionally,

many studies show that participating in music can help to improve one’s academ-

ic performance, setting music students

ahead of their peers due to enhanced cognitive skills and improved memory developed through music. Providing stu-

dents with an internal motivation to come

to school is one of the many benefits of making music programs available to them in their education.

Furthermore, the availability of a music

education to students in schools helps to

promote lasting culture and community building. Many schools, especially in the

state of Florida, have a mix of cultures and

fluidity, as music is a universal language myself, I’ve gotten the opportunity to perform and learn music celebrating many

different cultures that I may not have gotten the chance to learn about otherwise.

That universality also gives me, as well as many other students, the opportunity to communicate with other students through the music we create, even if we

don’t speak the same language. Music has

the power to foster communications and cultural expressions between students of different communities that would have

a hard time connecting in other scenar-

ios. In a similar way, music ensemble

classes also show to be larger on average

those skills together to create a work with a large team of other students. Seeing

students from all different backgrounds,

family situations, identities, and home lives come together and have an equal opportunity to advance so far in musical skills has been one of the most inspiring

things to view from the position I’m in, and the continuation of providing and funding school music programs will con-

tinue to make this beautiful symbol of opportunity and passion keep changing lives.

Due to these key importances in pro-

viding music education to all students

population through teamwork, providing

supporting that purpose and making sure

ensemble classes connect that extended students the opportunity to be part of a community and team with a common goal of making music.

Through having two music educa-

tors as my parents, I’ve been able to see

backgrounds. However, a music ensemble

music education first-hand, and have felt

is one of the only places that those differ-

their message visually, and combine all

than core academic classes, and music

languages within their student bodies

that may separate students with different

time with a specific form, play and mem-

the strong and lasting impacts of one’s

it myself in my own education. In partic-

in school, I want to dedicate my life to

that education is valuable to the future

generations. I am eager to take these next years to improve my skills, both teach-

ing-based and musically, so that I can

fulfill my goals and spread my passion to as many people as I can as a future music educator.

AUGUST 2026

15

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?” Annabelle’s essay appears here with minor editing and the addition of a headline.

Helping People Find Their Voice

BY ANNABELLE CAMARGO

M

Music is more than just something I par-

As I continued to grow as a musician,

believed in me even when I doubted

teachers played a role in my development.

where I felt encouraged to take risks and

ticipate in. It has been a way for me to

I began to understand how much my

stand myself better. Over time, I have

Because of their guidance and support, I

grow, connect with others, and under-

realized that the reason music has had such a strong impact on my life is because of the people who taught it to me. Because

of that, I want to become a music educator

so I can create the same kind of meaningful experience for other students.

One of the moments that really shaped

this goal for me was my time volunteer-

ing at Music Makers Summer Camp for

children with special needs. While I was there, I worked alongside therapists and saw how music could be used in ways that

went far beyond performance. I remember a camper who had difficulty staying focused during activities, but once a steady rhythm was introduced, they were able to stay engaged and complete what

they started. Another camper, who was

usually very quiet, began making sounds

during a simple musical interaction.

Watching that happen made me realize

have been able to take part in opportunities that challenged me and helped me

improve. I was selected to be part of the ACDA SATB Honor Choir this year, and I have participated in all-state choir for

the past two years. In 11th grade, I was

myself. They created an environment

improve. Seeing the impact they had on me made me realize that I want to be that

person for someone else. I want to help students discover their potential and give them the confidence to grow through music.

My experiences outside of choir have

accepted into the SSA choir, and this year

also shaped my desire to become an edu-

and am awaiting final results. I have also

how important it is to adapt to different

I have advanced past the primary round participated in all-county choir in both 10th and 11th grade, earned an excellent rating in district solo and ensemble in

11th grade, and received superior ratings at MPA for choir throughout 9th, 10th,

and 11th grade. I also had the opportu-

nity to perform in the National Concert

Honor Choir at Carnegie Hall, which was an unforgettable experience. I have

been involved in Friends of Music for two years and have participated in Disney’s

Candlelight Processional throughout high

cator. As a junior coach in cheer, I learned learning styles. Not every student under-

stands things the same way, so I had to find new ways to explain timing and movement. I used claps, steps, and simple

patterns to help them understand rhythm.

When something finally made sense to

them, it was incredibly rewarding. That

experience taught me that teaching is not just about delivering information, but

about finding ways to connect with each individual student.

In addition to this, my involvement

school.

in the Best Buddies program has helped

showed me that music education is not

important to me, they did not happen on

As president, I have worked to create

about helping people find their voice.

ers who pushed me, supported me, and

that music can give people a way to com-

municate when words are not enough. It just about teaching notes or rhythms, but

16

FLORIDA MUSIC DIRECTOR

While these accomplishments are

their own. They are the result of teach-

me grow as a leader and as a person. an inclusive environment where students with intellectual and developmental

disabilities feel supported and

background or ability level, has the

unteer hours, I have learned the

a meaningful way.

opportunity to experience music in

valued. Through over 450 vol-

Receiving the June M. Hinckley

importance of patience, under-

standing, and building genuine

Music

have shown me that every stu-

Scholarship

toward this goal. It would sup-

would help me continue working

connections. These experiences

port my educational costs such as

dent deserves to feel included and heard, which is something

Education

housing, musical instruments, and

I plan to carry into my future classroom.

together with the same goal, which is

supporting materials needed to allow me

believe music should be available to all

sound. Whether it is in a choir, band, or

become an effective and compassionate

This is one of the main reasons why I

students. Music education is not just about learning how to sing or read music. It

helps students develop confidence, disci-

pline, and teamwork. It gives them a place where they can express themselves freely

and be part of something meaningful. For many students, music becomes a space

where they feel successful, even if they struggle in other areas.

Music also provides opportunities that

students may not find anywhere else. It

to create something meaningful through

ensemble, students learn to listen to one another, support each other, and work

as one group. Music puts everyone on

the same level and allows them to build

Every student should have the chance to experience that same sense of accomplishment and belonging.

and it encourages students to uplift one

another. Music brings people together in a way that few other subjects can.

However, not all students have access

ing and resources can prevent schools This is why it is so important to continue supporting music education and mak-

ing it accessible to everyone. No student

should miss out on the benefits of music

creates connection. In a music classroom,

build an environment where students

background, or personal beliefs do not define a student’s place. Everyone comes

and create a space where they feel understood. Music should not be something

only some students have access to. It should be something every student can

experience, learn from, and carry with them throughout their lives. If I can help

even one student find their voice through music, then I will know I have made a

difference that lasts far beyond the classroom.

As a future music educator, I want to

create a classroom where all students

differences like social status, financial

By becoming a music educator, I hope to

because of their circumstances.

Another important reason music should

be available to all students is because it

Music has shaped who I am, and I

inspire students, support their growth,

from offering the same opportunities.

much they have impacted my growth.

give back to others through music.

ence creates a sense of unity and respect,

could create alone. That shared experi-

or being part of something bigger than these opportunities, and I know how

me move closer to a future where I can

want to use it to shape the lives of others.

to strong music programs. Limited fund-

themselves. I have been fortunate to have

educator. More importantly, it would help

something together that none of them

can open doors to experiences like performing in large ensembles, traveling,

to focus on developing the skills I need to

feel welcome and supported. I want to are encouraged to grow, take risks, and

express themselves. I also want to make sure that every student, regardless of their

AUGUST 2026

17

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?” Maddie’s essay appears here with minor editing and the addition of a headline.

Sharing My Love for Music With Others

G

BY MADDIE LEIMER

Growing up in a family of musicians, I

thing that I was extremely passionate

the section leader for two years, and at the

always knew that music was going to be

about. For 12 years I devoted time to

end of my junior year I was selected to be

band director, so I was constantly in the

with tournaments every weekend. I was

as drum major has been more fulfilling

and concerts. Her job is time-consuming,

over an hour for practices and traveled

brother and me along so that we could still

It was a huge part of my life, but when

part of my life. My mother is a high school

band room or at rehearsals, football games, but growing up she always brought my

spend time together as a family. Her band

three-hour practices, three days a week,

a drum major for my senior year. Serving

on a competitive travel team, so we drove

than I could have ever imagined and has

all over Florida to attend tournaments.

educator. Every time I stand in front of

I got into high school, I realized that my

affirmed my desire to become a music the band, I feel at home. I love having the opportunity to teach alongside my band

students became like an extended family,

love for music was greater than my love

director (who is also my mother) and moti-

our childhood. I couldn’t wait to be in her

make a difference in this world, it would

sion of themselves. Leading my peers in

Inspired by my older brother, I started

this career path, I needed to devote more

to pursue a career in music education.

mentary school, I joined the after-school

better at my instrument. At this point,

educator, specifically a band director. I

true passion for music when I joined band

could enjoy recreationally and turned my

school band director, Mr. Ricketts, made

I discovered my love for teach-

and their music became the soundtrack to

band one day myself.

taking piano lessons at age four. In elechoir and in middle school I found my

and started learning the flute. My middle

band so much fun that I couldn’t wait to

for softball and that if I wanted to really

be through music education. To pursue of my time outside of school to getting

focus to music.

their own musical passion. All my music

ing during my sophomore year when I

their footsteps and become a music teach-

leader gave me the opportunity to share

ers through music. Through college and

my first taste of teaching, and I was

necessary to teach and inspire the next

others become better musicians and find

better people through music.

as a possible career choice. Band quickly

my love for music with others. This was

became my favorite class, and I wanted to Before I decided to focus my energy

solely into music, softball was also some-

18

FLORIDA MUSIC DIRECTOR

My professional goal is to be a music

have a deep passion for music and want

became a section leader. Being section

be in the band room all the time.

this way has only strengthened my desire

I decided to make softball something I

continue in high school and beyond. This is where I started thinking about music

vate our band to become the very best ver-

hooked! I really enjoyed being able to help

joy through making music. I served as

to share it with others to help them ignite teachers have inspired me to follow in

er myself so that I can also inspire oth-

beyond, I want to gain all the resources generation of music students to become

I also want to do everything that I can

Partners Make It Possible The Florida Corporate and Academic partners help strengthen music to make sure that all students have access

she gets from being able to play her music

to a high-quality music education in a

well, which boosts her confidence and

my experiences in my own high school

has grown so much in her confidence as

music alongside so many different people,

even taking solos and playing alone in

nurturing, safe environment. Through band, I have had the opportunity to make

including people with intellectual dif-

ferences. Last year, a flute player who is

on the autism spectrum joined our band

their tireless

a musician since last year that now she’s

work to support

front of the entire band. I’m so proud would have never had the opportunity to

even at our school. As her section leader,

unique and special. Music classes, espe-

appreciate all the things that make her

cially ensembles, open doors for students

people and get acclimated to our band

to grow as people, not just as musicians.

music. Through this process I quickly

accomplish something together with peo-

program in addition to helping her with

By working as a team to make music and

got to know what an amazing person she

ple who are different than ourselves, we

started inviting her to have lunch with

think that is an invaluable life lesson.

is and really wanted to be her friend. I my friend group and to hang out with us

after band practice. Since then, we have

learn so much more than just music, and I

Music is for all students because it

helps them become better humans who

become very close. So close that I see

are expressive, understanding, empa-

her best friend. Music is what brought us

much more. If all people were involved

her as my little sister, and she calls me together and allowed me to get to know

such an amazing person. I see the way she works harder than most to learn her music

teachers.

of her! If it weren’t for band, I probably

get to know this wonderful person and

I took responsibility for helping her meet

Florida through

gives her something to be proud of. She

as a freshman. She was new to the area

and didn’t know anyone in the band or

education in

thetic, collaborative, kind, inclusive, and

with music during their formative years,

imagine how great our world would be!

Join or Renew TODAY …

For more information, visit:

FMEA. org/ partners

and get better. I see the joy and excitement AUGUST 2026

19

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?” Anthony’s essay appears here with minor editing and the addition of a headline.

Building Confidence and Community Through Music

I

BY ANTHONY TR AN

I want to pursue the arts as a music edu-

male first-year student in my class, which

ing rehearsals in my high school choir,

stone of society. It helps build strong and

my voice and where I fit in. For the first

teaching piano to younger students, I find

cator because I believe music is a cornerhealthy communities by bringing people of all ages and backgrounds together.

Music has always been a constant in my

life. Even on my worst days, it has been

made me extremely self-conscious about

month, I refused to sing. Mouthing words, hiding behind other voices, and in general being completely uninvolved in class.

Over time, that began to change. With

an outlet for expression, especially during

the patience and encouragement of my

my own emotions.

I started staying after school to practice,

times when I could not fully understand During the pandemic, I moved from

my hometown of Denver, Colorado, to Florida just one week before school started. I had no time to choose my electives, so a school counselor who had no knowledge of my interests placed me in

band and chorus, two classes I had never planned on taking. When I saw them on

my schedule, I dreaded starting school. I even remember begging my dad to let me

transfer to a different school. Music was

mine my voice part. It felt terrifying. I

stumbled through it and replayed that moment in my head for days thinking that

I looked stupid for trying. I was the only

20

FLORIDA MUSIC DIRECTOR

music has given me.

I know there are many students who

and hesitant to use a voice they do not

fident. I began to let myself be involved

in something I once avoided. I raised my

hand to read rhythms in choir, played scales on the oboe in front of my class,

and even started participating more in

my STEM classes. By the second half of eighth grade, I had developed a passion

to speak, unsure of where they belong, yet understand. Music has the power

to change that. It creates a space where

students can grow, express themselves,

and feel seen. I truly believe that through music, every student can find their own unique voice.

Music should be available to all stu-

for something I once feared. That shift

dents because it gives them that oppor-

I realized I wanted to pursue music

but as a way to express themselves,

changed my life.

me, but also my peers. They nurtured my

sentences in front of the class to deter-

I am today without the confidence that

and each day I became a little more con-

others filled me with anxiety.

my director asked me to say a few simple

love for music. I would not be the person

feel the same way I once did, afraid

education after seeing how my choral

I will never forget my first week when

real joy in helping others discover their

directors, I slowly found comfort in music.

not something I identified with, and the idea of performing or singing in front of

participating in my community choir, or

and band directors impacted not only

growing interest in the arts with patience and kindness, and that support has stayed

with me ever since. They showed me what

it means to be an educator who truly makes a difference.

Now, I have had opportunities to expe-

rience that role myself. Whether it is lead-

tunity. Not just in the sense of singing, connect with others, and feel under-

stood. Choral education in particular helps students grow beyond the classroom. It builds confidence, teaches teamwork, and supports mental health by

giving students a safe space to express their emotions. Music is not just a class.

