A Conversation With Educator and Composer Jeffrey Traster
Student Leadership Workshop features “J. Dash” & Mama Duke
Announcing the 2026 FMEA Awardees
PLUS Conference Highlights: Concerts Conductors CollegeNight
(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)
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Advertiser Index
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President’s
MESSAGE
President’s MESSAGE
Happy Holidays, FMEA!
On behalf of the FMEA Board of Directors, I hope this month brings you a rejoicing holiday season and that you can rest and recharge for a terrific second semester with your students.
This month, I want to provide you an update regarding our search for the next executive director and CEO of the Center for Fine Arts Education. We are proud to report we have launched the national search, which has resulted in numerous highly qualified applicants. The committee has reviewed candidates’ credentials and has begun the interview process to establish a list of finalists to present to the CFAE Board for review. The search committee consists of the FMEA Executive Committee, FSMA leadership, FAEA leadership, and veteran FMEA board members and CFAE staff. In the coming weeks, I hope to present yet another update to you regarding this important search on behalf of the association.
I am thrilled to join you in January 2026 for another outstanding conference! We have world-class performances by our students and invited guests (Gerry Brooks as well as the USAF Band of the West!), engaging and relevant professional learning, and countless corporate and academic partners with whom you can connect to help you better serve your students in your schools. I look forward to addressing the membership on several important issues at our First General Session, including presenting an opportunity to connect with you directly at a President’s Virtual Town Hall in January. I want to hear from you about the future direction of FMEA!
As always, any member is welcome to reach out to me directly anytime to schedule a conversation about music education in our beautiful state ( skippardee@fmea.org). It is an honor to serve as your president. See you in a few short weeks!
Always musically yours,
Harry “Skip” Pardee, EdD, President Florida Music Education Association
Harry “Skip” Pardee, EdD
President
Florida Music Education Association
President-Elect’s
MESSAGE
Having FUN!
Greetings, FMEA family, and Happy December!
Wow, December already! I guess the saying really is true: “Time flies when you’re having FUN!” And if you’re anything like me, every day in a music classroom is FUN (or at least almost every day). Anyhow, with December comes a barrage of winter/holiday performances that are perfect settings to highlight the wonderful things going on in our music classrooms on a daily basis. I encourage all of you to take advantage of these opportunities—and remember to be mindful of your potential audience as well as stakeholders in your local communities. Advertise in and around your community so those who don’t know, will know what is going on in their community. Don’t be afraid to include other teachers and staff, community figures, and/or parents as part of the actual program, which may lead to even more community engagement. And finally, with all of the concert prep going on, remember to have FUN and enjoy the process. We teach young people; they will do young people things, and that’s OK! Celebrate them, enjoy them, and let your communities see how awesome your students really are. If we don’t advocate for ourselves, we cannot expect anyone to do it for us.
Bernard (Bernie) Hendricks, Jr. President-Elect Florida Music Education Association
focus on how we as music educators can be better advocates for our programs and for our profession. There will be a musical performance from the Roosevelt Elementary School “Roughrider” Music Ensemble, and our guest presenters will include Ernesta Chicklowski, Emily Lopez, Jonathan Casañas, Angela Polito, Dr. Marcus Scott, and yours truly. The Pre-Conference takes place on Wednesday, January 14, and is a separate registration from the regular conference registration. I’m looking forward to seeing you all there and throughout the entire conference.
With this last statement in mind, I’d also like to encourage everyone to register and attend the FMEA Professional Learning Conference in January. I’d like particularly to draw your attention to the Pre-Conference entitled Lift Every Voice … Especially YOURS! We will
That’s all for now, family. I wish you all the best this holiday season and pray that you ALL get some muchdeserved rest and quality time with family and friends during the winter break. If you’re heading to Chicago for the Midwest Conference or are doing any traveling this month, travel safe and COME BACK in one piece so we can continue to do the work we’ve all been called to do.
Bernard (Bernie) Hendricks, Jr., President-Elect Florida Music Education Association
Advocacy REPORT
Angela and I are delighted to turn the column over this month to our fellow advocacy committee member Jon Casañas. We invite you to add your voice to his. Mark your calendar for Jon’s session at the FMEA Professional Learning Conference, Friday, January 16, 2026 at 1:00 pm.
Beyond the Algorithm: Using Our Voice for Music Education
BY JONATHAN M. CASAÑAS
I’mnot big on New Year’s resolutions. “New year, new me!” Sure—I’ll believe it when I see it. Still, I understand the appeal. Many of us eagerly anticipate that final countdown, ushering in a new year filled with goals and the optimism of achieving every one of them. As Ted Lasso would say, we just want to “believe in believe.” We convince ourselves that a few intentional actions will make us better versions of ourselves—and as much as my cynical side scoffs, I can’t help but fall prey to the yearly ritual. I believe.
Every year, my personal assistant Siri and I set goals and lead measures to reduce my screen time—yet somehow, I keep setting new personal records for how long I’ve let my brain rot while watching social media reels. There’s just something irresistibly appealing about a 30-second clip perfectly tailored to my interests in fiddle leaf figs, car restorations, and, apparently, inspirational montages. I can blame the algorithm all I want, but the truth is, I’m the one choosing to open my phone and suspend both space and time—drifting
further from my resolution to spend less of it on screens.
Still, this pastime hasn’t been entirely fruitless. Somewhere amid the noise—in one of those very montages—a quote from President Barack Obama keeps resurfacing, a reminder I can’t seem to scroll past. It feels especially relevant for our music education community at a time when many of us struggle to feel heard on behalf of our students:
“One voice can change a room. And if it can change a room, it can change a city. And if it can change a city,
Sometimes, screen time is a valuable resource
it can change a state. And if it can change a state, it can change a nation. And if it can change a nation, it can change the world.”
— President Barack Obama, 2008
The message reminds us that we—as individuals and as a community—have the power to be heard and to spark change. The challenge lies in how we amplify that voice above the noise. If one voice can change a room, imagine what thousands of Florida music educators and their supporters can do together. Let’s make it our collective resolution to turn music education advocacy into a daily practice—one that includes as many voices as possible.
It’s easy to feel distant from the world of advocacy. Unfortunately, we live in a time when we can no longer afford to sit on the sidelines and hope someone else will look out for our collective best interests. We must be the advocates who ensure that our students receive quality music education programs not only now, but
Angela Hartvigsen
Jeanne W. Reynolds
for generations to come. Many of us have spent years being the voice that changes our classrooms; now it’s time to amplify that voice throughout our communities, our cities, our state—and perhaps even the nation.
Trust me, I get it. The word advocacy often conjures images of government buildings and legislative chambers—not music rooms or concert venues. But that may be the greatest misconception about what advocacy is and who an advocate can be. You might be thinking, “Sure, I agree that advocacy matters, but how am I supposed to add another ‘thing’ to my already overburdened schedule?” And you’d be right—it’s nearly impossible to expect music educators to take on even more.
But here’s the truth: much of what we already do is advocacy. Every performance, every community connection, every student success story— we’re already shaping the public narrative of why music matters. By intentionally adopting a few “advocacyforward” practices, we can make our collective voice even louder, helping decisionmakers and communities alike recognize the value of what we do every day.
So, where should you start? Begin right here with the tools and resources FMEA provides to help
you amplify what you’re already doing and rise above the noise. Our new 12 Months of Advocacy campaign offers simple “doable deeds” to help you extend your reach and grow your network of support. Social media not your thing? No problem—attend one of the transformative advocacy sessions at this year’s conference or stop by our reimagined Advocacy Booth. Prefer to reflect quietly? Visit the FMEA Advocacy webpage for the latest updates and grassroots initiatives.
Don’t let another year go by marked by wellintentioned resolutions that fade by February. Commit to advocacy. Let FMEA empower you to be a greater force for good in music education—because when we lift our voices together, the world can’t help but listen.
Jonathan M. Casañas has taught elementary music in Hillsborough County Public Schools since 2013. A two-time graduate of the University of South Florida, he holds a BS in music education and an MEd in educational leadership. He is past-president of the Hillsborough County Elementary Music Educators Council.
Podcast
FL Music Ed
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.
Follow “Key Conversations” on Spotify or Apple Podcasts to receive instant updates whenever a new episode drops.
KEY CONVERSATIONS
FMEA Pre-Conference 2026
Wednesday, January 14, 2026
1:00 pm – 5:00 pm
Lift Every Voice ... Especially YOURS!
It’s an interesting time for music education in Florida. We see thriving, growing programs in some communities, yet in others, music educators are fighting against underfunding, understaffing, and the threat of losing their programs entirely.