It is an experience that can shape who a

student becomes. Choir is different from many other classes because it depends

on everyone working together.

connections. Personally I have

the group only sounds complete

all seem to chase the same trait,

met hundreds of people, and they

Each person’s voice matters, and

kindness. Choir can become a

when everyone is contributing.

place where students feel accept-

Students learn how to listen to

ed and supported. For students

each other, adjust, and support

who might feel isolated within

the people around them. These

their personal lives, this sense of

are skills that can help in school and in life. It also teaches stu-

dents that even if they are not the loud-

Choir also helps build confidence over

ence. Feeling like you are part of some-

nervous or unsure, especially when it

and how you experience school and help

est, they still play an important role.

time. Students might start out feeling

choral education is emotional expression.

comes to singing in front of others. But as

One of the most important parts of

Many students deal with stress, anxiety, or feelings they do not know how to

explain. School can sometimes feel over-

whelming, and not every student feels comfortable talking about what they are

going through. Choir gives students a

safe place to express those emotions through music. Singing can help release

stress and make students feel calmer

they practice and improve, they begin to feel more comfortable using their voice.

Performing and participating in class can

help students feel more confident, not just in choir but in other classes too. That confidence can carry over into speaking

in class, working with others, and trying new things.

Another important part of choir is the

and more in control of their emotions. It

sense of community it creates. Students

feeling in a healthy way.

together, which helps them build strong

allows them to connect to what they are

belonging can make a big differ-

spend time rehearsing and performing

thing can improve how you see yourself you get through hard times especially when feeling lonely. Even though music

has so many benefits, it is often treated as less important than other subjects. Some

schools cut choir programs or do not give them enough support. When that hap-

pens, students lose more than just a class.

They lose a space where they can express themselves, manage their stress, and feel

like they belong. The stigma of music

being a backburner to a quality education is something that I would love to help change throughout schools.

MARK YOUR CALENDARS FOR NEXT YEAR’S

PROFESSIONAL LEARNING CONFERENCE & ALL-STATE CONCERTS JANUARY 13-16, 2027

AUGUST 2026

21

Celebrating the Life of

J

Carlos R. Abril, PhD A P R I L 11 , 1 9 7 0 – J U N E 3 0 , 2 0 2 6

BY A L I C E - A N N DA R ROW, P H D

… a leader who elevated those around him, helping others find confidence in their own ideas while always treating them with respect.

John Quincy Adams wrote that lead-

ers inspire others “to dream more, learn more, do more, and become more.” By

that measure, few have led as faithfully

or as generously as Carlos R. Abril. Carlos

devoted his life to a simple but pro-

found belief: Music belongs to everyone.

Throughout an extraordinary career as

As an academic leader, Carlos men-

a gifted leader and scholar, mentor and

tored countless graduate students, junior

by reminding us that music education is

known for investing his time generously

advocate, he transformed countless lives about creating opportunities for every

child to discover beauty, connection, identity, and joy.

When Scott Evans asked me to write

this tribute to Carlos, my first thought

was how could anyone possibly convey the deep loss we are all experiencing at Carlos’s passing? It is impossible. Though

still a daunting task, perhaps through personal experiences with Carlos and letters I gathered in support of his nomina-

tion for the 2024 FMEA Collegiate Teacher of the Year, I can convey, however imperfectly, the gift he was to us as a leader, colleague, educator, friend, and intellect.

Carlos as a leader. Carlos’s leadership

spanned two nationally recognized academic institutions, national and inter-

national music education organizations,

numerous editorial and advisory boards, national research panels, and chairmanships of the most influential committees within all these organizations and boards.

22

faculty, and practicing teachers. He was in others’ success, offering careful guid-

ance, thoughtful feedback, and genuine

encouragement. Many who worked with him describe him as a leader who elevat-

ed those around him, helping others find

Through his leadership and prolific

publications, Carlos became one of the most respected voices in music educa-

tion. His research challenged educators to remove barriers that prevented stu-

dents from participating in music, while

inspiring future music educators to build classrooms rooted in equity, cultural understanding, and genuine human con-

nection. His scholarship reached across continents, influencing teachers and

researchers across the nation and around the world. His intellect impressed us all,

but it was his humanity that captured our hearts.

Carlos as an educator. Carlos’s humanity,

confidence in their own ideas while always

though ever present in his relationships,

vice to major music education organi-

room. As I gathered letters from former

treating them with respect. Through ser-

zations, editorial leadership, conference presentations, and collaborative research, he helped shape conversations that influenced music educators across the United States and around the world. Colleagues

looked to him not only because of his

expertise, but because he listened carefully, welcomed differing perspectives,

and sought solutions that benefited the broader community. Perhaps most impor-

tantly, Carlos led by example. He demonstrated that true leadership is grounded

in service and empowering others. He understood that leadership is less about

control than about leading others to grow, question, and contribute.

FLORIDA MUSIC DIRECTOR

was observed most clearly in the class-

students for his nomination as FMEA Collegiate Teacher of the Year, I was struck by a consistent theme: Carlos made every

student feel seen and heard. He believed

that every student’s musical journey mattered. He encouraged future music educators to embrace diverse musical tra-

ditions and to recognize the richness that different cultures bring to the classroom.

His writings, presentations, and books continue to challenge and inspire future

teachers to think more deeply about

their purpose and responsibility to every learner. He understood that meaningful

education begins with caring teachers continued on page 24

AUGUST 2026

23

Carlos R. Abril, PhD continued from page 22

who believe in the limitless potential of

their students. Perhaps Carlos’s greatest

legacy will be found in the thousands of

former students who now carry his ideas into classrooms. Through them, millions

of children will experience music in ways that are more inclusive, more meaning-

Carlos leaves behind a profession that is wiser because of his scholarship, stronger because of his leadership, and kinder because of his friendship.

ful, and more reflective of the diverse

One of our first conversations was about

in every educator who chooses oppor-

in music theory my freshman year in

world they inhabit. His influence echoes tunities over exclusion, or who chooses

to support students who are belittled or harassed because of their differences.

Carlos as a colleague. As a colleague,

Carlos Abril was admired not only for

his remarkable scholarship but also for his generosity, humility, and genuine-

ness. He approached professional relationships with warmth and respect, making everyone—from new graduate stu-

dents to senior faculty—feel valued and

heard. Colleagues often remarked that his door was always open to offer thought-

ful advice, careful feedback, or words of encouragement. He was an exceptional collaborator who believed that the best

ideas emerged through shared inquiry and mutual respect. He listened intently,

welcomed diverse perspectives, and fostered an atmosphere of trust in which col-

leagues felt comfortable exchanging ideas.

Those fortunate enough to work alongside him speak of a colleague who encour-

aged others and mentored generously.

Whether interacting with undergraduate

students, guiding doctoral researchers, or

collaborating with fellow scholars, Carlos

him both a dependable colleague and a cherished friend.

Carlos as a friend. Carlos and I shared a

close friendship, as did so many others.

24

FLORIDA MUSIC DIRECTOR

themes of cultural identity, place, and

belonging. As a personal tribute to Carlos,

I read Blanco’s poetry yesterday—on the 4th of July. In doing so, I was reminded

to the national anthem and struggling

experiences growing up in the same Miami neighborhoods, attending the

same schools, and sharing many of the same musical experiences. We both chose

to return to Dade County to begin our teaching careers. Growing up and teach-

ing in Miami gave us an appreciation for diversity and multiculturalism that

we carried with us into our professional

careers. Perhaps what bonded us most was our shared commitment to margin-

ing up in multilingual Miami listening

to understand its meaning. In his article

Functions of a National Anthem in Society and Education (CRME, Spring 2007, No. 172), he reminds us that music, like all art

forms, is open to multiple meanings. He encourages us to provide students with opportunities to explore as many per-

spectives as possible, and to use music as an open space for inquiry, dialogue, and mutual understanding.

In closing. The measure of a remarkable

alized populations and our advocacy for

educator is not only what they accomplish

classrooms. Though well over a decade

long after they are gone. Carlos leaves

their inclusion and acceptance in music

younger and heavily committed profes-

sionally, he still texted to set a time for

a meal or drinks as we approached the dates of our annual conferences. One of

Carlos’s most endearing qualities was his devotion and loyalty to friends. I will forever miss his friendship, late-night texts,

and our conversations on Miami culture, politics, theater, home renovation, and the

during their lifetime, but what continues behind a profession that is wiser because

of his scholarship, stronger because of his leadership, and kinder because of his

friendship. His life’s work as an educator

reminds us that music has the power to unite and to reveal our shared humanity.

For that enduring gift, and for the countless lives he enriched, we honor him.

Finally, I believe Carlos would want

marginalization of our most vulnerable

his friends to know he was at peace in

Carlos as a humanist and intellect. Outside

poetry he loved. There was no poor me,

youth.

delighted in architecture, art, film, litera-

of humor, and thoughtful presence made

in Miami. His work explores universal

college. We later bonded over our lived

he remained approachable, collabora-

around him. His calm demeanor, sense

born to Cuban-exile parents and raised

of Carlos’s reminisces as a child grow-

his professional accomplishments, Carlos

tive, and deeply committed to the people

of poetry by Richard Blanco who was

his uncle, who was my favorite GTA

treated everyone with respect and dig-

nity. Despite his many accomplishments,

belongings is a gift from Carlos, a book

appreciated beauty in all its forms. He ture, travel, and the creative process itself.

These passions reflected the intellectual curiosity that made him such an engaging

teacher and companion. He approached life with wonder, always eager to discov-

er, to learn, and to share those discoveries with friends. One of my most treasured

his final days and found solace in the

why me. In true reflection of his charac-

ter, he expressed only appreciation for his friends and colleagues, profound gratitude for the love of his family, the devo-

tion of his sisters, and the treasured gift that was the love of his life—his beloved husband, Miguel. In turn, Carlos will be

remembered by all of us with profound

gratitude, deep admiration, and lasting affection.

IMMEDIATE

FMEA “Immediate Impact” Music Educator Spotlight

IMPACT

Recognizing outstanding accomplishments of early-career music educators

RYAN LUMM

Chorus and Orchestra Teacher Legacy Middle School Orange County Meet Ryan Lumm, chorus and orchestra teacher at Legacy Middle School. Mr. Lumm has wrapped up his first year

as a Florida music educator, during which he restarted the choir program and expanded musical opportunities for

orchestra students. Under his leadership, both orchestra

and chorus hosted their first stand-alone concerts since the pandemic. Legacy Middle School, a 2026 FMEA Secondary

Music Enrollment Award winner, has seen enough program

growth that Mr. Lumm will teach only chorus next year, with another full-time music faculty member coming on board to lead orchestra. Mr. Lumm also secured two grants from the Phoenix Foundation of Central Florida,

purchasing 20 new instruments for the orchestra

department and enhancing the audio capabilities of Legacy’s performing arts space. In May, he

was invited to share reflections on his first year of teaching with Orange County Public Schools

Superintendent Maria Vazquez, EdD, on her weekly program, Mondays with Maria. Mr. Lumm’s strong

belief in the power of collective music-making to

create a sense of belonging has fueled the growth

of both the chorus and orchestra programs, helping students feel welcomed as themselves.

LET US BRAG ABOUT YOU!

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and materials for yourself or a colleague who exemplifies the criteria for educators making an immediate impact on their schools, communities, and students.

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27

F E AT U R E

Building Community and Culture

IN THE MUSIC PROGRAM

M

BY Z ACHARY THOMPSON

Music education has the potential to impact people in

lifelong learners. Students who possess this type of out-

play an instrument. Building community and culture in

tion and to seek out additional opportunities to grow as

ways that go beyond students learning how to sing or to the music program creates an environment for increased

learning, greater community involvement, and deeper

musicians.

It is important to first establish the role and benefits of

understanding of other people’s views for the students

music in the community. Music has the power to bring

out their career, may face the challenge of either building

otherwise exist in the community (Weatherly, 2025). It is

and the music educator. Many music educators, through-

or rebuilding a music program. West (2023, p.51) found that “(re)building hinges on a series of student choices: whether to initially enroll, whether to productively

engage once there, and whether to come back in subsequent years. Any break in this chain, any adverse choice,

is a potential setback.” Once students are enrolled in the

people together and make connections that might not through these connections that people can come together and find more in common with one another. These rela-

tionships serve to help make the community stronger and more connected. This article seeks to provide music educators with information on the concepts of appreciative inquiry and culturally responsive teaching to help build com-

music program, it is the task of the music educator to

munity and culture in the music program.

to return for subsequent years. West (2023) also suggested

Appreciative Inquiry

in musical activities outside of the classroom such as rock

ry to assess their music program. The appreciative inquiry

create a successful environment that encourages students that music educators encourage their students to engage

bands, church choirs, or other community music groups.

Music educators should encourage their students to be

28

look should be more likely to continue with music educa-

FLORIDA MUSIC DIRECTOR

Music educators can use the process of appreciative inqui-

process helps music educators discover the assets and continued on page 30

AUGUST 2026

29

Building Community and Culture continued from page 28

resources within their program and within the commu-

Here is a practical example of using AI for my school’s

nity. San Martin (2023, p.1) defined appreciative inquiry

recent building addition for a new choir and modern wor-

are’ and ‘what we want.’” Music educators who use the AI

for how to best use the new music building. Next, I dis-

(AI) as “a framework that helps people discover ‘who we

process can find out what is going well and what needs to be improved within their program. Rather than being

a task-oriented model, AI focuses on the positive impacts and is more people-oriented in nature.

According to the Center for Appreciative Inquiry

(2026), AI can be broken down into the five “Ds”:

ship band room. I began by defining the scope of inquiry covered the positive aspects for both my teaching practice

and for student engagement and enrollment in my music classes. Then, I dreamed of ways in which the new build-

ing could best serve our school community and provide a

positive space for music learning and enjoyment. Next, I designed specific events to introduce it to the students and

D E F I N E , D I SCOV E R , D RE A M , D E S I G N , A N D D E S T I N Y.

30

FLORIDA MUSIC DIRECTOR

greater community. This stage

in the AI process has the most concrete results, such as creating new events, implementing new teaching methods, or

forging new educational partnerships. Finally, I lived my

has already been approved for content and appropriate

forth throughout the AI process. When a music educator

choose which song they would like to learn and perform,

destiny by implementing the ideas and events brought reaches the final stage in the AI process, the work does not

stop. Music educators should then have ongoing reflection

on the implementation of the new practices or events and

style for the group’s ability level. By having students

they take more ownership of the learning process and have increased classroom engagement.

seek to further increase their effectiveness.

Conclusion

Culturally Responsive Teaching

is a challenging yet important task. Music educators who

It is important for music educators to teach the whole child

and not simply disseminate concepts and knowledge broadly to a class. McKoy and Lind (2023, p. 170) defined

culturally responsive teaching as a system that “uses the cultural characteristics, experiences, and perspectives

of ethnically diverse students as conduits for teaching them more effectively.” Music educators who identify and appreciate their students’ cultural backgrounds can

increase the students’ level of engagement throughout

the learning process. To build a culture of connection within the ensemble, music educators should be willing to

Building community and culture in the music program

systemically integrate the students’ culture into the learn-

ing process build deeper professional relationships. As a result of culturally responsive teaching, students’ engage-

ment and sense of ownership are elevated in the music classroom. Music educators can use the five “Ds” of AI to

find out what is working well, what needs to be improved,

and how to better plan for the future. All music educators, regardless of student age level or ensemble type, can inte-

grate the concepts discussed in this article to help lead and teach their students as individuals.

show vulnerability when appropriate. Maunu (2019, p. 65)

Zachary Thompson is the middle school

director to encourage the development of vulnerability

band teacher at Covenant Day School in

wrote, “The most important thing you can do as a choral

in choir is to be vulnerable yourself. Share things about yourself and freely talk about difficult things.” This is

not to suggest that music educators should share inappro-

priate information about their personal lives. However,

music educators who are willing to be vulnerable when appropriate encourage an environment where students will be more open to connecting with others.

One way for music educators to integrate their stu-

dents’ cultures into the music program is to allow stu-

and high school choir director and worship Matthews, North Carolina, and the director of

music ministry at Dilworth United Methodist Church in Charlotte, North Carolina. He is also a DME student at Liberty University.

References Abeles, H. F., and Custodero, L. A. (2022). Critical issues in music education: Contemporary theory and practice. New York: Oxford University Press.

dents to help select repertoire for study and performance.

Center for Appreciative Inquiry. (2026, January 16). What is appreciative inquiry (AI)?. https://centerforappreciativeinquiry. net/resources/what-is-appreciative-inquiry-ai/

ertoire outside of the traditional music history canon

(Allsup and Shieh, 2021). Even while under guided param-

Maunu, C. (2019). Let’s get real: creating a culture of vulnerability in choir. The Choral Journal, 60(1), 63–7. https://www.proquest. com/scholarly-journals/lets-get-real-creating-culturevulnerability/docview/2256069040/se-2

case their culture through repertoire selection often show

McKoy, C. L. and Lind, V. R. (2023). Culturally responsive teaching in music education. New York: Routledge.

Providing several options of repertoire to a small

San Martin, T. (2023). Leadership playbook for addressing rapid change in education: Empowered for success. New York: Routledge, https://doi.org/10.4324/9781003350804

Culturally responsive teaching helps to integrate rep-

eters set by the music educator, students who can showmore ownership and engagement in the learning process.

group of students is a practical way to integrate culturally responsive teaching into the music classroom. These students could be your seniors, student leaders, or highest grade level if you teach multiple grades. For the spring

concert, I often offer the section leaders a choice of songs from popular musicals or pop songs. Each of the options

Weatherly, K. I. C. H. (2025). What is music for?: The power of community music programs. Journal of General Music Education, 38(2), 33–35. https://doi.org/10.1177/27527646241284603 West, J. J. (2023). How to (re)build the secondary school choir: Cues from a recent case study. The Choral Journal, 64(1), 49–51, https://www.proquest.com/scholarly-journals/how-re-buildsecondary-school-choir-cues-recent/docview/2847943471/se-2 AUGUST 2026

31

F E AT U R E

A Practical Framework for String Instruction in the Public School Orchestra Classroom

BY KEITH DODSON, PHD

Excellence in the orchestra classroom is not accidental. Strong

ensemble performance emerges from intentional teaching, consistent expectations, and a rehearsal culture built on daily reinforce-

ment of instrument fundamentals. Regardless of the socioeconomic setting, ensemble level, or access to private instruction, students

can achieve high artistic standards when teachers provide clear expectations and meaningful technical feedback. In my experience, effective string instruction centers on five essential areas of

individual and ensemble development: tone, intonation, rhythm, technique, and student motivation.

Tone Production

Tone production is, to my ear, the most immediate indicator of

ensemble quality. The right hand controls the initiation, sustain,

and release of sound; therefore, instructors must prioritize bow

technique and sound production in individual students, across multiple instrument groups, on a daily basis. Good tone is the

prerequisite to proper articulation, style, character, and musical expression. Expectations for tone quality cannot be vague or occasional. Ideally, tone will be modeled and assessed daily.

continued on page 34

32

FLORIDA MUSIC DIRECTOR

Building Excellence in the

Orchestra Classroom

AUGUST 2026

33

Building Excellence in the Orchestra Classroom continued from page 32

play in tune. Great teachers expect

students to play in tune. This distinction underscores the importance of

accountability in ensemble instruction.

Students should sing regularly in

rehearsal to experience and internalize pitch awareness. Linking singing with technical manipulation is

even better. For example, have stu-

dents sing note names, solfège, or scale degrees while practicing the left-hand mechanics on the finger-

board. Students also benefit from

singing intervals (whole step, half step). This reinforces the usefulness

of block fingering, where the half

and whole steps can be visualized and set. Teachers should be willing to isolate sections or individual players when pitch inconsisten-

cies arise. Intentional and regular spot-checking allows problems to be

ly, rather than subtly reinforcing the intonation errors.

advance to nuanced creation, controlled sustain, and

creates an expectation for active listening and active cor-

ing of bow hold for all instruments. This can gradually artistic release of sound. Additionally, posture significant-

ly affects the range of joint movement, extension of the

Implementing this regularly in the orchestra culture rection on an individual level.

Effective directors do not ignore intonation issues;

arm, tension of the body overall, and the bow angle on the

instead, they address them directly and systematically.

students access to all the contact points. Finally, combin-

efficiently. If not, correction must occur immediately

string. Correct posture, modeled and assessed daily, gives ing competent bow holds with proper posture, students

can achieve various bow strokes (legato, detache, martele,

spiccato, etc.) with varied levels of contact and in different parts of the bow.

Directors should reference evaluative tools such as the

American String Teachers Association (ASTA) curriculum framework to reinforce these expectations. When students

believe and understand that there is a purpose to making technical changes to the right hand, they will buy in quickly.

Developing Intonation

Accurate intonation is not achieved through chance;

rather, it develops through expectation, repetition, and

active listening. Good teachers want their students to

34

identified and corrected immediate-

The often overlooked first step requires the model-

FLORIDA MUSIC DIRECTOR

If students demonstrate mastery, rehearsal can continue before inaccuracies become habitual.

Rhythm and Subdivision

Rhythmic precision serves as the organizational framework for ensemble performance. Students must understand not only what rhythms they are performing, but

also how those rhythms fit within a larger subdivision structure. Conducting gestures alone are insufficient for developing rhythmic independence.

Individual Understanding

A regular question I lead with when teaching conducting is “What are you subdividing?” The reality is that

most young musicians, including undergraduates, forget the critical nature of subdivisions. Students should

consistently identify subdivisions and understand how they may shift between measures or musical styles.

Effective directors reinforce rhythmic understanding

through deliberate repetition, slow practice, and varied rhythmic exercises. For example, the director can have students speak subdivisions (1+2+, 1e+a, 1-la-li) or sim-

plify to percussive sounds such as “cha-cha.” Much like experiencing intonation in the body via singing, many

students may benefit rhythmically through body move-

ment. This might include clapping, patting, stomping, walking, swaying, etc., to reinforce pulse while singing or saying rhythms.

Ensemble Understanding

As individual students gain mastery of pulse, subdivi-

where technical reinforcement is frequent can create an

group can better develop an ensemble pulse. For this

information, organizing it in their own mind, and produc-

sions, and utilizing the left hand while counting, the

reason teachers should insist on breathing as preparation

for entrances as well as visual connection across sections.

Rhythmic clarity in the ensemble is improved by student

awareness of the bow usage across the ensemble. Teachers may reinforce this awareness by regularly holding unconducted rehearsals. This allows the teacher freedom to roam the room to model, assess, and assist.

environment of safety for students as they are acquiring

ing it on the instrument. The process is quick and smooth for some, but frustrating and slow for others. The won-

derful thing about reinforcing technique often is that the students who “get it” will start to transfer concepts deeper

and farther, eliciting greater proficiency and detailed playing. The students who have yet to “get it” will have a chance to understand for the first time.

One approach to balancing and reinforcing technical

Technique to Artistry

instruction can be thought of this way: For many left

and right hand skills. Many teachers may make assump-

technique to be addressed (or vice versa). A few examples

Technical instruction needs to be balanced between left tions about student understanding. A classroom culture

hand (

) techniques, there is a relative right hand (

of this may include:

Bow hold thumb placement

opportunity to quickly reinforce thumb shape/ placement/pressure on the neck

Shifting speed

opportunity to discuss bow speed change as the hand moves

Dynamic contrast using weight

opportunity to remind students not to press fingers harder than necessary on fingerboard

Change of contact point

opportunity to remind students the finger shape, angle, and point of contact with the strings is part of tone production and intonation

Finger facility in fast passages originating from larger arm/joint movement

)

opportunity to remind students of passive finger motion in bow continued on page 36 AUGUST 2026

35

Building Excellence in the Orchestra Classroom continued from page 35

Great teachers never assume complete understanding

ocre. Classroom culture is derived from the educator’s

need constant repetition of hearing, seeing, and imple-

not meaningfully contribute to student success. Positivity,

or ignorance. The only safe assumption is that students menting technique in both hands over time as they relate

to each other. Repetition of technical instruction leads to understanding leads to execution leads to transfer of ideas across the scope of the instrument leads to mastery leads to a consummate student musician.

Motivation and Mindset

Successful orchestra teaching requires directors to adopt a mindset grounded in patience and repetition. The willingness of an educator to always meet students where

they are, while continually calling them to a higher level of mastery, is critical to a healthy teacher-student relationship. Students will feel safe to try, fail, succeed, and all of the in-between.

informed by the teacher’s own musicianship and technical mastery, alongside their ability to communicate these

concepts with patience, will inspire and retain the young musicians as individuals and as an ensemble.

Conclusion

Building excellence in the orchestra classroom requires

more than individually talented students. Exceptional

ensembles emerge from a culture of intentional teach-

ing, clear expectations, and continual reinforcement of foundational skills. Tone, intonation, rhythm, technique, and motivation must all be addressed systematically and consistently.

When directors establish high standards and provide

This mindset also influences rehearsal pacing and

meaningful follow-up, students experience success and

ble and observe students closely. It is advisable to begin

excellence becomes not an accident, but an expectation

structure. Directors should move throughout the ensem-

rehearsal only when all students demonstrate proper posture, bow hold, and physical readiness. That class-

recognize their own improvement. In this environment, embedded within the daily rehearsal process.

room standard alone will procure ample opportunities to

Keith Dodson, PhD, is director of orches-

Student motivation is foundational to successful orches-

in Mount Pleasant, Michigan. He completed

review the bow hold.

tra teaching. Students who know their teacher as the per-

son who will take them where they are and give them

the information and opportunities to get better every day will be easier to retain. It is not fun for anyone to be medi-

36

mindset and its effect on students. Vapid positivity does

FLORIDA MUSIC DIRECTOR

tral activities at Central Michigan University his PhD in music education and orchestral

conducting at Florida State University. Dr. Dodson will serve as a conductor of Florida and Texas all-state orchestras in spring 2027.

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FLORIDA VOCAL ASSOCIATION

Jeannine Stemmer President

Finding the Balance couple of weeks ago, my husband and I enjoyed

a much-needed date night.

We started the evening with

dinner at an Italian restaurant and ended it at the movies to see Toy Story 5.

I know what you’re

thinking: a cartoon for a

romantic night out? Before

you judge, let me assure you, it was a great movie.

Without giving away

too much, one of its central

themes explores the growing tension between advanced

technology, social media, and digital devices versus the

retain information more

people ultimately learn best

decision-maker, conduct a

play. It reminded me of a

is minimized.

from screens.

before introducing a new

simple power of imaginative conversation that is becoming increasingly important in education.

There’s no question that

technology is an incredible

tool. It has made our world smaller, faster, and more

efficient. But it also raises an important question: What might we be losing in the process?

Researchers continue to

study the effects of screen

time on learning, attention,

and cognitive development.

School districts across

the country are debating

whether personal devices

effectively when technology

40

Toy Story 5. Jessie reminds us that

cognitive

when we simply

neuroscientist

play, we unlock

and former

imagination and

classroom

teacher Dr. Jared

Cooney Horvath,

HORVATH

creativity. Yet the

movie doesn’t portray

whose research focuses on

technology as the enemy.

important observation. He

both the benefits and the

how humans learn, made an noted that according to his

research, today’s students are, on average, less cognitively capable than previous

generations at the same

age, stating, “Generation Z

Instead, it acknowledges

dangers of our digital world.

The takeaway isn’t to reject technology; it’s to find balance.

So, what does that mean

for us as choral music

simple cost-benefit analysis device, app, or platform into

your classroom. Ask yourself:

Does this technology enhance learning, or is it simply

replacing meaningful human interaction?

Balance

Keep the pendulum from

swinging too far in either

direction. Use technology where it genuinely serves instruction, but continue

to prioritize active musicmaking, face-to-face

collaboration, discussion, and creativity.

educators?

Equip

before them.” His research

Understand

while artificial intelligence

technology is a powerful tool,

thoughtfully. Like any good

eliminated laptops and other after finding that students

one of the lessons in

Congress,

is the first generation to

screens during lectures

That message echoes

Recently, in

testimony before

belong in classrooms. Many university professors have

from other people and not

underperform the generation suggests that while

FLORIDA MUSIC DIRECTOR

Approach technology

Help students recognize that can be a valuable tool, it

can never replace their own

FLORIDA BANDMASTERS ASSOCIATION

Michael Antmann, EdD President

I

hope you had a great summer! I always like looking online and seeing colleagues enjoying

intelligence, creativity, empathy, and critical

thinking. Those uniquely

human qualities are what

make great musicians and great people.

Model

Perhaps the hardest

challenge is for us. Screen

time affects educators just as much as it affects students.

Continue reading, creating, practicing, and engaging your own mind in the

same ways you hope your

students will. Our example is often our most powerful lesson.

As you begin this new

school year, I hope your summer has provided

the rest and renewal you

needed to inspire growth in your students. The Florida

Vocal Association’s summer conference, Voices Unite:

Unlocking Your Superpower,

reminded us that although music educators are actual

superheroes for our students, even superheroes need the

right tools and the energy to do their work well.