Presenters
Bernie Hendricks
Ernesta Chicklowski
Emily Lopez
Jon Casañas
Angela Polito
Dr. Marcus Scott
Your presenters will tackle all of these topics and more, each offering their own experiences and perspective. By the end of the day, you will leave better equipped and prepared to effectively speak about what we do.
With that in mind, our 2026 FMEA Pre-Conference, Lift Every Voice ... Especially YOURS! is designed to:
1. Engage music educators with the product we have at our various schools.
2. Equip you with the necessary tools and strategies to positively connect your programs to your communities and beyond.
3. Empower us to not only be great music educators, but to also be well-informed advocates for our students, our programs, and our profession.
Opening Session: The Predicament
w We will discuss our current landscape of music education in Florida and begin to explore just how we can exist and thrive with some of the obstacles we face.
w Identify where we are so we can prepare for where we want to go!
Session A: The Product
w Performance by the Roosevelt Elementary School “Roughrider” Music Ensemble under the direction of Ernesta Chicklowski.
w The one thing we are blessed to have is the performance ensembles. These are our products, which vary in every imaginable way. How do we maximize the potential of the students we have in our specific location?
Session B: Your Presence
w Let’s get you connected. How will you (and your program) become or remain relevant in your school and in your community?
w From the classroom to the community: Identifying your stakeholders and building your village.
Session C: Your Platform
w Now what?
w You have a great product, and you are connected in your school and community. How do you become an informed advocate for what we do as music educators?
w The word advocacy seems scary and the responsibility of someone else. Why should I even be concerned?
We can’t wait to see you in Tampa this January!
The FMEA Professional Learning Conference is one of the largest music education professional development events in the United States. In addition to approximately 250 clinic sessions and concerts, it is host to 24 all-state ensembles featuring Florida’s top band, orchestra, chorus, guitar, Orff, and popular music students conducted by world-class conductors and teachers. It is attended by more than 10,000 people, including secondary music directors, elementary music teachers, music supervisors, college students, college music teachers, school administrators, K–12 students performing in the all-state ensembles, students and professional musicians performing with invited performing ensembles, exhibitors, and parents and family members of performing students.
So many reasons to participate:
w An exhibition hall with world-class exhibitors providing products and services for music educators and students
w More than 3,000 music teachers and 300 administrators
w Approximately 250 sessions, covering a variety of topics for all music educators, with on-demand access to recordings after the conference
w Performances and mini-concerts from some of Florida’s top music programs
w Networking opportunities, college fair, awards ceremony, and other special events
Student Leadership Workshop
Presenter:
Jameyel
“J. Dash” Johnson
Jameyel “J. Dash” Johnson is a classically trained piano prodigy turned multi-genre innovator whose career has seamlessly bridged the worlds of hip-hop, jazz, blues, classical, and cutting-edge digital media. His teenage years were spent mastering the energy of live performance in blues and jazz bands, foreshadowing the eclectic artistry that defines his work today.
A rapper, songwriter, producer, mixer, and multi-instrumentalist, J. Dash is also a graduate of the University of Florida with a degree in computer science—a reflection of his lifelong pursuit of curiosity and mastery. “When I come across something I like, I want to learn everything about it and really understand it,” he says, a philosophy that fuels his cross-disciplinary creativity.
J. Dash first captured global attention with his viral smash “WOP (With Out Prejudice),” a pulse-pounding dance hit that soared on the iTunes Top 100 Hip-Hop Charts, sold more than 100,000 downloads before radio play, and racked up millions of views on YouTube, including a video with longtime collaborator and friend Flo Rida. A digital pioneer, he also launched the first-ever YouTube Street Team, harnessing fan power to create a grassroots marketing movement that anticipated the modern influencer era.
Most recently, J. Dash produced music for Mama Duke, a Golden Buzzer finalist on America’s Got Talent, with her breakout song “Feels So Good to Be You” amassing 2 million-plus streams and counting. Beyond his work in the studio, he continues to shape the arts as chair of programming and marketing on the board of the Long Center for Performing Arts in Austin, Texas. He is also the founder of Twylight Zone, an innovative arts discovery platform dedicated to spotlighting creativity and culture.
With a career that defies categories, J. Dash embodies the spirit of reinvention—an artist, innovator, and leader whose work is equal parts vision, craft, and impact.
Artist: Mama Duke
Mama Duke is an award-winning recording artist from Texas, whose rise has been nothing short of explosive. Her breakout moment came on Season 20 of America’s Got Talent, where she earned the Golden Buzzer, soared into the Top 10, and saw her original song “Feels So Good to Be You” climb to #4 on the global pop charts during the season. Even Simon Cowell praised her star power, saying, “You’ve got it . You can’t explain what ‘it’ is—it’s just a feeling, and you’ve got it.”
A two-time Austin Hip-Hop Award winner, Mama Duke has taken home both Artist of the Year and Female Artist of the Year, solidifying her as one of Texas’s most compelling voices. She also composed the official 2025 anthem for Austin FC and created the signature jingle for Texas favorite JuiceLand
From national television to hometown stages, Mama Duke continues to redefine what a modern artist can be.
Conference Exhibition
Grand Opening Performance
Sponsored by FMEA
Thursday, January 15, 2026
12:15pm–12:45pm TCC, West Hall A
Coordinator: Brandon Davis
J. W. Mitchell High School Jazz Ensemble I
Director: Joshua Hobbs
The J. W. Mitchell High School Band Program from Trinity, Florida, is nationally recognized and one of the most comprehensive high school band programs in the state of Florida. The band seeks to provide meaningful experiences for students and future leaders through excellence in music performance. With more than 180 members, the program includes the marching band, three concert bands, two jazz ensembles, two competitive colorguards, and a percussion ensemble. The Jazz Ensemble I consistently receives straight superior ratings at district and state music performance assessments and also plays at various festivals around the state including Lakeside Jazz and more. A majority of the students that make up the J. W. Mitchell HS Jazz Ensemble I are accepted into the Pasco County all-county band, and a handful have performed with the Florida all-state bands as well. You can find more information about the J. W. Mitchell High School Band Program at jwmhs.pasco.k12.fl.us/bands-2/
Concerts
FMEA First General Session
Sponsored by FMEA
Thursday, January 15, 2026
10:30am–12noon
TCC, Ballroom A
Coordinator: John Southall
The Florida Music Education Association’s First General Session launches one of the nation’s largest and most inspiring gatherings of music educators—the 2026 FMEA Professional Learning Conference. Welcoming more than 10,000 attendees, this event features 250-plus clinic sessions and concerts, along with 25 all-state ensembles showcasing Florida’s finest student musicians. The First General Session sets the tone for a weekend of creativity, collaboration, and celebration, featuring keynote speaker Gerry Brooks, Mayor of Tampa Jane Castor, Dr. Skip Pardee, Dr. Kathy Sanz, and Fred Schiff. Inspiring performances by the United States Air Force Band of the West and trumpet artist Summer Camargo highlight the session, honoring excellence in teaching, artistry, and the transformative power of music in our schools and communities.
FMEA Second General Session
Sponsored by FMEA
Friday, January 16, 2026
9am–10:15am
TCC, Ballroom A
Coordinator: John Southall
The Florida Music Education Association’s Second General Session is a vibrant celebration of musical excellence. During this session, we will honor select music educators, administrators, music advocates, and music industry representatives who have contributed greatly to the music education profession over the years. A highlight of this session will be the annual Awards Ceremony and the FMEA Hall of Fame award presentation. President Skip Pardee will preside over this superb event, and Susan Smith, president of the Southern Division National Association for Music Education, will serve as guest speaker. In addition, a performance by Dr. Dale Rieth on piano will be a musical highlight for this event.
Gold Corporate and Academic Partners Performances in the Exhibition Hall
TCC, East Hall A
Exhibitor Ensemble Name Performance Time
THURSDAY, JANUARY 15, 2026
Marine Corps Marine Corps Music Program 1pm–1:30pm
Florida State University School of Music Jazz Combo 2pm–2:30pm
Frost School of Music at University of Miami Stamps Woodwind Ensemble 3:30pm–4pm
Frost School of Music at University of Miami Stamps Brass Ensemble 4:30pm–5pm
FRIDAY, JANUARY 16, 2026
Marine Corps Marine Corps Music Program 11am–11:30am
University of Florida TBA 12noon–12:30pm
University of North Florida
UNF Brass & Woodwind Quartet 1pm–2pm
Stetson University J. Ohlsson West Woodwind Quintet 2:30pm–3pm
Pinellas County Schools GAP
Elementary, Middle, & High School Ensembles 4pm–5pm
Concerts
President’s Concert
Sponsored by FMEA
Dr. Phillips High School Premiere Orchestra
Director: Raine Hollingsworth
Rich in tradition, pride, and excellence, the Dr. Phillips High School Orchestra Program was established in 1990. Under the direction of Ms. Raine Hollingsworth, the program has expanded to more than 170 students, offering four large string ensembles and a full symphony orchestra. Dr. Phillips orchestra ensembles consistently earn top marks at district, state, and national music performance assessment events. Premiere Orchestra has received numerous accolades, recognitions, and awards for excellence in musical performance and community impact through the arts from local, state, and national arts organizations, including but not limited to the Florida Orchestra Association, the ASTA National Orchestra Festival, the Orlando Philharmonic Orchestra, the University of Central Florida Department of Performing Arts, the Royal Philharmonic Orchestra (London), and Music for All, Inc.