May one of those tools

always be the wisdom

to find the right balance

between technology and

the irreplaceable power of

human connection. After all, the most meaningful music

we make always comes from people creating together.

vacations, summer camps, professional learning, and some much-needed down time. For

me, there are always three guarantees about summer: it’s too short, too hot, and the New York Mets will be irrelevant by the first day of school. It’s also a time for reflection; reflection about last school year and what I can do to grow, both myself and my students, for next year.

Goal setting is an essential ingredient for success. What do you hope to accomplish this

year? What improvements do you hope to make? There is no wrong answer; we all have

different definitions of success. Of course, goals without a plan or a system are just hopes.

Maybe you want to play more challenging music this year. Well then, what can you change or add to your daily classes to set students up for success? Maybe you want to spend less time on campus after school. What tasks can you delegate, automate, or eliminate to make this possible? Setting goals now will allow you to align your actions with your vision.

Of course, even the best-laid plans must adapt when the environment around us changes.

Anxiety seems to be high heading into the new year. The budget crisis is real; regardless of why it is happening, it is affecting all of us. The lack of funding is creating significant

challenges. Challenges, however, are opportunities for growth in disguise. Throughout my career,

we’ve been through a lot: post-9/11 challenges, the Great Recession, the COVID-19 pandemic, and now this. It’s going to be OK. I know this because our professional community is strong.

Through collaboration, we learn and grow together, and we will be even stronger on the other side. We’ve got this! Collaboration is the antidote to adversity.

I believe the value of our organization lies in the strengths of all our individual members.

Every one of us has something to learn and something to offer. If you are a beginning teacher, seek mentorship. Surround yourself with people who challenge and inspire you to do better.

Be wary of commiseration. At the same time, don’t be afraid to speak up and get involved!

Your voice is valuable.

I want to take a moment to thank you for the opportunity to serve our amazing

organization. One of the things I am most excited about this year is the

opportunity to focus on our younger members and expand opportunities and resources for both our beginning teachers and college student members.

The new FBA Future Directions Committee, chaired by Amy

Wacksman, consists of teachers who are in their first five years of

teaching. The committee will help us create opportunities for younger

members to be involved, give them a forum to share their thoughts and concerns, and help us create and program content that will meet the

WACKSMAN

needs of all our members. Our FBA Pre-Service Teachers (Collegiate) Committee, chaired by Chandler Wilson, is going to lead the way in

creating opportunities for our college-student members. I am looking forward to getting them involved before they start teaching, helping

them build a support system for when they start teaching, and making sure they are set up for success when they get that first job.

Our summer conference theme was Inspiring students through pedagogy,

performance, and passion. Be passionate about what you do! Your students and their families will be glad you are and will follow your lead.

AUGUST 2026

WILSON

41

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Meghan Alfaro President

W

ow! Whenever August arrives I am always

to their districts with fresh

Seminar

important elementary

continue to move the needle

June 10–11, 2026, marked the

er school year has begun.

inaugural Elementary Music

August is filled with ner-

Leadership Seminar at the

vousness, excitement, and a

bit of overwhelm as everyone

rushes to get their classrooms

and lesson plans ready for the young people they are about

to teach. I am excited to begin all the amazing ways FEMEA is working to support you!

music education in their

Music Leadership

a bit surprised that anoth-

this school year and to share

Inaugural Elementary

Florida Hotel in Orlando.

Sixteen elementary music teachers from all over the

state of Florida gathered to

discuss leadership skills, to

learn more about themselves as leaders, and to set action

plans to support elementary

local communities. Several music needs rose to the

surface during the seminar, including local music

education advocacy, principal education about elementary music, local professional

learning opportunities, and

ideas and inspiration to

in support of elementary

music education in Florida. I am looking forward to next

year’s seminar and hope you

will consider applying in the spring.

creating local professional

Membership Recruitment

elementary music teachers.

FEMEA understands that

learning communities for

The participants went back

& Mentors

paying for membership and attending the conference

can be a financial challenge.

We have been working with FMEA Executive

Director Scott Evans and

the FMEA Executive Board to develop materials that can be presented to your

principal to request assistance with paying for your vital professional learning

organization membership.

2026 ELEMENTARY MUSIC LEADERSHIP SEMINAR PARTICIPANTS Meghan Alfaro

FEMEA president

Pinellas

Joshua Argueta

Academy for Innovative Education

Miami-Dade

Dan Browne

Van R. Butler Elementary

Walton

Amanda Griffo

Horizon Elementary

Volusia

Julia Horton

Reddick-Collier Elementary

Marion

Mary Johnson

South Lake Elementary

Brevard

Kenneth Kirkland

Patronis Elementary

Bay

Darrius Langston

Millennia Elementary

Orange

Kevin Liotta-DeVivo

Roland Park K–8 Magnet IB World School

Hillsborough

Kyra Livingston

PVPV-Rawlings Elementary

St. Johns

Emerson Oliver

Norcrest Elementary

Broward

Melinda Prater

Brentwood K–8

Sarasota

Caroline Senko

Forest City Elementary

Seminole

Shannon Stem

FEMEA president-elect

Bay

Sherry St. Petery

Liberty Magnet School

Indian River

Jennifer Sullivan

FEMEA executive director

Orange

42

FLORIDA MUSIC DIRECTOR

Please check our website to download a letter for your principal detailing all the

benefits of membership and

why it’s so beneficial for you

to join. Most importantly, tell

a friend so we can add to our elementary music teacher

ranks. We can be the largest component in FMEA if we

each get two more members to join us.

We are also thrilled to

introduce a new elementary music mentorship program under the direction of our

member engagement chairs,

Jess Gronberg and Christine Marr. If you are a teacher

2027 All-State Information

DEADLINES

Paperwork deadline

September 12, 2026

Audition upload deadline

September 24, 2026

Selected students’ materials October 23, 2026 fees & participant contracts due

in need of a mentor, please

enthusiasm. The All-State

femea.flmusiced.org. You do

Thursday, January 14, 2027,

email Jess Gronberg at jess@ NOT have to be a first-year

teacher. Teachers at any point in their careers may need

a mentor due to changes in student population, a new school, changes in your

school structure, and for

many other reasons. We are here for one another.

2027 All-State Information

All-state auditions went live on our website on August 1, 2026. Please be sure to download the current

audition. This is vitally

important as the preview materials may not be the exact audition.

Our All-State Elementary

Chorus clinician is the one and only Rollo Dilworth.

Our choristers are sure to

have an amazing time with

this accomplished composer

and conductor. Our All-State Elementary Orff Ensemble

Elementary Chorus performs and the All-State Elementary Orff Ensemble performs

Friday, January 15, 2027, at the Tampa Convention Center in Tampa.

See deadlines above.

2026 Regionals & Rising Stars Information

The students who attend

a community to help you be

young musicians, and the

But advocating for elementary

regionals are impressive

performances are always outstanding.

Additionally, you can

nominate your promising

third graders for participation in our Rising Stars event

that happens alongside our regionals events. This has

turned into a huge success for our students, and we

encourage you to bring your

third graders for a fun day of

singing, moving, playing, and creativity. Read below for more information.

This year’s Regional Honors

Advocacy

an amazing experience for

face budget cuts, it is up to us

Ensembles are sure to be your students. All-state

ensemble placement is so

incredibly competitive that placement comes down to

0.1 of a point. Regionals exist to provide an opportunity for those students who

were so deserving of an

honors opportunity that you

auditioned them for all-state.

As Florida school districts

to remind our communities of the importance of

elementary music education.

The very best advocate for

elementary music education

is a phenomenal elementary

addition to being Orff-

certified levels trainers, they are wonderful teachers and will delight your students with their creativity and

music doesn’t have to fall on just you, the teacher.

Parents can be your biggest supporters. Thank them

for their support of their

child’s music education and include advocacy flyers in

your concert programs. Invite local decision makers to your performances and thank

them for their support, as

well. Visit FMEA’s advocacy page for helpful documents

and information. Finally, the most important thing you

can do is VOTE. Know where your representatives stand in their support of music

education and make your voice heard in your local

election by showing up to the

ballot box. Your voice matters, and it matters most for your students.

I hope you have an

music program at your

amazing start to your school

provide you with professional

wonderful things in store for

school. FEMEA exists to

learning opportunities and

year. I am excited for all the us this year!

Northern Regionals Saturday, November 14, 2026 Gulf Coast State College Panama City, Fla.

Clinicians Chorus – David Pletincks Orff – Denise Mills Modern Band – Chris Burns Rising Stars – Madison Kerr

Southern Regionals Saturday, October 24, 2026 Southeastern University Lakeland, Fla.

Clinicians Chorus – Natalie Winder Orff – Billy Ferguson Modern Band – Jonathan Casañas & Juan Tellado Rising Stars – Emily Lopez

clinicians are Shelly Smith and Kristine Wolfe. In

the best teacher you can be.

AUGUST 2026

43

FLORIDA ORCHESTRA ASSOCIATION

Building the Future of String Education Together

Andrea Szarowicz President

s another school year

beginner’s hands, every new

teamwork, and confidence.

as our keynote speaker.

our orchestra classrooms

ensemble, every student who

notes and rhythms—it

focus on building thriving

begins across Florida,

once again come alive with possibility. New violinists

nervously learn how to hold a bow, returning violists

begin developing a richer

bassists continue to provide the foundation upon which every ensemble is built.

Regardless of whether you

the foundation of an orchestra represent the future of our

advanced chamber orchestra, we all share a common

purpose: helping students

students learn perseverance, leadership, responsibility, and how to work toward excellence together.

As we begin the 2026–27

story, advocating for our

life-changing experiences that

celebrate what makes our

programs, and sharing the

only orchestra and music can Florida’s string educators

continue to be among

the finest in the nation.

Every day, teachers across

through music and retention.

is a community where

school year, I encourage each

provide.

teach beginning strings or

Every violin, viola,

every musician who becomes

must continue telling our

beauty of resonance, and

cello, and bass placed in a

discovers their sound, and

profession. As educators, we

sound, cellists discover the

discover their potential

student recruited into an

Orchestra is far more than

our state transform lives

through meaningful musical experiences, fostering

of you to take a moment to profession so special. The

relationships we build with students, the performances

we prepare, the challenges we overcome, and the memories

developing successful

programs, and creating

learning environments where both teachers and students flourish. Whether you are a new teacher looking for practical strategies or a

veteran educator seeking

fresh ideas, you will leave inspired and equipped to

make an even greater impact in your classroom.

In addition to Dr.

Walker’s presentations,

education.

sessions featuring new

the lasting impact of music

creativity, discipline,

Invest in Yourself:

Dr. Bruce Walker

Fall Conference

The FOA/FL-ASTA One of the greatest ways we continue growing

as educators is through

professional learning and

collaboration with colleagues.

Association and Florida ASTA are excited to welcome you

attendees will enjoy reading literature, college admissions guidance, Suzuki pedagogy

presentations, private studio teaching sessions, practical rehearsal and conducting strategies, outstanding

performances, networking

opportunities, and access to exhibitors showcasing the

latest resources available to string educators.

to the 2026 FOA/FL-ASTA

New for 2026:

October 15–16, 2026, at the

Conducting Symposium

Fall Conference, taking place Hilton Orlando.

This year’s conference

promises to be one of our

most exciting professional development events to

date. We are honored to

welcome Dr. Bruce Walker FLORIDA MUSIC DIRECTOR

orchestra classrooms,

we create all contribute to

The Florida Orchestra

44

Dr. Walker’s sessions will

Pre-Conference

One of the most exciting additions to this year’s

conference is the inaugural FOA/FL-ASTA Pre-

Conference Conducting

Symposium on Thursday, October 15. Curated and

presented by the University

of Central Florida Orchestra

Program under the leadership of Dr. Robert Hasty, with

featured clinician Dr. Tiffany Lu, this unique experience will provide conducting

instruction, podium time, and meaningful feedback in a supportive learning environment.

Registration for both participants and auditors will open on August 1, 2026.

Because this is our inaugural year, we will accept only

six conducting participants.

Association remains one of

receiving podium time and

educator can make.

If you are interested in

individualized instruction,

the best investments a string

simply talking about paying

mentoring, adjudicator

registration opens. We fully

dues. We are talking about

spots to fill quickly. Auditor

opportunities.

Through FOA, students

opportunities will also be

gain access to all-state

outstanding professional

performances, honors

available and provide an learning experience for educators at all levels.

The Return on

Investment of FOA Membership

As educators, we constantly encourage our students

to invest in their growth.

The same is true for us as

professionals. Membership in the Florida Orchestra

For directors, FOA

membership provides

membership, we are not

anticipate these six participant

these programs.

When we talk about

I strongly encourage you to register immediately when

passion for music through

orchestra auditions and orchestra opportunities, music performance

assessments, composition contests, leadership

experiences, scholarships,

and statewide recognition.

These experiences often

become defining moments in a student’s musical journey.

Many students discover future careers, lifelong

friendships, and a deeper

professional learning,

training opportunities, networking, advocacy support, leadership

development, access to state

resources, and collaboration

with some of the finest string educators in the nation.

Whether you are in your first

year of teaching or your 30th, there is always something

new to learn and someone willing to help.

The return on investment

cannot be measured solely in dollars. Opportunities

w All-state orchestra audiinclude:

tions and performances

w Honors orchestra opportunities w Student composition contest w Mentoring resources w Adjudicator training w Music performance assessments (district and state) w Leadership recognition through Rising Star and

w Professional networking Hall of Fame awards

and collaboration across

w Advocacy for string education w Access to district the state

leadership and statewide

w Student recognition and resources

achievement through

FOA programs and FMEA events

continued on page 46

AUGUST 2026

45

continued from page 45

Encourage Students

participation in orchestra

to Earn the Florida Fine Arts Seal As we advocate

for our students,

I encourage every

orchestra director to

actively promote the

The Florida Fine Arts

significant achievement in

and commitment to the arts throughout their secondary

and families early in their high school careers.

The Fine Arts Seal is more

than a designation placed on

achievement deserves

tool. It communicates to

recognition and celebration.

Too often, students who

qualify for this distinction miss the opportunity

simply because they were unaware of the process.

I encourage directors to

familiarize themselves with the requirements and begin

conversations with students

perseverance, and

and communities.

discipline, leadership,

education in your schools

excellence.

Be your program’s chief

Why do we need

students’ accomplishments,

during difficult times?

perform beyond the walls

education in Florida is bright.

education. It serves as a

visible reminder that artistic

importance of string

The future of orchestra

Seal recognizes students who have demonstrated

develops creativity,

to remain positive

Florida Fine Arts Seal.

a diploma. It is an advocacy parents, administrators, school boards, colleges,

Advocate for the

Our classrooms are filled

with talented students. Our profession is supported by passionate educators. Our organization continues to develop innovative

opportunities for teachers and students alike.