Concerts
Wednesday, January 14, 2026
7:30pm–9pm
TCC, Ballroom A Coordinator: John Southall
F. W. Buchholz Wind Symphony
Directors: Noah Graben, Nestor Santiago
The Buchholz Wind Symphony has a rich tradition of excellence and national recognition. Since the founding of Buchholz High School in 1971, the Buchholz Band Program has achieved at the highest level. Accolades of the Buchholz Wind Symphony include performance at the Midwest Band and Orchestra Clinic (2002, 2009, 2014), performance at the Music for All National Concert Band Festival (2012, 2020, 2025), Sudler Flag of Honor (2002), performance at the FMEA President’s Concert (2014, 2019), performance at the CBDNA Southern Regional Conference (2002, 2014), performance at the National Band and Orchestra Festival (2011, 2026), performance at the American Bandmasters Association Convention (2014), performance at the Southeastern Band Clinic (2024), performance at the University of South Florida Festival of Winds (2023), Otto J. Kraushaar Award (41 times, most recently in 2025).
River Rhapsody
Director: Steven Armstrong River Rhapsody is the auditioned mixed chorus at Braden River High School in Bradenton, Florida. River Rhapsody has performed throughout the United States including three performances at Carnegie Hall. River Rhapsody has won numerous national competitions and has recorded and premiered several choral arrangements in the past four years. Because of the lack of middle school choirs in the district, the vast majority of the members of River Rhapsody have only one or two years of experience in chorus. River Rhapsody performs regularly throughout the community.
Concerts
FMEA CONCERTS
Sponsored by FMEA
Thursday, January 15, 2026
Saintly Strings: Suzuki Violin Ensemble From St. Mary’s Episcopal Day School
Director: Brittany Hensley
8am–9am
TCC, Ballroom A
Coordinator: John Southall
Saintly Strings is the Suzuki ensemble from St. Mary’s Episcopal Day School in Tampa, Florida, a preK–8 independent school. Founded in 2022, the program has grown to more than 150 students. Suzuki instruction begins in preK through a Suzuki Early Childhood Education curriculum. All first graders receive violin instruction during the school day and may opt into Saintly Strings starting in second grade. Students participate in school-day classes and an optional Friday after-school class with 80-plus weekly attendees. Performances showcase Suzuki repertoire, classical, and ensemble arrangements that highlight musical growth across all skill levels. Saintly Strings demonstrates the power of integrating string instruction into school life, inspiring educators to build similar programs. The ensemble fosters musical development while boosting students’ confidence, collaboration skills, and academic engagement.
The Villages High School Chamber Singers
Director: Mark Lehnowsky
8am–9am
TCC, Ballroom A
Coordinator: John Southall
The VHS Chamber Singers is an SATB ensemble that performs
music from all times and traditions. In 2024–25, they performed Tallis, Bach, Handel, Britten, and Rachmaninoff on one hand, and Donald Lawrence, Katarina Gimon, Damon Dandridge, Michael Barrett, John Tavener, and Ysaye Barnwell on the other. Old meets new, from sacred Renaissance to contemporary gospel, with traditional spirituals juxtaposed against holy minimalism, and timeless Sesotho folk music paired with modern soundscapes. These students approach each piece with humility and a dedication to faithfully and respectfully bring it to life. The ensemble has performed across the Eastern Seaboard, highlighted by a collaboration with Penn State’s Dr. Anthony Leach at the annual African American Music Festival and a concert in 2025 with Dr. Tim Peter and Stetson University. Students have performed in La Madeleine de Paris with Essence of Joy, won first place in competitions in numerous states, and offered many world premieres.
Director: Tiffany Lu
6:30pm–7:30pm
TCC, Ballroom A
Coordinator: Maria Lawver
The University of Florida Symphony Orchestra is the University of Florida’s flagship orchestral ensemble. Founded in October 1912 with 10 members, UFSO has grown to a full-size symphonic ensemble with more
University of Florida Symphony Orchestra
FMEA CONCERTS
Sponsored by FMEA
Thursday, January 15, 2026
than 90 musicians and has become a core of the School of Music. It features music majors, minors, and non-majors at both graduate and undergraduate levels and represents a critical academic and cultural cross-section of both the School of Music and the University of Florida at large.
Florida Atlantic University Wind Ensemble
Director: Kyle Prescott
8pm–8:50pm Marriott Water Street, Grand Ballroom
Coordinator: Maria Lawver
A flagship performing ensemble at Florida Atlantic University, the Wind Ensemble includes 50 of the finest student musicians at the university working with their conductor, Kyle Prescott. Celebrated for its performances of both masterworks of the literature and groundbreaking works by contemporary composers, they have received three separate invitations to perform at prestigious Southern Division Conferences of the College Band Directors National Association (CBDNA), in Louisiana, South Carolina, and Georgia. The Wind Ensemble has collaborated with renowned visiting composers including John Mackey, Bruce Broughton, Michele Fernandez, James Syler, and Scott McAllister, providing them with valuable opportunities for artistic growth. Beyond their artistic achievements, Wind Ensemble musicians actively engage with the community, hosting the largest concert band festival in the state and teaching for FAU’s summer band camps benefiting under-resourced elementary school students.
United States Air Force Band of the West
Director: David Neil C. Regner
9:15pm–10:15pm
TCC, Ballroom A
Coordinator: Melissa Nelson
The U.S. Air Force Bands consist of highly skilled professional musicians who serve as musical ambassadors for the Air Force and the United States. With 11 bands stationed around the world, the USAF Bands perform at more than 2,000 events every year, including the Daytona 500, the World Series, the Montreux Jazz Festival, the Rose Parade, and concert venues across the country. Beyond entertainment, the USAF Bands play a critical role in international diplomacy, collaborating with allied and partner nations to strengthen relationships through cultural exchange. Hailing from the nation’s top universities and conservatories, these exceptional airmen showcase Air Force heritage, represent America abroad, and promote the Air Force core values of Integrity First, Service Before Self, and Excellence in All We Do.
COLLEGE NIGHT COLLEGE NIGHT FMEA CONFERENCE FMEA CONFERENCE
H U R S . J A N . 1 5
Concerts
FMEA MINI-CONCERTS
Sponsored by FMEA
Thursday, January 15, 2026
TCC, Lobby Stage
Coordinator: Brandon Davis
9:15am–9:45am
Hagerty High School
Percussion Ensemble
Directors: Bryant Bernal, Brad Kuperman, Brian Kuperman
The Hagerty High School Percussion Ensemble is a distinguished part of the Hagerty High School Band Program in Oviedo, Florida. The ensemble performs regularly throughout the year with a wide-ranging repertoire—from contemporary chamber works to traditional percussion literature. The ensemble has performed at the UCF Celebrates the Arts High School Invitational for five of the event’s 10 years. Each season, they consistently earn superior ratings at district solo and ensemble evaluations and host an annual Spring Percussion Concert, inviting local high schools to perform together in celebration of percussion music. The ensemble is committed to fostering musical excellence, discipline, and collaboration. Many alumni continue performing in college marching bands, jazz ensembles, and concert percussion programs. Through dedication, creativity, and performance, the Hagerty Percussion Ensemble continues to uphold a tradition of excellence within Seminole County.
12:45pm–1:15pm
focused on musical excellence, creative expression, and ensemble collaboration. Students explore groove, improvisation, and the stylistic nuances of historically rich genres while developing their individual artistry and teamwork skills. Through school concerts, community events, and special performances, HIVE builds professionalism, confidence, and a strong sense of musical identity. The ensemble reflects NSU University School’s dedication to nurturing expressive, culturally aware students who understand the power of music to connect and inspire.
5:15pm–5:45pm
Dusk Till Dawn
Director: Forrest Hartmann
The Dayspring Academy
HIVE – Honors Instrumental and Vocal Ensemble
Directors: Michael Miguez, Raul Ramirez
The Honors Instrumental and Vocal Ensemble (HIVE) at NSU University School is an advanced extracurricular group that brings together passionate student musicians and vocalists to perform funk, jazz, soul, and R&B. Open to students by audition, HIVE offers a rigorous, performance-based experience
Early College Popular Music Ensemble is a learner-led group consisting of modern instrumentation and vocals with an emphasis on creating original works within the popular music genre. Learners study various songwriting techniques, lyric writing formulas, and different genres of music. Learners have performed in the All-State Popular Music Collective, Battle of the Bands (2024, 2025), Riff Riot (2025), Dayspring’s production of Godspell (2024), as well as local galas, community parades, festivals, and events.
Concerts
FMEA MINI-CONCERTS
Sponsored by FMEA
Friday, January 16, 2026
Coordinator: Brandon Davis
10:15am–10:45am
Flying High
TCC, Lobby Stage
Director: Alexander Glover
Flying High is Edgewater High School’s vocal jazz/a cappella ensemble. Made up of 16 singers, this group represents the best the chorus program has to offer in vocal quality, musicianship skills, leadership, and determination. As the touring ensemble of the Edgewater chorus program, Flying High enjoys an active and robust performance schedule, which includes on and off campus performances, private gigs, community events, and fundraisers. Members of this ensemble also perform regularly in other choral ensembles as well as in musical productions outside of the school setting. Performing works from various genres of a cappella singing, Flying High has enjoyed success at district and state music performance assessments, consistently earning superior and superior with distinction recognitions. Students in this ensemble represent a core sample of students at Edgewater representing diverse races, cultures, heritages, gender identities, and socioeconomic backgrounds.
3pm–3:30pm
University of South Florida Flute
Ensemble
TCC, Lobby Stage
Director: Franscesca Arnone
The University of South Florida Flute Ensemble exemplifies the 2026 conference theme of music education for a collective impact through its diverse and integrative approach to learning. Composed of undergraduate and graduate students pursuing degrees in music education, performance, and music studies, the ensemble brings together individuals from the Tampa metropolitan area, across the country, and from around the world. Their collaborative structure— ranging from student-led chamber groups to cross-studio partnerships—cultivates deeper musical and interpersonal understanding. Continued from page 21
FMEA MINI-CONCERTS
Sponsored by FMEA
Friday, January 16, 2026
Coordinator: Brandon Davis
Under the guidance of Dr. Francesca Arnone, students engage in weekly studio lab classes focused on chamber music, pedagogy, and collaborative projects, plus performance studio class and private or partner lessons. These layered experiences foster a learning environment rooted in shared growth, mutual respect, and a commitment to engagement through music.
4:45pm–5:15pm
Crooms Academy Steel Panthers
TCC, Lobby Stage
Director: Troy Thomas
The Crooms Academy Steel Panthers are the premier performance ensemble for Crooms Academy of Information Technology, a public technology magnet high school in the Seminole County Public School District. The steelband program at Crooms is led by Dr. Troy Thomas and is open to any student in grades 9–12. The steelband performs a wide variety of musical styles and genres, ranging from Trinbagonian styles such as soca and calypso, to Latin styles such as samba and bossa nova, to American contemporary styles such as pop and rock. The steelband also regularly performs arrangements of classical orchestral works and music composed for other forms of media, such as video games.
4:30pm–5pm Aquapella
TCC, West Hall B
Director: Michael Miguez
Aquapella is NSU University School’s premier contemporary a cappella group, known for its dynamic performances and exceptional vocal artistry. Composed of talented upper school students, Aquapella blends a variety of musical genres, including pop, R&B, jazz, and more, creating an unforgettable vocal experience. The group is dedicated to excellence in vocal harmony, improvisation, and creative expression. Beyond their technical skills, Aquapella embodies the spirit of collaboration and community, with members supporting one another both on and off the stage. Performing at major school events, local concerts, and prestigious conferences like the National A Cappella Convention and the International Competition of High School A Cappella, Aquapella represents NSU University School with pride, bringing joy and musical unity to audiences. Their commitment to artistry, professionalism, and innovation continues to inspire and elevate the school’s music program.
Conference Policies
To take advantage of early discounted rates, you must register and pay before the early registration deadline. If you are mailing a check to the FMEA office to pay for your registration, it must be postmarked on or before the EarlyRegistration Deadline and arrive in our office before the holiday break.
1. All participants—directors, students, chaperones, and guests—must be registered for the conference.
2. Only directors may register their groups or pick up registration materials if preregistered.
director’s preregistration packet and supervise the students at all times.
3. All participating students must be chaperoned. As required by FSMA, at least one chaperone, other than a director, is required for every ten (10) students or a fraction thereof. However, FMEA policy allows one free chaperone for every six (6) all-state students or a fraction thereof.
4. An additional paid chaperone may be registered for w each six (6) students registered, or w each all-state rehearsal site where registered students are rehearsing.
5. If a participating student is not accompanied by the director from that student’s school, then the principal from that school must furnish a letter designating the person from the school or school district who is to be in charge of that student. The letter should be addressed to the FMEA executive director, explain the extenuating circumstances preventing the director from attending, and must be submitted with registration materials. The school will be notified of approval. This does not release the director from the requirement that they must be registered for the conference. If approved, the person designated in the letter will pick up the
6. Student observers are not allowed to attend the conference. If any student observers are brought to the conference, the offending school’s participation in the conference may be eliminated the following year. Tri-M students or those approved for the “Student Experience” program who are registered and participating in sessions or working for the all-state concerts are exempt from this rule. Chaperones or other attendees are not allowed to bring children who are not participating in an allstate ensemble or student experience . Only registered students, teachers, and chaperones wearing a conference badge are allowed in and around the rehearsals and conference areas. Please make babysitting arrangements before attending the conference.
7. FMEA & NAfME Membership Requirements:
w All Florida school music teachers must register for the conference as FMEA members and be current members of FMEA and NAfME. This includes session presenters, all-state conductors, and directors of all-state students, invited performing groups, and mini-concerts.
w All-state conductors from Florida schools, colleges, or universities must also be FMEA members.
w No current music teacher may register as a chaperone.
w Collegiate students must be collegiate members of FMEA and NAfME.
w Attendees who live outside of Florida must be current members of NAfME. Attendees living outside the United States may contact our office for registration instructions.
(see below). These will be reviewed on a case-by-case basis. Refunds must be requested in writing, or through our Contact Us page.
3. All requests for emergency refunds must be received no later than January 31, 2026. Requests received after that date will be denied.
4. All refunds will be issued after the conference is completed.
5. There are no refunds for concert tickets or membership dues.
If you test positive for COVID-19 or develop symptoms before the conference:
w If you have symptoms of COVID-19, the flu, or anything that may be contagious, or if you test positive within five days before your planned arrival at the conference, please follow these procedures:
If you have all-state students: You will need to find another teacher to supervise your students and pick up your badges in accordance with conference policy #5 on the previous page. Because director conference registration is a requirement for all-state student participation, you are not eligible for a refund.
If you do NOT have all-state students: Send an email using our Contact Us page describing your symptoms or test results to request a refund in accordance with the policies above.
w If you are not showing symptoms, get re-tested a few days later. If the subsequent test(s) are negative and you still do not have symptoms, research has found that you are most likely not contagious, so you are welcome to attend the conference.
Chaperone Registration
Chaperone registration is based on the following rules:
Elementary Students
w For each elementary student registered, one free chaperone and one paid chaperone may be registered.
w Any additional attendees must purchase a “Guest Pass” at on-site registration for entry into the convention center.
Middle School and High School Students
w For every six students registered, one free chaperone and one paid chaperone may be registered. No other chaperones may be registered until the seventh student is registered.
w Any additional attendees (chaperones or guests) must purchase a “Guest Pass” at on-site registration for entry into the convention center.
w
EXCEPTIONS
If you have students in more than one performing ensemble, you may pay for a chaperone for each performing ensemble in which you have registered students.
If you have students from different schools, you may pay for a chaperone for each school for which you have registered students.
Clarification: these are not additional “free” chaperones; these exceptions only allow you to register an additional paid chaperone in addition to the one free and one paid chaperone per six students normally allowed.
Chaperones are not allowed to bring other children who are not participating in an all-state ensemble or student conference experience . Only registered students, teachers, and chaperones wearing a conference badge are allowed in and around the rehearsal areas. Directors are asked to make sure their chaperones are aware of this policy and make babysitting arrangements for their other children before agreeing to serve as chaperones.
Policies & Procedures
Photographic Release
By attending the conference and/or associated activities, you grant permission for FMEA to use any and all photographic imagery and video footage taken of you and your students at this event and activities pertaining to this event, without payment or any other consideration. You understand that such materials may be published electronically or in print, or used in presentations or exhibitions.
Security Procedures
The Florida Music Education Association is working with the Tampa Police Department and Allied Security at the Tampa Convention Center (TCC) to enhance the conference experience for the students and attendees.