As we move through the

storyteller. Share your

celebrate their successes,

of your school, and create meaningful connections

throughout your community.

The more people experience

the impact of your orchestra

program firsthand, the more they will support, protect,

and champion it. Visibility leads to value, and value leads to sustainability.

Every violin, viola, cello,

and communities that arts

school year, I challenge each

and bass student sitting

component of a well-rounded

1. Inspire students to pursue

represents the future of our

education is an essential

education. When our students earn the Fine Arts Seal,

they become ambassadors for music education

and living proof that

of us to do three things: excellence.

2. Invest in your own

professional growth and health.

3. Advocate.

in our classrooms today

profession. Together, we

have the opportunity—and

responsibility—to ensure that future is strong.

µ

Thank you for everything

For decades, FMEA has been a leader in championing music education in Florida by providing support for local coalition building and actively supporting state legislative priorities.

GET INVOLVED! If you are interested in getting more involved in advocacy initiatives or need local support, please contact the FMEA office.

(850) 878-6844 or (800) 301-3632 jeannewrey@gmail.com

you do for Florida’s students.

Thank you for your

membership, your leadership,

and your dedication to the art of teaching.

I look forward to seeing

you at the FOA/FL-ASTA Fall

Conference and our inaugural Conducting Symposium.

Until then, have a wonderful start to the school year,

continue sharing your passion for music, and keep inspiring the next generation of string musicians.

46

FLORIDA MUSIC DIRECTOR

Research Puzzles

FMEA RESEARCH COMMITTEE

D. Gregory Springer, PhD, Chair Florida State University

FOR MUSIC TEACHERS

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

Developing Empathy in Music Classrooms

E

mpathy seems to be growing as a conversation topic both within and outside of music education. Although there

are a variety of important characteristics of effective music

teachers, empathy remains one of the most important. Helping students develop as empathic humans is also a common goal within education more broadly. Tabone (2025) explained that

(Powers, 2026). As stated by the author, “the purpose of this report was to review the literature on and closely related to empathy development in music education and to augment

music educators’ knowledge of empathy development practices within their own professional contexts” (p. 33).

Powers (2026) reviewed literature on empathy using a

“the ability to effectively interact with others, often a determi-

systematic approach by searching academic databases using

(p. 1). Because empathy is a somewhat nebulous term, it is

sources that met certain inclusion criteria from music and

nant of individual success or failure, is facilitated by empathy” not surprising that researchers and teachers have provid-

ed different definitions of this multidimensional construct.

Furthermore, some researchers have distinguished between

different types of empathy. For example, Cox et al. (2012) differentiated between cognitive empathy, the ability to take another

person’s perspective to understand their emotional states, and

affective empathy, the ability to actually feel and share the inner experiences of others (Cox et al., 2012).

Evan Powers, PhD, University of South Carolina, recently

published a review of literature on the topic of empathy

development in music education, which was published in

the journal Update: Applications of Research in Music Education

defined search terms with Boolean operators. He selected

other related disciplines (e.g., general education, psychology, neuroscience). This search process resulted in more than 90

sources that met inclusion criteria for the study. After carefully reading all these sources, he synthesized the results of this research into five themes, each of which he expounded on throughout the article:

1. Definitions, Types, and Characteristics of Empathy 2. Empathy Education

3. Musical Group Interaction and Empathy

4. Empathy in Music Ensembles

5. Empathy Development in Music Education Settings

I encourage readers to read the entire article because there

is far too much information to include in this brief column.

However, as Powers (2026) reminded music educators, “music

classrooms provide a potentially empathy-rich environment in

which teachers may engage students in empathy development” (p. 33). Therefore, it is important for music educators to learn more about research on empathy.

Update: Applications of Research in Music Education is a research journal designed for music teachers and includes bullet-point implications for music teaching and learning right at the beginning of each article. The journal is published by NAfME, and any member of NAfME will be able to access the journal for free. I also encourage you to sign up for free email alerts

References Cox, C. L., Uddin, L. Q., Di Martino, A., Castellanos, F. X., Milham, M. P., & Kelly, C. (2012). The balance between feeling and knowing: Affective and cognitive empathy are reflected in the brain’s intrinsic functional dynamics.

Social Cognitive and Affective Neuroscience, 7(6), 727–737. https://doi. org/10.1093/scan/nsr051 Powers, E. (2026). Empathy development in music education: A review of literature. Update: Applications of Research in Music Education, 44(3), 32–42. https://doi.org/10.1177/87551233251346158 Tabone, J. (2025). The development and recognition of empathy in preservice music teachers (Publication No. 31843562) [Doctoral dissertation, Florida State University]. ProQuest Dissertations and Theses Global.

on the journal’s website to ensure that you are kept “in the loop” with future research in music education as it is being published.

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

AUGUST 2026

47

FLORIDA NAfME COLLEGIATE

Welcome back, everyone!

Mark A. Belfast, Jr., PhD Advisor

One day you’ll walk into

your own classroom, capture the attention of a group of students, and realize that every late-night practice

session, score study, lesson

plan, rehearsal, and awkward first teaching experience

prepared you for that moment.

Your future students won’t

know your music theory grade or how well you performed

on a conducting exam. They

will remember how you made them feel. They’ll remember

I

University of Miami, Florida

hope you had a fantastic

Gulf Coast University, and

summer and are excited

Florida International

for the start of a new

University were

academic year. It

recognized

has been a busy

as NAfME

and rewarding

Collegiate

few months for

Chapters of

Florida NAfME

Excellence, while

Collegiate, and

we can’t wait to see

what this year brings.

MASH

Jordan Mash

(Florida International University) received

As you return to cam-

the Professional

pus, I encourage

Achievement

you to invite your

Award. The

new classmates

previous year,

to join our fami-

Florida State

ly. By becoming a

University earned

member of Florida

NAfME Collegiate,

they’ll join a commu-

LANG

national recognition

Florida continues to

NAfME Collegiate chapters

in the country. Last year, the

48

earned because students like you choose to serve

others, advocate for music and children, and make a

positive difference through meaningful relationships.

Florida’s national reputation

Achievement Award. In fact, during the past 15 years,

NAfME has recognized a

Florida Collegiate member or chapter with a national award 13 times.

FLORIDA MUSIC DIRECTOR

the relationships you built, the encouragement you

offered, and the confidence you inspired. They’ll trust

you, depend on you, and grow because of your influence.

That’s because being a music teacher is about much more than teaching music. It’s

about changing lives through music.

So, get involved this

reflects the extraordinary

year. Support your NAfME

music education community,

Fall Conference. Volunteer.

people who make up our

and our K–12 students will soon benefit from your

passion, leadership, and commitment.

As the semester unfolds,

(Florida State University)

received the Professional

produce some of the best

miss a rehearsal. They are

confused, overwhelmed,

dard for the collegiate music the nation.

have perfect GPAs or never

for outstanding

service, and Kathryn Lang

education experience across

earned because students

there will be days when

nity of future music educa-

tors who are setting the stan-

These honors aren’t

you’re exhausted, frustrated, and wondering how every professor managed to

schedule a major assignment

during the same week. Those

Collegiate chapter. Attend the Advocate. Build relationships.

Laugh often and remember

that you’re part of something much bigger than your own

campus. From the Panhandle to the Keys, Florida music

education majors are preparing to shape the future of our profession, and our state

continues to lead because of students like you.

I hope you have an

moments are part of the

incredible semester. I’m

remember why you’re here.

you!

journey. When they come,

cheering for every one of

FLORIDA NAfME COLLEGIATE

Grace E. Wieckowski President

M

y last summer as a collegiate is coming to an end.

I couldn’t be more excited to go into my senior year

and see all that is to come! The start of any school year

means that we have hundreds of incoming students at uni-

versities across Florida who are getting to join FMEA for

the first time. Joining FMEA as a freshman, I had no idea of

With the start of a new school year, NAfME Collegiate

the opportunities and experiences waiting for me through

has many upcoming events in store. In the fall semester

FMEA and getting involved with NAfME Collegiate was

members of our Executive Board go out into Tri-M chapters

my membership. I can say with confidence that joining

the best decision of my college career. I’d love to share some of the accomplishments of this summer and upcoming opportunities with Florida NAfME Collegiate.

We began our jam-packed summer in May with our

annual executive board meeting. We finalized the details for our Florida NAfME Collegiate Fall Conference. In

June, I had the privilege of participating in FMEA’s Think

Tank, which is an event where music educators in varying

stages of their careers come together to discuss some of the biggest issues our industry faces and to propose potential solutions to those issues. At the end of June, I traveled

with six other Florida collegiates to Washington, D.C., to

we’ll be continuing with our Tri-M initiative, where

and share what NAfME Collegiate is about. On October

24 and 25, we’ll be hosting our Florida NafME Collegiate Fall Conference at Stetson University in DeLand. This

conference brings together collegiates from across the state to engage in professional learning and to expand their

professional network. This year’s theme is Florida NAfME

Collegiate: Impacting Music Education Today and Tomorrow. We also have the FMEA Professional Learning Conference in

January, where we’re sponsoring three sessions along with

hosting our general body meeting and holding elections for next year’s board.

Whether you’re a senior heading into your internship

participate in the NAfME Collegiate Leadership Advocacy

this year like me or a freshman reading FMD for the first

stories that tell the good news of music education. We were

this year. Let’s have a great year, and as always, go, NAfME

Summit and NAfME Hill Day. We learned to craft our

able to share those stories with our national legislators.

time, I hope you will make the most out of your experiences Collegiate!

AUGUST 2026

49

FLORIDA GUITAR EDUCATION ASSOCIATION

Christopher Perez President

W

elcome back, one and

(9-12) and Bobby Koelble

school year! I trust our mem-

leading our two 2027 All-

all, to the 2026–27

(Rollins College/UCF) (7-8)

bership enjoyed a relaxing

State Guitar Ensembles. Both

and restful summer break.

conductors have selected

I hope we are renewed and

a challenging and varied

excited to be back with our

program that will surely

students.

excite performers and

audience members alike at

2027 All-State

the 2027 FMEA All-State

Concerts. Visit FMEA.org/

Guitar Update

Join FGEA!

I encourage colleagues from around the state that teach guitar to join our newest FMEA council, the Florida Guitar Education Association.

By joining FGEA and FMEA, together we will continue to grow and support the best in music education to all students.

Visit FMEA.org/Guitar to join.

Remember the September 1

Guitar to download the

deadline to renew your

audition requirements and to

membership and to sign

register your students.

up students for all-state auditions. Please work

2027 FGEA Solo &

counterparts as FGEA will

We currently have three sites

alongside your district FOA

Ensemble Guitar Festival

again hold all-state guitar

for the 2027 FGEA Solo &

auditions through your

Ensemble Guitar Festival.

respective Florida Orchestra

Moving forward, I will look

Association districts in mid-

to guitar directors to assist

September. It’s expected that

with adding more dates

guitar directors with students

and sites around the state.

auditioning for all-state will

Please look at future Florida

help and assist FOA with the

Music Director issues and

audition process.

FMEA guitar online for more

We are honored to have

information. Current 2027 site

Dr. Stephen Mattingly (FSU)

hosts and dates include:

2027 FGEA Solo & Ensemble Guitar Festival Sites College of Central Florida Leon HS Edgewater HS

Ocala Tallahassee Orlando

Jeremy Shepard Ed Prasse Oscar Vinson

Sat., Feb. 20, 2027 Thurs., Feb. 25, 2027 Sat., Feb. 27, 2027

More dates and sites TBA soon …

INTERESTED IN TEACHING MUSIC IN FLORIDA?

We can help!

Learn more at: TeachMusic.org

50

FLORIDA MUSIC DIRECTOR

FGEA Development

In June FGEA held its first online meeting, covering

several items as we develop

our organization. I will reach out to our FMEA guitar

education teachers/directors and schedule an online fall meeting to be held in late

September/early October.

Here we will continue

Advocacy

concerns, forward ideas, gain

Washington, D.C., and participate in the 2026

discussion, share our

input, and seek assistance from our membership to

w Our FGEA Handbook w FGEA district chair nominations w FGEA Guitar Ensemble develop:

Music List committee/

w FGEA Summer editors

Professional Learning

w and more …

Conference/Workshop

Advocacy …

Moving forward, continue advocating and voicing

to local, state, and federal legislative leaders about

the importance of music

education for all students.

You can learn more here: NAfME.org/advocacy.

Continue amazing

teaching! Create a fantastic year of music-making

with your students! I look forward to working with

our membership on future

collaborations as we continue to grow FGEA.

In June I had the opportunity to travel to

NAfME National Assembly and Hill Day,

representing both the NAfME Guitar Council as

past chair and FMEA as FGEA president. I enjoyed the pleasure of addressing 100 future music

educators in the NAfME Collegiate Leadership

Advocacy Summit on the importance of how their voice, roles, and influence shape the future of

music education. Advocacy, leadership, and mentorship are all interlinked. Throughout the week, I was moved and impressed with their level of engagement, focus, and purpose, not only in discussions and meetings, but also on the Hill.

A special thank you

and shoutout to our

FMEA Executive Board in attendance at the National Assembly.

Working alongside outstanding music

educators was inspiring.

Strong in voice and

numbers, the FMEA

delegation represented Florida

well as we visited and met with congressional representatives from all 14 Florida offices on both sides of the aisle,

advocating federal funding

support for several legislative bills including Title I, II, and

IV-A programs. Productive and positive conversations were had.

AUGUST 2026

51

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

Kyle Prescott, DMA, President

Remembering Why We Fell in Love With Music

E

ach of us can point

to moments from the

past school year that made us smile. A student finally

finding the center of a pitch.

A rehearsal where every-

thing suddenly clicked. A

young musician discovering confidence, discipline, or

belonging through music. As

teachers, we are privileged to

witness these moments every day, and they remain among

the most meaningful rewards of our profession.

Yet teaching can also be

demanding. Administrative responsibilities, packed schedules, fundraising, assessments, and the

countless details of running a successful program can

leave us tired and, at times, searching for renewed

motivation. When our own students hit a plateau, we

know exactly how to help

be the sole source of our

take the next step. Growth

our students, we need

them: we encourage them to creates enthusiasm. Discovery creates energy. Exposure to

excellence creates aspiration.

The same applies to us.

As teachers, we spend

much of our professional lives immersed in the

music-making of children and adolescents. Their

accomplishments deserve

celebration, but they cannot

52

Other times it means

artistic fulfillment. Like

engaging more actively.

opportunities to encounter

rehearsal and observe master

artistry beyond our daily experience.