Great News!
In order to help keep attendees safe, there will be a heightened security presence throughout the TCC and at various hotels. All entrances to the TCC will be patrolled by uniformed officers of the Tampa Police Department and uniformed Allied Security personnel. They will be patrolling the TCC as well. The Tampa Police Department will be at the crosswalks between Marriott Tampa Water Street and the TCC, at concerts, and patrolling some of the downtown hotels during rehearsals.
All attendees (this includes members, exhibitors, chaperones, and student participants) must wear their conference badge during the conference once the authorized registrant obtains the conference packet.
Please be prepared for random bag and/or purse searches. It is encouraged, if at all possible, to use a clear bag, similar to those used at sporting events, for entrance to conference events.
Enjoy the Conference Experience.
Code of Conduct
FMEA is dedicated to providing a positive environment of respect and civility for all attendees, including members, students, parents, speakers, clinicians, exhibitors, sponsors, staff, volunteers, and guests. All attendees are asked to follow all applicable laws and conference policies and to refrain from physical and verbal harassment, bullying, disorderly conduct, or any actions or behaviors that create unsafe conditions or interfere with presentations or performances. Harassment, bullying, and sexual language and imagery are not appropriate for any conference venue, including clinics, workshops, concerts, rehearsals, social events, online, and social media. Violations should be reported to convention center security or conference staff in a timely manner. Violators and their registered students may be expelled from the conference without a refund at the discretion of the FMEA Executive Committee.
Indemnity Clause
FMEA reserves the right to change the conference/workshop content, timing, speakers, or venue without notice. The event may be postponed or cancelled due to acts of terrorism, war, extreme weather conditions, industrial action, fewer than expected delegates, pandemic, or any event beyond the control of FMEA. If such a situation arises, FMEA will endeavor to reschedule the event; however, FMEA cannot be held responsible for any cost, damage, or expenses that may be incurred by the registrant as a consequence of the event being postponed or cancelled. Some registrants consider travel insurance to cover the cost of the registration, travel, and expenses for these types of situations. FMEA is not responsible for any registrant’s personal injury (i.e., physical, psychological, or emotional stress) or property damages while attending an FMEA conference or event. Conference registrants assume all risks inherent in attending an FMEA conference for which the registration covers, whether before, during, or after the conference.
Session Attendance Verification Reports
Provide proof of the sessions you attended to your administration with Session Attendance Verification Reports!
Each of our presenters will be provided a QR code and asked to display it on the last slide of their presentation. Scan that QR code to confirm your attendance and add the session to your Verification Report.
Scan the QR Code using the appropriate process for your phone. Do this with the Camera app on your phone or a separate QR Code Reader app, NOT the FMEA App.
Requirements
w Register for the conference, either via preregistration or on site.
w Make sure you can log in to the FMEA website using the web browser on your phone. Use the username and password you chose when you renewed your membership. If you are from outside of Florida, you should have chosen your username and password when you registered for the conference.
w Learn how to scan a QR code with your phone. With iPhones and newer Androids, you just need to open your camera, point it at the code, and a box will appear for you to click.
FMEA does NOT automatically submit your hours for you . It is up to you to follow the process outlined by your school or school district to apply for the professional development points toward your certificate renewal.
Ticket Policies & Procedures
Concert Ticket Reservation and Payment
NO TICKETS WILL BE AVAILABLE FOR SALE AT THE MARRIOTT.
To attend a concert at the Marriott Water Street, you must pre-purchase electronic tickets online using the button above, or plan to visit the second floor of the Tampa Convention Center to purchase your tickets before walking to the Marriott.
Ticket Frequently Asked Questions
Do I get free tickets for my students’ family members to attend the concert? No.
Can I get free tickets to any concerts?
Can I buy extra tickets anytime?
Can I buy tickets on site at the Marriott?
Does my young child need to buy a ticket?
No. Registered attendees (directors, chaperones, students) are allowed admission to concerts with their name badge, so no ticket is necessary. Attendees that are not registered for the conference (parents, family, etc.) must purchase tickets.
Anyone can purchase tickets online. Electronic tickets will go on sale in September, and sales will close 30 minutes after each concert’s scheduled start time. Paper tickets will be sold at the FMEA Registration Desk during its regular hours Thursday through Saturday.
No, on-site paper ticket sales are only available at Tampa Convention Center in the secondfloor registration area. If your concert is in the Marriott Water Street, you must prepurchase your tickets online or make plans to first visit the convention center to buy tickets and then walk over to the Marriott.
Everyone who will be taking up a seat will need a ticket. Babies that are being held by a parent or sitting on a parent’s lap for the duration of the concert are welcome without a ticket, but children who are old enough to sit in their own seat will need a ticket.
All-State Ticket Policy
1. Registered (BADGED) attendees do not require tickets to attend any all-state concert. This includes directors/ members, directors’ non-teaching spouses, performing all-state students, registered chaperones, collegiate student members, retired members, and VIP guests that you entered as part of your conference registration.
2. All nonregistered (NONBADGED) attendees (parents, family members, guests, etc.) are required to purchase tickets for any all-state concert they wish to attend.
3. There are no “free” or “allotted” tickets. All concert attendees must either wear their conference badge or purchase a ticket.
4. Tickets will be electronic and sold online utilizing a mobile-friendly website. The link will be available on the conference website well in advance of the conference, and directors are encouraged to share the link with all of their all-state students and their parents or guardians. On-site at the conference, the links and QR codes will be posted on signs in the venue so attendees may purchase tickets using their smartphones. Anyone who wishes to attend a concert can purchase an electronic ticket online anytime up until 30 minutes after the concert’s published start time
5. There is no longer a need for directors to pre-purchase any tickets for their students or their families. Instead, they should direct the student and their family to the online ticket sales website. Any directors who still wish to purchase tickets should take care to correctly enter the names and email addresses of the people who will be using the tickets into the online sales portal, or transfer the tickets to those who will be using the tickets using their correct name and email address in the online ticket sales portal.
6. Paper tickets will be on sale at the FMEA registration desk on site at the conference for attendees who would like to pay by cash or who do not want to use electronic tickets. Paper ticket sales for all-state concerts will begin
on Thursday morning and continue Friday and Saturday at the FMEA registration desk. There is no requirement that the director or any other registered attendee be the person purchasing these tickets. If a concert starts after the registration desk is closed, only electronic tickets will continue to be sold before that concert. No tickets will be available for sale at the Marriott. To attend a concert at the Marriott Water Street, you must pre-purchase electronic tickets online or plan to visit the Tampa Convention Center’s second floor to purchase your tickets before walking to the Marriott.
7. All ticket sales are final. There are no refunds for any concert tickets. Tickets may be transferred or exchanged using the online ticket sales portal only.
8. For entrance, ticket, and concert purposes, a concert is defined as the pair or group of ensembles that are performing in the same venue in a common, defined block of time. An example of a “concert” for purposes of entrance and ticketing would be the 5:30 pm concert that features both the Treble Chorus and Mixed Chorus, or the 2:30 pm concert that features the Middle, Concert, and Symphonic Bands.
Concert Re-Entry Procedure
Once a ticket’s barcode is scanned to gain entry, that ticket is marked as “used” and will no longer be eligible for another entry into the concert. Attendees who need to exit and re-enter the concert should be prepared to show their ticket and a photo I.D. to confirm they are the ticket owner to gain re-entry.
All-Ticket Sales are Final. No Refunds.
Please make sure you know the exact name of the all-state ensemble for which you need tickets before approaching the ticket sales window. Exchanges may only be made through the online portal.
Conference Hotels
FMEA has contracted with several Tampa hotels to provide you with the best rates possible.
Hotel Policies
w A maximum of five (5) guest rooms may be reserved per name/credit card.
w Directors should try to reserve rooms for all-state students and chaperones in the hotel where they are rehearsing.
w FMEA is not offering a housing bureau service. All participants MUST reserve online or call the hotel directly to secure reservations.
w If calling, be sure to request the “Florida Music Education Association” room block rate and confirm the guest room rate posted online.
BOOK ONLINE
CLICK HERE
w Credit cards are required for online reservations, and the credit card name must match the name on the reservation.
w If paying by check, reservations must be made over the phone, and a check for the full amount must be mailed directly to the hotel to arrive no later than December 15.
w You do not need to register for the conference before reserving your hotel rooms, but this is something we are considering for future conferences.
w Each hotel will have contract terms, such as parking charges, etc., on its reservation link.
Hotel Frequently Asked Questions
Why are the FMEA hotels so expensive?
Why is it so hard to get a room?
Why don’t you wait and open the hotel block after all-state auditions are released?
I tried calling, but it was busy or they put me on hold forever.
Is there a cancellation fee?
Someone at the hotel told me that cancelled rooms don’t go back into the FMEA block, and they are sold at full price instead. Is that true?
The price on the hotel’s booking page doesn’t match the price listed on the FMEA’s hotel page.
The prices we contract with the hotels are much lower than their standard room rates during the same dates. In many cases, it is less than half their normal rates.
When the blocks first open, everyone tries to get as many rooms as they can in case they need them for all-state students and chaperones, so they fill up very fast. If you wait until after the all-state results come out, many people will have cancelled their rooms and it’s much easier for everyone else to get a reservation.
Our hotel partners are uncomfortable waiting until we are so close to the start of the conference to book room reservations.
We recommend booking online instead. Otherwise, try again in early November after the all-state results are released. Many people will cancel rooms they no longer need if their students aren’t accepted.
No, as long as you cancel all the rooms you no longer need by the listed cancellation deadline, you will not be charged any type of cancellation fee. After the cancellation deadline, a deposit of one night per room in your reservation will be charged to your credit card, and that deposit is nonrefundable.
Only after December 15. Before that date, all the cancelled hotel rooms in the FMEA blocks will be returned to the FMEA blocks and can be reserved by other FMEA conference attendees at the low FMEA rate.
If the FMEA block is full at that hotel, they may be showing you available full-price rooms outside of the FMEA block. Try again in November after all-state results come out to see if anyone cancelled rooms in the FMEA block.
We urge any guest holding surplus reservations/rooms to cancel the excess reservation(s) as soon as possible and no later than 5 pm on November 3, 2025, and you must secure a cancellation confirmation number. This courtesy will make surplus rooms available to other FMEA members and conference attendees.
Nonrefundable Deposit
On November 11, each room reserved and not cancelled by November 3 will be charged a nonrefundable deposit in the amount of the posted rate for one night plus tax. It will be charged to the credit card used to secure the reservation. Invalid credit cards risk reservation cancellation.
Transportation Not Provided
Not all hotels are within walking distance of the convention center. FMEA does not provide any transportation. Transportation and parking ( CLICK HERE) are the responsibility of each attendee. Directors are asked to share this with their chaperones and students.
If Hotels Are Full
Every year, the hotel blocks fill up almost immediately upon opening due to teachers overestimating how many rooms they will need for all-state students and chaperones. They cancel the rooms they don’t need after the audition results are released (late October and early November).
w Try again in late October or early November after all-state results are released and teachers cancel rooms for students who don’t need them.
w Try again after the cancellation deadline. All cancelled rooms will return to the FMEA blocks until December 15.
w Please do not reserve a room outside of the FMEA blocks! We must fill most of our allotted room blocks to receive discounts for the ballrooms we use for all-state rehearsals. If we do not meet our required minimum number of hotel nights sold, we will need to raise conference registration rates to compensate for the added cost of the rehearsal space.
w If the price listed on the hotel’s website is not the same as the price listed on the FMEA hotel page, the FMEA block for that hotel may be full, and they are showing you full-price rooms instead. Try again in November after all-state results come out.
Beware of Room Block Scams
The hotels listed on the FMEA Hotel List are the only official housing providers for the FMEA conference. The Florida Music Education Association is not affiliated with any third-party hotel brokers. If you are contacted by someone claiming to represent the FMEA offering discounted housing or alternative housing arrangements, be aware it is a scam. If you receive such communication, please contact Val Anderson at val@FMEA.org. The only way to ensure you have a valid hotel reservation is to book your room with one of the listed hotels and mention group code FMEA, or if you are an exhibitor, please use the Hotel Reservation Form on the Exhibitor Information page.
Credit Card Scams at the Hotels
Imagine this scenario: You arrive at your hotel and check in at the front desk. When checking in, you give the front desk your credit card information (for all the charges for your room or just incidentals). You get to your room and settle in. Someone calls the front desk and asks for room 620 (which happens to be your room). Your phone rings in your room. You answer, and the person on the other end says the following: “This is the front desk. When checking in, we came across a problem with your charge card information. Please re-read me your credit card number and verify the three-digit number on the reverse side of your charge card.”
Not thinking anything unusual, you might give this person your information since the call seems to come from the front desk. But actually, it is a scam. Someone is calling from someplace other than the hotel’s front desk. They ask for a random room number, and then, sounding very professional, they ask you for credit card information and address information. They are so smooth, you will think you are talking to a hotel employee at the front desk.
If you ever encounter this problem, tell the caller you will come down to the front desk to clear up any problems. Then, go to the front desk and ask if there was a problem. If there was none, inform the manager of the hotel that someone acting like a front desk employee called to scam you of your credit card information. This type of scam may also happen with room service charges. Be alert!
Dr. Jeffrey L. Ames
All-State Concert Chorus
Saturday, January 17, 2026, 11am Tampa Convention Center, Ballroom A
Mrs. Dayna Cole
All-State Middle School Band
Saturday, January 17, 2026, 2:30pm Tampa Convention Center, Ballroom A
All-State Elementary Orff
Friday, January 16, 2026, 1pm Tampa
All-State Conductors
Ken Berg
All-State Middle School Mixed Chorus
Friday, January 16, 2026, 5:30pm Tampa Convention Center, Ballroom A
All-State Middle School Jazz Band
Friday, January 16, 2026, 7:30pm Marriott Water Street, Grand Ballroom
All-State
Friday, January 16, 2026, 1pm Tampa Convention
All-State Reading Chorus
Saturday, January 17, 2026, 8:45am Tampa Convention Center, Ballroom A
All-State Concert Orchestra
Saturday, January 17, 2026, 6:30pm Tampa Convention Center, Ballroom A
Mr.
Dr. Mark Butler
Mr. Christopher Creswell
Dr. Frank Diaz
Ms. Jennifer Donovan
Ensemble
Convention Center, Ballroom A
Ms. Tiffany English
Elementary Orff Ensemble
Center, Ballroom A
Dr. Ricky Fleming
All-State Intercollegiate Band
Friday, January 16, 2026, 4pm Marriott Water Street, Grand Ballroom
All-State Conductors
Dr. BettyAnne Gottlieb
High School Honors Orchestra
Saturday, January 17, 2026, 2:30pm Marriott Water Street, Grand Ballroom
Mr. Paul Morton
Middle School Honors Band
Saturday, January 17, 2026, 11am Marriott Water Street, Grand Ballroom
Mr. Bob Ponto
All-State Concert Band
Saturday, January 17, 2026, 2:30pm Tampa Convention Center, Ballroom A
Dr. Lori R. Hetzel
All-State SSAA Chorus
Friday, January 16, 2026, 7:30pm Tampa Convention Center, Ballroom A
Mr. Vincent Oakes
All-State Elementary Chorus
Thursday, January 15, 2026, 1:30pm Tampa Convention Center, Ballroom A
Dr. David Pope
Middle School Honors Orchestra
Saturday, January 17, 2026, 2:30pm
Marriott Water Street, Grand Ballroom
Dr. Sherrie Maricle
All-State High School Jazz Band
Friday, January 16, 2026, 8:30pm
Marriott Water Street, Grand Ballroom
Dr. Christopher Peterson
All-State TTBB Chorus
Saturday, January 17, 2026, 8:45am Tampa Convention Center, Ballroom A
Randles
All-State Popular Music Collective
Thursday, January 15, 2026, 6pm
Marriott Water Street, Grand Ballroom
Dr. Clint
Dr. Elizabeth A. Reed
All-State Middle School Orchestra
Saturday, January 17, 2026, 6:30pm Tampa Convention Center, Ballroom A
Mr. Ian Schwindt
High School Honors Band
Saturday, January 17, 2026, 11am Marriott Water Street, Grand Ballroom
Mr. William Hart Wells
All-State Middle School Guitar Ensemble
Thursday, January 15, 2026, 12:30pm Marriott Water Street, Grand Ballroom
All-State Conductors
Dr. Kami Rowan
All-State High School Guitar Ensemble
Thursday, January 15, 2026, 12:30pm Marriott Water Street, Grand Ballroom
Dr. Jennifer Sengin
All-State Middle School Treble Chorus
Friday, January 16, 2026, 5:30pm
Tampa Convention Center, Ballroom A
Dr. Tammy S. Yi
All-State Symphonic Orchestra
Saturday, January 17, 2026, 6:30pm
Tampa Convention Center, Ballroom A
Colonel Don Schofield
All-State Symphonic Band
Saturday, January 17, 2026, 2:30pm Tampa Convention Center, Ballroom A
Mr. David Springfield
High School Honors Big Band
Friday, January 16, 2026, 8pm
Marriott Water Street, Grand Ballroom
All-State Rehearsals
All-State Concert Band
Concert –
Tampa Convention Center, Ballroom A
Saturday, January 17, 2026 2:30pm
Reseating Auditions
Hotel Tampa Riverwalk, Riverwalk Ballroom
Thursday 9am-11am
Rehearsals – Hotel Tampa Riverwalk, Riverwalk Ballroom
The Students Are the Inspiration A Conversation With Educator and Composer Jeffrey Traster
BY MARC DECKER, DMA
JJeffrey L. Traster, DMA, is music professor emeritus at The University of Tampa where he served as director of bands and head of music education for 19 years, including music department chair for six years. Dr. Traster has taught in Texas, Ohio, and Florida. He is an active guest conductor, clinician, adjudicator, composer, tuba player, and low-brass instructor.