Sometimes that means

reconnecting with great

art: attend a professional

performance; visit a museum; read literature; experience

ballet, theater, or dance; or spend an evening with a remarkable recording.

FLORIDA MUSIC DIRECTOR

Attend a professional

The experience of becoming a student again can be

remarkably refreshing.

And if possible, continue

artists at work. Begin a

performing. Community

because a piece fascinates

chamber music, jazz bands,

score study project simply you, not because it appears on next year’s program.

Learn something entirely

new—a new instrument, jazz improvisation, composition, painting, photography, or another creative pursuit.

ensembles, church groups,

and freelance opportunities remind us what it feels like

to sit on the other side of the music stand—to prepare,

perform, take risks, and grow.

Our students benefit

when their teachers remain

FLORIDA STEELBAND EDUCATION ASSOCIATION

William Sahely President

Happy start to the 2026–27 school year, Florida music educators! artists. The same forces that

inspire young musicians can

s we begin this new school year, the Florida Steelband Education Association and I wish you all the best. It’s no small feat getting your

inspire us as well. We simply

classroom together: organizing instruments, getting

the next horizon, allowing

marching shows, and countless other tasks. At times,

joy of learning, discovery,

extremely eager to get it all done and make music. With

those we teach.

year’s leaders, but also the excitement of seeing how this

opportunities for your

you also have every faculty/site/district meeting under

need to continue seeking

rentals ready, learning students’ names, preparing

ourselves to experience the

it’s incredibly overwhelming, and at other times you are

and artistic growth alongside

every start to a new school year, there is the “loss” of last

As you continue seeking

year’s leaders will step up. With all of that going on . . .

own growth and renewal,

the sun. Take a breath. It’s going to be a great year!

advantage of several FCMEA

year material checklist, don’t forget to renew your

support the work of our

are a director with a steelband in any of the following

I encourage you to take initiatives designed to

members. Applications are now open for our

annual FCMEA Awards for Excellence in Teaching and

Excellence in Research and Creative Activity, as well

as our two grant programs:

While you are completing your beginning of the

FMEA, component, and council memberships. If you

w Before school w Curricular school day period w After school w Community group w Partial pan group

categories, please consider joining FSEA:

FSEA was created to provide steelband educators in

Creative Explorations and

Florida access to a professional organization focused

and application materials

steelband. From setup to music selection to rehearsal

are available at FCMEA.

to support you through it all. In each edition of FMD,

Visiting Scholars. Information

on supporting them through all aspects of directing a

for all four opportunities

strategies to runout concert tips and tricks, FSEA is here

org. The deadline for award

you will get to “meet” the FSEA board members as they

applications is October

present different articles related to steelband direction.

recognized at the fall

Here is a look at our board members:

11, 2026, with recipients FCMEA business meeting.

Grant applications are due

President: William Sahely Director of Steelbands Leon High School, Tallahassee william.sahely@leonschools.net President-Elect: Ed Anderson Elementary Music Teacher Beverly Shores Elementary, Leesburg andersone1@lake.k12.fl.us Secretary: Matthew Creswell Middle school music (band/orchestra/steelband) Blankner K–8, Orlando matthew.creswell@ocps.net Representatives: Elementary: Shaun Bennett Elementary general music teacher Callahan Intermediate School, Callahan bennettsh@nassau.k12.fl.us Middle School: Dorothy Castle Instrumental music (5–12 band/steelband) teacher, The Pine School, Hobe Sound dcastle@thepineschool.org High School and Collegiate Dr. Troy Thomas Director of steelbands/ groove lab/chorus/music technology Crooms Academy of Information Technology, Sanford thomastr@scps.k12.fl.us

Our board is made up of dedicated steelband professionals, but as you can see, most of

November 20, 2026 with

us are just like you: Steelband isn’t our only focus at school! Please find either your level

the January FCMEA business

you might require for your steelband to be successful.

Professional Learning

consider joining our FSEA Council by selecting it as you renew your FMEA memberships.

recipients announced during

representative or someone from your area and feel free to reach out for any and all guidance

meeting at the 2027 FMEA

Again, on behalf of the FSEA Board, we wish you all the best as you start the year. Please

Conference.

Happy 2026–27!

AUGUST 2026

53

FLORIDA MUSIC SUPERVISION ASSOCIATION

John J. Dupuis President

Why Sharing Your Entire Year-Long Calendar on the FIRST DAY OF SCHOOL Is One of the

BEST DECISIONS YOU’LL EVER MAKE

B

y the time the first bell rings in August, music

Publish your entire

calendar. On the first

teachers have already spent

day of school.

classrooms, organizing music

sometimes unavoidable,

simple practice can transform your program.

countless hours preparing

While adjustments are

Think like an airline.

libraries, repairing instru-

providing students

only to learn your departure

ments, writing lesson plans,

ordering supplies, assigning lockers, and much more.

Amid all of those responsi-

bilities, there is one task that often gets overlooked, but it

may have the greatest impact on the success of the entire school year.

and families with a

comprehensive year-

long calendar establishes

expectations, reduces stress,

Students and parents

date will be announced

balancing incredibly busy

sometime in October.

Ridiculous, right?

Yet many music programs

Whether you are beginning

one concert date at a

or entering your 30th, this

months before departure. aren’t trying to make life

unintentionally operate

your first year of teaching

and trips are planned only

Imagine booking a vacation,

and creates a culture of

organization from day one.

announced with little notice,

this way. Families receive time, fundraisers appear

unexpectedly, rehearsals are

difficult—they’re simply

schedules. Athletics, dance studios, church activities, jobs, tutoring, vacations, doctor’s appointments,

and family celebrations

all compete for the same

calendar. The earlier your dates are published, the

When someone asks: “When is the winter concert?”

“When is solo & ensemble?”

“When are uniform fittings?”

“When is the banquet?”

—you simply point to the calendar.

A U G U S T S E P T E M B E R O C T O B E R N O V E M B E R D E C E M B E R

54

FLORIDA MUSIC DIRECTOR

Parents’ calendars are already packed

with work, school, activities, and family commitments. The greatest gift an

organization can give is advance notice— helping families plan ahead instead of

adding one more surprise to an already full schedule.

more likely your events

Families appreciate

Reserve first,

Rehearsals should never

conflicts.

Parents genuinely want to

Every experienced music

Students generally don’t

Provide peace of

What they don’t appreciate

One of the greatest

knows in August about

become priorities instead of

predictability.

support music education.

mind for everyone.

are surprises. A family that

beneficiaries of a published

a March assessment, an

annual calendar isn’t the students. It’s the teacher.

Instead of wondering whether you’ve scheduled two major events in the same week

or forgotten about music

performance assessment,

every important date exists in one organized document.

PROFESSIONAL LEARNING CONFERENCE & A L L- S TAT E CONCERTS

J A N U A R Y 13 - 1 6 , 2 0 2 7

April festival, or a May

spring concert can schedule

celebrate later.

teacher has learned this lesson at least once.

Someone else reserved your

auditorium. Or the cafeteria.

Or the stadium. Or the

performing arts center.

Facilities are among the

vacations accordingly.

most valuable resources

leave requests. Grandparents

demand only increases

Employers can approve

can reserve hotel rooms.

Transportation can be

arranged months in advance.

Nothing builds goodwill with families faster than

helping them plan ahead. In many ways, an organized calendar communicates

professionalism before a single note is played.

in any school district, and throughout the year.

Successful directors reserve

venues as early as possible—

often months before students even arrive. The calendar

helps make those reservations visible and prevents

scheduling conflicts before they happen.

be surprises.

mind rehearsals. Parents don’t mind rehearsals.

Everyone minds unexpected

rehearsals. When after-school rehearsals are listed from

the beginning of the year,

families quickly incorporate them into their routines. A rehearsal announced two

days in advance feels like

an inconvenience. The exact same rehearsal, announced six months earlier, simply

becomes part of the schedule.

Consistency builds trust. continued on page 56 SPRING CONCERTS M AY 2 0 , 2 0 2 7

J A N U A R Y F E B R U A R Y M A R C H A P R I L M A Y SO LO D I S T R I C T F E S I VA L S MARCH 2027

AUGUST 2026

55

continued from page 55

Include more than concerts.

Many calendars list only performances. The best calendars tell the entire story of the year. Consider including:

w Concerts and performances w District and state MPAs w Organizational events w Honor ensemble auditions w Solo & ensemble festivals w All-state audition dates w Marching competitions w Football games w Pep rallies w Community performances w Festivals w Field trips w Overnight trips w Booster meetings

w Uniform fittings w Instrument rental nights w Fundraisers w Fee due dates w Rehearsal schedules w Practice logs or grading deadlines w Playing tests w Banquets and awards ceremonies w Summer camp information w Leadership training dates

No one enjoys hearing,

Students learn much

sell chocolate . . . starting

classrooms. They learn

worth teaching.

“We need everyone to

more than music in our

when they are occurring.

A year-long calendar

allows parents to anticipate financial commitments,

prepare budgets, and avoid fundraiser fatigue. It also

prevents overlapping major

fundraising campaigns with testing windows, holidays,

or community events. Good planning often results in better participation.

w Playing tests occur. w Practice records are due. w Written assessments take place. w Performance grades are assigned. w Progress reports are issued. w Report cards are finalized. should know when:

When expectations are communicated early, grading becomes transparent rather than

mysterious. Parents appreciate knowing exactly how and when grades are earned.

program.

with planning.

when families know exactly

calendar is the grading timeline. Students

roadmap for the entire

Organization is a skill

are far more successful

the most overlooked additions to an annual

The calendar becomes the

Fundraising works better

tomorrow.” Fundraisers

Don’t forget the grading schedule. One of

responsibility, preparation, time management, and

commitment. When students

Technology is your friend.

Final measure.

ible tools available. Post the

much of the year teaching

Today’s teachers have incred-

w On your classroom website w Through your district’s

calendar:

learning management

w In Google Calendar they begin seeing music w Through your booster not as isolated rehearsals but as a complete season organization w In newsletters of experiences. They can w On classroom social media anticipate important performances, practice (following district policies) w toward meaningful goals, and As a downloadable PDF w In printed form for stuunderstand how one event receive an annual calendar,

prepares them for the next.

system

dents

Music educators spend

students to look ahead to

the next measure, the next phrase, the next rehearsal,

the next performance. Our

calendars should do the same.

A year-long calendar isn’t

merely a list of dates. It is a

promise that your program

is intentional. A promise that families matter. A promise

that students deserve to know where the journey is headed.

So, before the first downbeat of the school year, take one final step.

Publish the calendar. The first day of school.

Your future self—and everyone who shares the journey with you—will thank you.

56

FLORIDA MUSIC DIRECTOR

FLORIDA CONTEMPORARY MUSIC & MEDIA ASSOCIATION

Clint Randles, PhD President

Gearing Up for a Great Year in Contemporary Music & Media in Florida

s another school year begins, we are presented with a

fresh opportunity to inspire students through music

that reflects the world they know while expanding their

creative horizons. This year is especially significant as we

celebrate the launch of the Florida Contemporary Music &

Media Association (FCMMA), a new FMEA council dedicated to supporting educators and students in contemporary music, music technology, media production, songwriting, and emerging performance practices.

styles. Students work alongside experienced educators and industry professionals while developing musicianship,

collaboration, improvisation, and performance skills in an

environment that reflects today’s music industry. For many students, this ensemble becomes a transformative experience that validates the music they love while challenging them to perform at the highest artistic level.

3. Our FMEA Crossover Festivals continue to build bridg-

es between traditional and contemporary music

education by encouraging collaboration across

This year, I encourage every music educator in

ensembles and disciplines. These festivals

Florida to explore the incredible opportunities

provide students opportunities to perform,

FCMMA offers through its statewide student

create, and learn in settings where classical,

experiences. Three signature events provide

jazz, popular music, technology, and media

students with authentic, engaging, and

intersect. They remind us that great musi-

performance-centered opportunities unlike

cians are versatile, curious, and open to new

anything else in our state.

artistic possibilities.

1. The Digital Music Showcase continues to

Whether you teach band, chorus, orchestra,

highlight student excellence in music technolo-

gy and media creation. Students may submit orig-

elementary music, guitar, keyboard, music technology,

inal compositions, electronic music, film scores, podcasts,

or general music, there is a place for your students within

for adjudication and recognition. Whether your program

music program to participate. Starting small—with a student

sound design projects, and other digital media creations

includes a fully equipped recording studio or a handful of

laptops running free software, this event celebrates creativity, innovation, and artistic growth at every level.

2. The All-State Popular Music Collective brings together outstanding student performers from across Florida to collaborate in an intensive rehearsal and performance

experience centered on contemporary commercial music

FCMMA. You do not need a specialized contemporary

composition, a digital recording project, or a single audition— can open doors that inspire students for years to come. As

educators, we know that relevance and rigor can exist together.

By embracing contemporary music alongside our rich musical traditions, we expand access, increase student engagement,

and prepare young musicians for a rapidly changing creative world.

AUGUST 2026

57

MULTICULTURAL NETWORK COMMITTEE

Arnekua Jackson, PhD Chair

From Summer Inspiration to Fall Impact:

The FMEA Multicultural Network Continues to Build Bridges

T

his summer, the FMEA Multicultural Network

(MCN) proudly welcomed

music educators from across Florida to Orlando for our

2026 Summer Professional Learning Conference,

Transforming the Classroom:

Culturally Responsive Practices That Inspire and Sustain. The

conference served as a powerful reminder that when

educators come together with a shared commitment to students, meaningful transformation begins.

Over two days,

participants engaged in

dynamic sessions led by

outstanding music educators and leaders from across our state. From

We were honored to

welcome Lesley Dennis of QuaverEd as our

keynote speaker,

practical classroom

whose message

strategies and

challenged

culturally

educators

responsive

to continue

teaching

creating learning

practices to all-

state preparation, leadership

DENNIS

environments

where every student

development, and

feels seen, valued, and

surrounding equity and

Throughout the conference,

meaningful conversations access, attendees left

equipped with fresh ideas, renewed inspiration, and expanded professional connections.

empowered through music. presenters shared innovative approaches that educators

can immediately implement within their own rehearsal spaces and classrooms.

FMEA Multicultural Network attendees at the 2026 FMEA Professional Learning Conference

58

FLORIDA MUSIC DIRECTOR

One of the conference’s

most exciting milestones was the successful launch of the inaugural MCN

All-State Educator Training,

bringing together elementary, choral, and band educators in specialized learning

experiences designed to

strengthen instructional

practices and better prepare students for Florida’s prestigious all-state

ensembles. This new

initiative reflects MCN’s ongoing commitment to supporting excellence

at every level of music education.