Dr. Traster began composing and founded Allegrezza Music Publications in 2015. Much of his music is composed for his students, honor bands, and special occasions. His oeuvre includes music for concert band, low-brass choir, jazz band, voice, a VBS curriculum with original songs (created and produced in collaboration with colleagues from Palma Ceia Presbyterian Church in Tampa, Fla.), and solos for trumpet, trombone, euphonium, or tuba with piano. Twentynine pieces by Traster have been added to the Florida Bandmasters Association (FBA) Solo & Ensemble List. On the FBA Concert Band List is his composition WAY DOWN for Concert Band, commissioned by the FBA for the Nine Star Honor Band.
What inspired you to begin composing ?
From my earliest memories, music has been there—songs my mom would sing or play at the piano, hymns, choir and organ music at church, Broadway musicals playing on the stereo—and I was singing right along with all of it. Music was exciting, stimulating, calming, captivating. Hundreds of those tunes and lines of lyrics still loop through my mind, along with their harmonies, rhythms, and musical styles that ranged from popular to classical, and sacred to swing. Always a singer, I started piano at age 6, sang in choirs, and joined the band in eighth grade.
During my teaching career, I did several arrangements for marching, pep, and concert band, but little of that was original. Still, that work got me familiar with music notation software and over time headed me toward composition. As I neared retirement from The University of Tampa, I felt drawn to try my hand at composing as a means to broaden my musical engagement. The first opportunity to compose was presented by the two middle school bands at the 2015 University of Tampa Summer Band Camp.
The younger band was a mix of rising seventh graders, many who had started on their instruments in January and had only one semester of training coming into camp. The other middle school band was mostly rising eighth graders. Those two bands premiered “Latinique,” a grade 1, and “Mixolydian Overture,” grade 2. It was exhilarating to rehearse and perform with those kids as the composer!
Looking back, I have gravitated toward opportunities to compose for specific ensembles like the camp bands, honor bands, commissions, and students that I have been directly involved with. Knowing who I am writing for and the expectation of an imminent performance bring an immediate focus to my work and usually a musical spark of inspiration for what the piece will be.
After retirement, the private students and low-brass ensembles in the schools I began to work with weekly
provided the inspiration for most of my pieces on the FBA Solo & Ensemble List. Writing music for S&E has been fun, and the students feel special to have a piece of music composed for them to premiere. I’ve always been an advocate for solo and ensemble participation (Traster, 1999), so writing these pieces is another way to encourage students to try it. S&E provides each student unique opportunities for individual musical growth and independence; it challenges them beyond the usual musical demands of the full ensemble and rewards personal musical achievement, which encourages self-motivated practice! After participation in S&E, students tend to listen differently, sight-read better, and play with more confidence. To everyone’s benefit, their new, higher level of musicianship transfers directly to the full ensemble.
Jeffrey Traster guest conducts the Rhinelander Community Band during their RiverWalk Concert.
continued from page 39
In seeking music for the low-brass sections I was working with, I quickly discovered there wasn’t much music on the FBA list for an ensemble of trombones, euphoniums, and tubas. Consequently, writing for that instrumentation has been a particular focus of mine in order to keep my low brass working as a unit beyond their full-band and sectional rehearsals, and it has begun to fill a niche in the S&E list that I hope will benefit low-brass players in many programs.
It sounds like when you compose you start with an ensemble or student in mind. What comes next in your creative process ?
With my students, I know their personalities, what they like to play, and their musical strengths and weaknesses. These usually spur musical ideas that I think they will enjoy playing and also show off their musical strengths. While composing, I intentionally weave techniques I want them to work on into the fabric of the music so they are challenged in a musical context. Those techniques could be articulation patterns, arpeggiated or angular intervals,
a melody that pushes them a step or two higher or lower in range, or a key-center I want them to get more comfortable in. Placed in a musical context, these technical challenges are approached “through the side door” and become somehow easier to learn.
Sometimes inspiration for a piece comes “out of the blue.” In the summer of 2020, my wife, Denise, and I were hiking in the mountains of West Virginia and happened across a trail sign that read “Harmony Lane.” That musical name immediately sparked a happy, barber-shoppy, swing lick that I sang into my phone’s voice-memo app. A few months later, it became a low-brass ensemble piece of the same title for my Gaither High School students.
I also like to introduce great composers to my students by making musical allusions to their music in my compositions. For example, the stylings of George Gershwin inspired another piece for low-brass ensemble entitled “Gershwinesque.” The first movement, “Melancholy,” is a soulful tune along the lines of Gerswhwin’s “Second Prelude.” The second is called “Fascinatin’” with elements owing to “Rhapsody in Blue” and “Fascinatin’ Rhythm.” Other examples are a grade 3 jazz band piece I wrote in 2018 for a “meet the composer” event set up by Jay Dedon at Coleman Middle School called “Monkish” that emulates the unique stylings of Theolonius Monk and a 2022 low-brass duet for trombone or euphonium and tuba entitled “After Bach and Ellington” for my Alonso High School tuba student Briana Real-De Oliveira and a euphonium buddy. This duet has an opening section of J. S. Bach-styled counterpoint that flows into a swing section. Here, the melody is improvisatory in character and placed over a walking bassline on the harmonic changes of Ellington’s “Take the A Train.” Hopefully, students who perform these pieces will listen to and read something of these pioneering composer-performers while practicing in their musical styles.
The Florida Bandmasters Association commissioned me to write a piece for the 2020 Nine Star Honor Band. I was thrilled to learn that Kelly Dorsey would be the conductor; she is a wonderful musician and was a helpful sounding board during the compositional process. Brian Dell chaired the Commissioning Committee at that time and suggested that I base my composition on the state song, “Old Folks at Home.” The result was “Way Down” for concert band, which was added to the FBA Concert Band List in 2022.
“Old Folks at Home,” written by Stephen Foster, is popularly known as “Swanee [sic] River.” I wasn’t at all inclined to do an arrangement in the song’s original, upbeat-vaudeville style or a theme and variations, yet I didn’t have a strong musical idea otherwise. Having never seen the Suwannee River except at 70 miles-per-hour from an I-75 bridge that crosses it, Denise and I made a drive north from Tampa to see the river at a few different locations on its winding path from headwaters in South Georgia to the Gulf of Mexico. As rivers go, the Suwannee is relatively short, so I was surprised at how wide and muddy it becomes not far west of the interstate. In viewing the river at this location, I began to imagine Stephen Foster’s tune emerging in a slow-moving, meandering line over lush harmonies in keeping with the placid river scene. This idea developed into the first section of the piece, subtitled “On the River.” Near the end of this section, a short phrase with the lyrics “comin’ for to carry me home” from the spiritual “Swing Low, Sweet Chariot” is quoted. In the context of “Way Down,” the phrase “carry me home” relates to the river as a means of transportation and loosely connects with the nostalgia of Foster’s lyrics “… far from the old folks at home.”
The second section of “Way Down” quotes the notes of “Swanee River,” but in a knee-slappin’ “barn-dance” rhythm that disguises Foster’s tune. This section is subtitled “Crackers,” a name ascribed to Florida cowboys in the late 1800s because of the sound of the small whips they used to herd cattle. The crack of their whips resounds in the piece, and there’s a percussion break that depicts a group of cowboys around a campfire clanking out a rhythm on pans, metal cups, and whatever else might be handy.
Which of your compositions offer the best introduction to you and your work ?
For young bands there’s “Latinique,” a fun grade 1 piece I wrote for the youngest University of Tampa Summer Camp Band. In the intermediate range of difficulty is “Flight of the Gryphon” (grade 3), written with full brass instrumentation for the combined brass of the second and third bands at Sickles High School, then directed by Heather Lundahl and Keith Griffis (Keith suggested the title!). With bold character and rhythmic independence in all parts, it’s fun to play!
For advanced bands, I recently composed two pieces for the outstanding Florida Wind Band conducted by Dr. Matthew McCutchen. One is a patriotic work entitled “With Liberty and Justice” (grade 4) for band and narrator, built around quotes from seven famous figures including Abraham Lincoln, Susan B. Anthony, and Nelson Mandela. The other is a holiday piece with colorful scoring and a lot of percussion entitled “The Kings” (grade 5), a mixed-metered mash-up of “We Three Kings” and “I Saw Three Ships.”