Presenters Michael Antmann, Jeannine Stemmer, and Stefanie Sagaro

Equally impactful was

our interactive Leadership

Forum featuring members of

Presenter Edith Wright

the FMEA Executive Board.

Through open dialogue and collaboration, educators

to every clinician, facilitator,

Looking Ahead to an

education in Florida, explored

leader, and attendee whose

As we prepare for the

conference such a tremendous

work of the Multicultural

learn, collaborate, and invest

This fall, MCN will

discussed the future of music current challenges, and

identified opportunities to

ensure that every student has meaningful access to highquality music experiences.

Presenter Debbie Mar

The Multicultural Network

extends heartfelt appreciation

presenter, volunteer, FMEA

Exciting Fall

dedication made this

upcoming school year, the

success. Your willingness to

Network is only beginning.

in one another continues to

continue expanding

throughout our state.

growth through educator

strengthen music education

opportunities for professional collaboration, mentorship, advocacy, and innovative

programming designed to “Let’s Move It, Move It” activity

support music teachers at

every stage of their careers.

Our focus remains centered on helping educators create classrooms where every

student feels represented, challenged, and inspired

through meaningful musical experiences.

The Network will also

continue its efforts to

strengthen diversity and continued on page 60 AUGUST 2026

59

MULTICULTURAL NETWORK COMMITTEE

continued from page 59 access across Florida’s music

musicians while reinforcing

conversations, sharing

opportunity and supporting

programs by fostering

practical resources, and

developing initiatives that help expand participation in school ensembles and

leadership opportunities.

One exciting initiative

returning this year is the MCN All-State Student Scholarship Program.

Following the success of last year’s inaugural awards,

the Multicultural Network will once again recognize outstanding students

during the upcoming FMEA Professional Learning

Conference by awarding two scholarships—one

to an elementary student

our mission of expanding educational success

throughout Florida.

Applications for the 2027

MCN All-State Student Scholarships will open

this fall, with a submission

deadline of Friday, November 13, 2026. We encourage

music educators across Florida to identify and

nominate deserving students whose passion, character,

and commitment to music awards. Together, we can

celebrate and invest in the

to cultivate a statewide

one student at a time.

who learn from one another,

future of music education— Educators can also look

and one to a secondary

forward to continued

school). These scholarships

MCN Mentor Program,

student (middle or high

celebrate not only musical achievement, but also

dedication, perseverance, leadership, and a

commitment to excellence. By

investing directly in students, MCN continues to encourage

engagement through the

community of educators

futures through music. We

As always, we invite

of the conversation.

the 2027 FMEA Professional Learning Conference. Our

goal is not simply to provide professional learning, but

Together, we are building

serve.

advocate for every student we

resource sharing, and

preparations leading into

Multicultural Network.

stronger classrooms, stronger

every Florida music

opportunities, collaborative

is a place for you within the

celebrate one another, and

professional networking

FMEA the next generation of

Presenter Jonathan Casañas

exemplify the spirit of these

educator to become part Whether you are a first-

communities, and stronger

are not only shaping today’s

classrooms—we are investing in tomorrow’s musicians,

leaders, and music educators.

We wish each of you a

year teacher, veteran

wonderful start to the new

collegiate student, or

to connecting with you

educator, administrator, retired professional, there

school year and look forward throughout the fall.

Championing Music Education for Every Student …the unified voice for music educators throughout Florida, providing professional learning, advocacy, and community to ensure every student has access to quality music instruction.

LEARN MORE

60

FLORIDA MUSIC DIRECTOR

FMEA.org/about/about-fmea

Please take time to thank and support our 2025-2026 & 2026-2027 Academic Partners.

GOLD PARTNERS

SILVER PARTNERS The College of Idaho

BRONZE PARTNERS Florida Gulf Coast University Mercer University

Rollins College

Partners as of July 1, 2026.

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

AUGUST 2026

61

EMERGING LEADERS COMMITTEE Co-Chairs

The Emerging Leaders Committee is pleased to present reports from Emily Lopez on a meeting of the Emerging Leaders Cohort and from Darrius Langston on the FMEA Summer Think Tank, both important elements of this year’s SummerCon.

Jason Locker Bernard (Bernie) Hendricks, Jr.

Emerging Leaders Answer the Call to Leadership B Y E M I LY L O P E Z nswering the call to leadership is both a privilege

and a meaningful responsibility. During this year’s

FMEA Summer Conference, the 2026 Emerging Leaders

Cohort met to begin discovering their path to leadership.

Being a part of the Emerging Leaders Summer

Conference provided the opportunity for 23 leaders

representing 11 counties from across the state to engage with music educators who share a commitment to

excellence, service, advocacy, and the advancement of

music education. We were also excited to have two of our participants, Katie Thomas (Hillsborough) and Stephanie McNaughton (Pinellas), graduate from the Emerging

Leaders Three-Phase Program. These ladies have spent

the past three years developing their leadership through

Throughout the two days,

participants gained valuable

insight into the qualities that define effective leadership.

Through collaborative

discussions, leadership

Katie Thomas (Hillsborough) and Stephanie McNaughton (Pinellas), graduates of the Emerging Leaders Three-Phase Program

workshops, and reflection, participants came to appreciate that successful leaders inspire others through integrity, humility, and a genuine commitment to serving their

students, schools, and communities. Equally important was the opportunity to exchange ideas with participants from

diverse backgrounds, broadening perspectives on the many ways music can unite people and foster personal growth.

But the leadership journey doesn’t end with a two-day

service, investment, and passion to their craft. We are so

experience. As leaders, we are constantly thinking of the

thank them for their dedication to this program over the

impact can make a difference. Our Emerging Leaders are

proud of their accomplishments through this program and past three years.

next steps to take in the future and how our collective returning to their communities with a renewed sense of purpose, prepared to lead by example, to

encourage meaningful collaboration, and to promote a culture of respect, inclusion, and musical excellence.

The Emerging Leaders Committee is excited to

see where the path of leadership takes our newest cohort. We cannot wait to welcome cohorts of leaders for years to come.

Emily Lopez is the program specialist

for elementary music in Orange County Emerging Leaders participants

Public Schools. She is also proud to

serve on the FMEA Emerging Leaders Committee.

62

FLORIDA MUSIC DIRECTOR

Inside the FMEA Summer Think Tank

BY DAR R I U S L A NGS TON

I

n June, I had the privilege of participating in the FMEA

Summer Think Tank. This group brings together Florida

music educators from all levels and concentrations with the purpose of developing ways to recruit, support, and retain high-quality music teachers in the state.

What makes this experience meaningful is that it does

not stop at discussion. We talked through the real-world

challenges facing music educators, including the specific

w Upcoming advertisements in the Florida Association of School Administrators publications about the benefits

w Increased professional learning for nontraditional of FMEA membership

groups as well as the creation of the FMEA councils for Contemporary Music & Media, Guitar Education, and Steelband Education

If you are invited to participate in the summer FMEA

hurdles faced by those of us working outside of the more

Think Tank, I urge you to make the time available

those discussions into a list of actionable “doable deeds” to

recognizes the value of your work and perspective as a

visible band, chorus, and orchestra models. We then turned help our members navigate these challenges successfully.

If you have been part of FMEA for any amount of time,

you may have seen initiatives and programs that actually began as Think Tank discussions years ago. Examples

w Programs supporting rural and/or small schools w FMEA 12 Months of Music Advocacy Calendar w Revising and launching a new FMEA website w FMEA Immediate Impact Music Educator Spotlight w Elementary Music Leadership Seminar w Sessions and activities at the FMEA conference for all-

include:

state students and parents/chaperones

to attend. That invitation means someone in FMEA

music educator and wants your voice in the room. The

conversations you will have with other FMEA colleagues

at the Think Tank will help shape the trajectory of FMEA’s work, benefiting thousands of music teachers for years to come.

Darrius Langston teaches elementary general

music at Millennia Elementary School in Orlando.

He serves on the FMEA Conference Planning

Committee, has participated in the FMEA Summer

Think Tank since 2023, and was selected to attend the inaugural FMEA Elementary Music Leadership Seminar in June 2026.

FMEA’s Think Tank participants at the summer conference in June

AUGUST 2026

63

DIVERSE LEARNERS COMMITTEE

Christine Lapka, EdD Chair

Supporting Musicians With Behavior Challenges From Day One t the start of the year,

Reducing these barriers

music educators

can make a noticeable

learners—including some

rehearsal outline, using

welcome a wide range of

with behavior challenges

that can disrupt rehearsal.

Many teachers are already responding thoughtfully,

adjusting plans, and turning difficult moments into

difference. Posting a simple visual or auditory cues for

and engaged in school

transitions, or streamlining

directions can help students

stay connected to the task at hand.

Keep Language

we see daily: behavior,

The research highlights the

relationships, and academic skills are closely connected, and strong relationships

and language skills support student success (GaronCarrier et al., 2025).

So, what does this mean

for those first weeks, when

routines—and patience—are still developing?

Start By Removing Barriers

Before adding anything

new, consider what might be getting in the way for a student with behavior

challenges. Often, it’s not

w Unclear (to them) expec-

unwillingness—it’s overload. tations can lead to frus-

w Too much verbal direction at once can overwhelm. w Downtime during rehearstration.

al can quickly turn into

w Transitions without strucdistraction.

ture can create confusion.

64

relationships are

closely tied to how

learning opportunities.

Research supports what

Teacher-student

students are supported (Garon-Carrier et al., 2025).

In music classrooms, where collaboration is constant, these relationships can

become a powerful anchor.

Accessible—and Musical

Teach the Behavior You

role of receptive vocabulary

In music, we don’t hand

in student success (Garon-

Carrier et al., 2025). In music,

that doesn’t mean abandoning rigor—it means making

w Pair musical terms with

learning more accessible.

visuals, movement, or

w Reinforce key words modeling.

across multiple rehearsals in multiple ways.

w Encourage students to

(ELL will thank you too.) demonstrate understanding through playing or movement.

Want to See

students a score and expect perfection—we model,

rehearse, and refine. Behavior

w Model (or show a video

works the same way.

model of) what active

participation looks and

w Rehearse routines such as sounds like.

entering, setting up, and

w Provide feedback that is immediate and specific. w Reinforce success more transitioning.

everything, consider trying

w Add a visual rehears-

one or two small shifts:

al routine (see Today’s

w Build in a brief reset between activities. w Use a consistent musical cue for gaining attention. w Incorporate a quick reflecRehearsal Plan).

tion moment at the end of

w Provide a clear opening class.

routine that students can do independently.

Small changes often

yield the most sustainable

results—and are much easier to maintain by October.

See Rehearsal Plan on

following page.

Music classrooms are

often than you think is

uniquely equipped to support

If you’ve ever said, “Let’s

challenges through structure,

necessary.

students with behavior

Invest Early in

try that entrance again,”

Students with behavior

concept. It applies just as well

moments—missed entrances,

raising a hand.

these are part of the process.

Relationships

challenges often test

boundaries, but they are

also highly responsive to

you already understand the to entering the room—or

connection. A brief, consistent

Choose One or Two

you’re here today”—can

The start of the year can feel

acknowledgment—“I’m glad go further than a perfectly crafted plan.

FLORIDA MUSIC DIRECTOR

New Strategies

like a long list of “shoulds.”

Instead of overhauling

creativity, and collaboration.

There will still be off

side conversations—but

With strong relationships

and small adjustments, we

can help more students stay engaged and succeed.

Start simple. Try one new

idea.

ENTRY & SET-UP (2 min)

☑ Instrument ready ☑ Pencil in clip ☑ Music on stand ☑ Eyes up

Podcast

FL Music Ed

WARM-UP (6 min)

☑ Breathing / buzzing / rhythm echo ☑ Scales and articulation ☑ Fun with technique

REVIEW PIECE (5 min)

☑ Start at measure 12 ☑ Fix tricky rhythm ☑ Play entire piece

NEW MUSIC (7 min)

☑ Listen first ☑ Clap rhythm ☑ Review term crescendo • Gradual or immediate

☑ Play together

Continue with additional events WRAP-UP (2 min)

☑ Reflect: “What improved?” ☑ How to practice outside of class ☑ Pack up when signal is given

Why this helps:

☑ Students can see what’s coming next (less anxiety, fewer interruptions)

☑ Reduces repeated verbal directions ☑ Gives students a sense of progress (“We’re already on Step 4!”)

If nothing else, it answers the daily question:

“What are we doing today?”

—before it’s asked… four times.

Tales from the Heart of Florida’s Music Education Community Tune in as we delve into the heart of music education, exploring topics that resonate with our members and beyond.

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

KEY CONVERSATIONS

Today’s Rehearsal Plan

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

Reference Garon-Carrier, G., Martin-Storey, A., Cloutier, G., Fitzpatrick, C., Lapalme, M., and Déry, M. (2025). Longitudinal patterns of special education/inclusive classroom placement of children with conduct problems: Correlates and risk of school dropout.

Canadian Journal of School Psychology, 40(2), 139–153. https://doi. org/10.1177/08295735251323720 AUGUST 2026

65

PROFESSIONAL LEARNING COMMITTEE

Ajori B. Spencer Chair

Operation Collaboration

Building a Network of Support in Education

T

he teaching profession

and utilizing a network of

and knowing how to access

overwhelming. After months

for the teacher’s success but

teacher’s experience.

can be both exciting and

of guided experience under a

supervising teacher, new edu-

support is essential, not only also for the success of stu-

them can transform a

dents.

The Personal Circle:

suddenly responsible for

isolating, especially at the

The most immediate layer

What once felt manageable

educator operates alone.

cators often find themselves

every aspect of the classroom. during training can quickly

become daunting when faced alone. While it is commonly

said that new teachers struggle because they fail to ask

for help, the reality is more

complex. Many simply do not know who to ask or what they need.

Understanding

Teaching can feel

beginning. However, no

Every teacher is surrounded by a network of individuals who can provide insight,

encouragement, and practical assistance. This network

ranges from close personal connections to broader

professional communities.

Each layer offers its own benefits,

Friends and Mentors

of support comes from one’s

They offer immediate

assistance and create a

foundation of confidence that encourages growth.

The School Community:

as the first line of defense

Workplace

mentors. Friends often serve when challenges arise. Their familiarity creates a safe

space for asking questions, sharing frustrations, and seeking quick advice.

Because of the trust already established, teachers may

feel more comfortable being

vulnerable with friends than Mentors play an equally

vital role. These may include supervising teachers

or former instructors.

Although they are often

busy, mentors typically

possess the experience and

perspective necessary to

guide new educators through unfamiliar situations.

Reaching out to them allows new teachers

to revisit lessons they

may have missed during

their training. Whether it is

understanding how students prepare for assessments or

navigating the early stages of skill development in a

classroom, mentors provide

clarity rooted in experience.

FLORIDA MUSIC DIRECTOR

accessible support system.

personal circle: friends and

with anyone else.

66

Together, friends and

mentors form a reliable and

Collaboration Within the Beyond the personal circle lies the school

community, which includes colleagues, arts teams,

and administrators. This

layer is crucial because it provides context-specific

support within the teacher’s immediate environment.

Collaboration with other arts teachers can be invaluable.

These colleagues understand the unique challenges of performance-based

instruction and can offer practical solutions, from

organizing joint concerts to sharing teaching strategies.

Their familiarity with the

school (institutional memory) makes their advice especially relevant.

It is equally important

to connect with teachers

outside one’s subject area.

Experienced educators

bring diverse perspectives

on classroom management, student engagement, and

curriculum integration. (My

biggest support my first year

of teaching was the criminal

a powerful resource.

representing an immense

vulnerability. Building

who knew very little about

collaboration is the creation

experience. Tapping into

relationships requires

school.) They may become

as online folders or platforms.

justice teacher, someone

band but SO much about the advocates for programs by

supporting interdisciplinary connections and promoting student learning across subjects.

Administrators are often

misunderstood as evaluators rather than supporters. In reality, their primary role is to help both teachers

and students succeed. By

approaching administrators

One effective method of

of shared digital spaces, such

These repositories can include rehearsal recordings, lesson

in schoolwide initiatives,

performances, and events.

When teachers actively

engage with their school

community, they not only

educators to receive targeted feedback. It also helps

students by normalizing

performance and increasing accountability.

Another valuable practice

Collaboration at Scale Taking collaboration

beyond the school building

new ideas. Whether through in-person visits or virtual

platforms, stepping outside

one’s own classroom fosters professional growth and

strengthens relationships.

As teachers engage with

they begin to recognize

their network. This awareness allows them to seek out specific expertise when

needed, making collaboration more intentional and effective.

introduces educators to a

The Wider Community

Within a district or region,

Beyond the district lies an

broader network of expertise. teachers can connect with others who share similar

roles and challenges. This

collective knowledge becomes

attending performances,

and organizing field trips further expand learning opportunities for both teachers and students.

Although reaching out to

a broader perspective on

individual strengths within

School District:

Inviting guest educators,

perspectives and inspires

connections that enhance

Expanding to the

and refine their practice.

unfamiliar professionals can

colleagues across the district,

student learning.

collaborative events allow

Observing different teaching

improve their practice but also create meaningful

Opportunities such as

educators to exchange ideas

reflection and allows

styles provides fresh

doors to greater involvement

step outside familiar circles.

in particular, encourages

opportunities for growth. administrators also open

initiative and a willingness to

conferences, workshops, and

articles. Sharing recordings,

is visiting other classrooms.

Strong relationships with

this wider network requires

materials, rubrics, and

with specific goals, educators can turn evaluations into

pool of knowledge and

meaningful professional educators to acknowledge

what they do not know and to seek help without fear of judgment. For many new

teachers, there is a strong

desire to prove competence.

However, pride can hinder progress. Students benefit when teachers are willing to learn, adapt, and grow.

By embracing vulnerability

and actively seeking support, educators model lifelong

learning and create a culture of openness.

Collaboration is not just

be intimidating, it provides

a strategy. It is a necessity.

teaching. Exposure to

colleagues, administrators,

different approaches and philosophies encourages

innovation and continuous improvement.

From friends and mentors to and the broader educational community, every layer of support contributes

to a teacher’s success. By

building connections early

Vulnerability

At the heart of collaboration lies one essential quality:

and nurturing them early, educators ensure they are never truly alone.

CONNECT Connect with your community of music educators on social media.

of Educators

even larger community of

educators. In Florida alone,

FLMusicEd

FLMusicEd

FLMusicEd

FLMusicEd

there are more than 180,000 public school teachers,

AUGUST 2026

67

AWARDS COMMITTEE

Sondra A. W. Collins Chair

T

2026 F M EA ELEM EN TA RY

accomplishments of those who have made outstand-

“I am truly honored to receive the 2026 FMEA Elementary Administrator

involvement in the nomination process ensures that

it celebrates something I

he 2027 FMEA Award nominations period is now officially OPEN! Your FMEA Awards Program

offers several awards in recognition of the efforts and ing contributions to music education. Your active

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 September 1, 2026. Please check the FMEA website for details at FMEA.org/programs/

ADM I N I ST R ATOR OF T H E Y EA R

Melinda Cunningham of the Year award. This recognition is deeply meaningful to me because believe in wholeheartedly—

the transformative power of

music and performing arts in education.

Not every child excels

awards and nominate someone deserving, today!

academically, and that’s

brilliance that our 2026 FMEA awardees have to

opportunity for students

I am continuing to share with you a little of the

offer, speaking their truth about music education and the passion that drives them. I share these words of

inspiration 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 douse of inspiration, through

words of passion and conviction, from our 2026

FMEA Elementary Administrator of the Year, Melinda Cunningham, principal at Hawkes Bluff Elementary School in Broward County Public Schools.

➡

okay. The arts provides an to thrive in ways that go

beyond test scores. Music gives our students a voice, a way to express themselves,

and a chance to shine. It builds confidence, creativity, and

a sense of belonging. When students step into a music classroom or onto a

stage, they discover strengths they didn’t know they had. At Hawkes Bluff Elementary, our music program is the heartbeat of our school. It

brings our entire community together—students, parents, and staff—creating moments of joy and unity that we all cherish.

Our students don’t just perform for us; they share their strengths

throughout the community, showcasing the incredible impact our music

education has beyond our school walls. These performances remind us that

music connects people and strengthens relationships. With budget cuts and

school closures looming, we count on our music program to be the one constant in our school. It’s a source of stability and inspiration.

We know the importance of the arts. They’re not extras; they’re

essential. They nurture the whole child and prepare students for life in ways academics alone cannot. Our program is exceptional because of Ms. Jessica

Gronberg. Her passion and dedication have made music not just a subject, but an experience our students and families look forward to each and every day.

She has created a space where students feel valued and empowered, and that is something truly special.

I believe that when we invest in the arts, we invest in the future.

We give children the tools to dream, to create, and to connect. Thank

you, FMEA, for this incredible honor, and thank you to everyone who supports music education. Together we are shaping the future, one note at a time.”

✴ The all-call for nominations are open! FMEA.org/programs/awards ✴ 68

FLORIDA MUSIC DIRECTOR

STUDENT ENGAGEMENT COMMITTEE

Charlene Cannon Chair

W

ho will you become while you are here?

This phrase sparks inspira-

tion across the campus of

the beautiful Florida State

University in Tallahassee, on signs in parking lots, in hallways, and across

the school’s social media. It’s a great question to ask

a college student who intends to

begin a profession or career; it’s also a great question

to ask our students as we

step into a new school year.

Research suggests that stu-

dents enter a new year more excited than fearful because

school brings connection, routine, and new opportunities

for those who love learning.

As educators, our passion and responsibility lie in providing a safe space for students to experience these things.

What are you doing to

cultivate a community of

people who love music the

way you do? Connection lies

when they walk into your

programs will take place

in our daily interactions with

classroom.

room. Small acts like saying

this year will happen within

for students between classes,

classroom and beyond. Did

the week of the conference,

with every student

Education Association hosts

in the Student Leadership

at least once make

for high school music

communicating

conference?

presence.

Experience and Tri-M

defined by James

to the annual conference

every student who enters our

Opportunities for learning

hello, holding the door open

the four walls of your

and intentional eye contact

you know the Florida Music

in the class period

three different opportunities

a difference in

students to attend our

connection and Habits are

The Student Conference

Experience expand access

on Thursday and Friday of

the 2027 FMEA Professional Learning Conference.

On Wednesday during

students can also participate Workshop. This is open to all high school music students.

Students can participate in

both the Student Leadership Workshop and one of the Student Experiences on

the next two days. Student Leadership Workshop

Clear (author of Atomic Habits)

for students not selected

performed regularly—and, in

Participating students attend

Routines are important

specific schedule designed

website for information

for structure. How do your

professional musicians,

and remember: who will you

Where do they put their

music education leaders,

instruction begin after the

incredible performing groups.

at the start of the fresh year;

unique experiences they can

please contact me at

they know what to expect

high school programs. These

com.

as “routine or behavior that is

for all-state ensembles.

many cases, automatically.”

the conference following a

because they set expectations

for them to interact with

students enter the classroom?

amazing clinicians and

backpacks? When does class

college representatives, and

bell? Clarify your routines

These students will have

your students will be glad

take back to share with their

participants will have hands-

on leadership discussions and activities with experts.

Please visit the FMEA

about these opportunities,

become while you are here?

It’s up to us to make sure every student has a great year!

If you have any questions,

charlenewcannon@gmail.

AUGUST 2026

69

Executive Director’s

Scott Evans Executive Director Florida Music Education Association

NOTES

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

OUR SHARED COMMITMENT

Supporting Quality Music Education in All Schools s we dust off the xylophone bars, rosin the

strings, polish up the brass, tighten the snare

heads, and retune the pianos, we are reminded of

why we invest so much of ourselves into delivering

Conference brings hundreds of sessions, concerts, and networking with colleagues and university partners.

To keep these wonderful opportunities and

music education to as many students as we can

programs thriving for our students, we also must

we share the same core values, and our mission

part of what we do. FMEA works year-round to

possibly serve. I am comforted by the fact that

to support quality music education in all schools

guides everything we do. This shared commitment reinforces what we see in our classrooms every

day, that music education is essential. In addition to teaching music, you help shape kind, disciplined, and connected young people.

Once again, FMEA will offer many opportunities

for teachers and students to learn, perform,

and grow. From all-state ensembles to music

protect them. That is why advocacy is such a vital monitor legislation and support our schools, but our most powerful tool is your voice. By staying

informed, connecting with local leaders, and simply

being an active, registered voter, you help ensure that policymakers keep arts funding and student access a priority. We are always here to provide the resources you need to make advocating for your classroom simple and effective.

I know how much energy and heart go into these

performance assessments, from Crossover

first few weeks of school. As you welcome your

Orff ensembles to the Digital Music Showcase,

profound difference you make in their lives from the

Festivals to guitar and steelband events, and from there are chances for every student to shine.

Component clinics and local professional learning events provide practical classroom strategies and

mentoring, while the FMEA Professional Learning

students back, take a moment to appreciate the

very first note. Thank you for your dedication, your passion, and for everything you do to bring music to life in our schools. I wish you all a wonderful, rewarding year ahead.

Scott Evans

70

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

EX-OFFICIO MEMBERS

FMEA COMMITTEES & COUNCILS

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

COUNCILS

DOE Arts Education Consultant........................................David Pletincks Florida Department of Education (850) 245-0423; david.pletincks@fldoe.org

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

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

Past President

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

Executive Director..................................................................Scott Evans Hinckley Center for Fine Arts Education 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793; scottevans@flmusiced.org

President-Elect

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

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

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

FSMA President......................................................................Keith Griffis keithallengriffis@gmail.com

FLORIDA MUSIC SUPERVISION ASSOCIATION

Jason P. Locker

Bernard (Bernie) Hendricks, Jr.

FBA President....... Michael Antmann, EdD FCMEA President......... Kyle Prescott, DMA FCMMA President.......... Clint Randles, PhD FEMEA President................... Meghan Alfaro FGEA President............... Christopher Perez FMSA President..................... John J. Dupuis Florida NAfME Collegiate President.................. Grace E. Wieckowski FOA President................. Andrea Szarowicz FSEA President...................... William Sahely FVA President................Jeannine Stemmer Multicultural Network Chair...................... Arnekua Jackson, PhD

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

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

FLORIDA GUITAR EDUCATION ASSOCIATION

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

FLORIDA NAFME COLLEGIATE

FMEA COMPONENTS FLORIDA BANDMASTERS ASSOCIATION President............................................................... Michael Antmann, EdD president@fba.flmusiced.org Past President....................................................................Jeff Cayer, EdD pastpresident@fba.flmusiced.org President-Elect.............................................................. Hannah Jennings presidentelect@fba.flmusiced.org 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

Member-at-Large

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

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

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

Steven N. Kelly, PhD

FLORIDA CONTEMPORARY MUSIC & MEDIA ASSOCIATION

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

FLORIDA STEELBAND EDUCATION ASSOCIATION

President............................................................................ William Sahely Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308-4938 (850) 617-5700; william.sahely@gmail.com

MULTICULTURAL NETWORK

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

COMMITTEES All-State Eligibility............................................Harry “Skip” Pardee, EdD Collier County Public Schools; 5775 Osceola Trail; Naples, FL 34109-0919; (239) 377-0087; pardeh@collierschools.com Awards.......................................................................Sondra A. W. Collins sondra.collins@marion.k12.fl.us Budget/Finance, Development.........................Harry “Skip” Pardee, EdD Collier County Public Schools; 5775 Osceola Trail; Naples, FL 34109-0919; (239) 377-0087; pardeh@collierschools.com Diverse Learners...................................................... Christine Lapka, EdD University of Central Florida; 12488 Centaurus Blvd.; Orlando, FL 32816-2372; christine.lapka@ucf.edu Emerging Leaders......... Jason P. Locker/Bernard (Bernie) Hendricks, Jr. jasonlocker@FMEA.org; berniehendricks@FMEA.org

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

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

FLORIDA ORCHESTRA ASSOCIATION

Government Relations...............................Jeanne W. Reynolds, Co-Chair (727) 744-7252; jeannewrey@gmail.com

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

President....................................................................... Andrea Szarowicz Steinbrenner High School; 5575 W. Lutz Lake Fern Rd.; Lutz, FL 33558-9234; (813) 792-5131; aszarowicz@myfoa.org

Government Relations.................................Angela Hartvigsen, Co-Chair School Board of Sarasota County; 1960 Landings Blvd.; Sarasota, FL 34231; (941) 927-9000; angela.hartvigsen@sarasotacountyschools.net

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

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

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

Executive Director........................................................... Cheri A. Sleeper 1915 S. 47th St.; Tampa, FL 33619; (813) 363-4139; csleeper@myfoa.org

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

CENTER FOR FINE ARTS EDUCATION

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

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

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

Student Engagement..................................................... Charlene Cannon 1107 Bobcat Chase Blvd.; Oakland, Fl 34787 (407) 388-4185; charlene.cannon@ocps.net

Past President...................................................................David Pletincks 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

AUGUST 2026

71

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FLORIDA MUSIC DIRECTOR