Certainly, my solos and ensembles on the FBA list provide a broad spectrum of music I’ve done at various grade levels. My first solo piece with piano was a grade 1 composed in 2018 for a Walker Middle School tuba player named Tanishq Kalra. He was a bright and determined young man. After a few weeks of working on the piece, I asked Tanishq what the title should be, and without hesitation he replied, “The Road to Freedom.” Interestingly, when he finished performing at S&E MPA, his judge, Travis Henry, asked him what the title meant to him. Tanishq then described his experience moving to America and how grateful he and his mom were to be here. That brought home for me the power of music, the influence it has on young people, and the importance of what we do as music educators and adjudicators.
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continued from page 41
What thoughts do you have for directors that are programming your music ?
There’s usually some kind of descriptive connection between the music I write and a meaningful phrase, story, outdoor scene, mood, or attitude. Titles and subtitles of my pieces often give insights about the character of the piece. For example, one of my works for low-brass ensemble, “Hill Island,” has two movements with descriptive subtitles: “Bay Vista” and “Island Tango.” Asking students to imagine themselves sitting in the sand looking out over calm waters, then dancing a coconut-tango on the beach will likely bring out the right flavors of this music! For me, music captures and reflects some aspect of who we are, what we feel, and experiences that shape us.
are, and will continue to be, your resource for ideas, avid listeners, and a safety net with emotional support for whatever you’re facing. We were all first-year teachers and have experienced some feelings of “starting over” with each new job. By tapping into your professional resources, you will discover a person on the other end of the line who will listen with understanding, empathy, and experience, then respond with joy, thoughtfulness, and the occasional kick-in-thetail-with-love we sometimes need.
Soon after my retirement from UT, I wrote a piece for the 2016 Hillsborough All-County Band called “Poco Adagio.” At the time, I was thinking a lot about what was next for me. I didn’t intend for retirement to halt my music involvement, but rather to give me the opportunity to somehow redirect and reboot. Although I had a few engagements on the near horizon, I was searching for what might be sustaining. Composing “Poco Adagio” became an emotional catharsis of this personal journey.
I believe that knowing something of the thought and circumstances that go into writing a piece of music makes a difference in the rehearsal and performance of it. Program notes are always helpful; from there, I trust that the conductor and musicians will follow on with their own research initiatives, interpretations, and feelings to bring the music to life and make it meaningful for themselves and others.
As a retired band director and experienced music educator, what advice do you have for new teachers in Florida ?
You’re not alone! It may seem that there is not another music professional within 100 miles of your school or you’re “all alone” in a new town. The reality is you’re only a call, text, or email away from mentors and friends. They
Wherever you teach, you are the captain of music in your domain! You’ve been hired to take charge of and “own” the situation, space, equipment, and materials that accompany every music position. Trust that you know what to do, who you are, and what brought you to this point. You are ready! Rely on your knowledge, make long- and short-term plans, and follow your plan. In the day-to-day, meet your students where they are musically, reinforce and reteach what was learned yesterday with high expectations, and lead them to where you want them to be by the end of the period. Make every class about beautiful, energized music, and your students will buy in.
A
s a composer and a conductor, how do you view the future of music education ?
The value of music is inherent in its omnipresent existence; archaeology and anthropology suggest that music is written into humanity’s DNA! The techniques and means of music-making have evolved over millennia and will continue to do so. In the most direct terms, I believe the future of music education largely depends on what we do in our music rooms and how we interact with our students inside and outside of class each day.
What we do is fueled by our thoughtful selection of music, year-ahead planning, long-term pedagogical goals, day-to-day planning, and creating an environment for
Clearwater Community Concert Band rehearsal
musical growth to happen every time we meet with students. What we value is revealed by what we teach. What we emphasize, our students will deem important; what we love about music and the music we love, they will love as well. Therefore, we must bring music of substance that we love into the classroom and teach about why we love it in the same moments we work out correct notes with ringing intonation and rhythms styled in the character of the piece.
How we interact with students is equally important and unique to each of us. Courtesy, respect, and leadership are returned in the measure given. Engaging students is enhanced by knowing something about them: asking what music they listen to, staying current with popular music trends, personally encouraging individual students to audition for an honor band or prepare a solo or duet for S&E, learning about their interests and involvements other than music, reaching out to “loners” by asking one of your student leaders to take them under their wing and help them find a place in the choir, band, or orchestra. We in music education have the great privilege of working with students as they mature over multiple years. The next steps are just as important: follow up with them often by casually commenting on the music group they like, or ask, “How’s it going with that solo? Let me hear some of it on Thursday before school.”
To paraphrase from Maya Angelou, our students will forget much about what they learned, but “will never forget how we made them feel” in the rehearsal room, on stage, and in the hallway. Truly, the students we are teaching will determine the future of music education based upon their experiences with us now. We are the unique element of our programs. What we do in our music classes matters to our students every day; they come to us with excitement to make music, share music with each other, and feel the “buzz” that only music can bring. Our opportunity is to be the catalyst for their musical growth and inspiration.
What’s next for you ?
I just finished a handbell piece entitled “Rejoice!” It is the first of a set of six pieces for the Trinity Handbell Choir at Palma Ceia Presbyterian Church in Tampa. Target performance dates for each piece are spread across the
coming eight months in celebration of the church’s 100th anniversary.
Also in the composition mill is a concert band piece for a long-time friend and colleague, Pamela Towry Church, who is a highly regarded band director retired from teaching in New Mexico. She is currently directing one of the concert bands at the University of Texas at El Paso. I was thrilled that her band played “Way Down” at one of their concerts last spring. Shortly afterward, Pam asked if I could write something for her students with a Latin flavor. My goal is to have that piece done in time for them to perform it in the 2026 spring semester.
Additionally, this fall marks my fifth season directing the Clearwater Community Concert Band, a marvelous group of musicians ranging in age from 20s to 80s who represent numerous career paths, including music, and come with a broad range of musical skills and life experiences. It is an honor and great pleasure to join in music-making with these folks each week!
On a personal level, Denise and I love spending time with our four grown daughters and their families: three live in Orlando and one in Tampa. Additionally, we are enjoying systematically traveling to at least one national historic site and/or park in each of the contiguous states. This travel strategy has led us to places we might not otherwise have selected and resulted in many other interesting stops along the way. We have found that each state we’ve visited has a unique character and identity that are an essential part of who we are together as the United States of America.
Marc Decker, DMA, is an associate professor of music at Florida Atlantic University where he serves as associate director of bands. He was previously a high school band director at South Haven High School in Michigan and is an active arranger, drill writer, guest conductor, and adjudicator.
Reference Traster, J. (1999). Chamber music magic for your students, your program. Florida Music Director, 14–15.
FLORIDA MUSIC EDUCATION ASSOCIATION
2025-2026 DONORS
Thank you to all of the donors who have shown their dedication to the improvement of music education in Florida by supporting our Mission through financial contributions.
Our donors support specific causes by donating to the FMEA funds of their choice:
FMEA Scholarship Fund
Music Education Advocacy
General Fund
June M. Hinckley Scholarship
Professional Development for Members
Mel & Sally Schiff
Music Education Relief Fund
The following have graciously donated to FMEA from April 1, 2025, through November 9, 2025.
MAESTRO’S CIRCLE
$10,000 and up No current donors at this time.
Carlos Abril
In Honor of Ms. Terry Paulen
Sandra Adorno
Lucinda Balistreri
In Honor of music & arts educators in Sarasota County
Gordon Brock
Trent Brown
In Honor of J. Mark Scott
Kasia Bugaj
Judith Bula Wise
In Honor of Dr. Josh Bula
Dale Choate
In Memory of Dr. Colleen Kirk
Dayna Cole
In Memory of Linda Mann
Alice-Ann Darrow
ARTIST’S CIRCLE
$1,000 – $9,999
All County Music
Artie Almeida
In Honor of my sister, Joyce Slatton, & my niece, Katie Grace Miller
SUSTAINERS
$100 – $999
Virginia Densmore
In Memory of Gene Densmore
Virginia Dickert
In Memory of Lindsay Keller & Debbie Liles
Michael Dye
In Honor of Michelle R. Tredway
William Fredrickson
Kathleen James
In Memory of Dr. Dale Blackwell
Beth & Steven Kelly
Sheila & John King
Jason Locker
In Memory of June M. Hinckley
Joseph Luechauer
Deborah Mar
In Memory of Barbara Kingman
David Martinez-Cooley
Russell Robinson
Fred Schiff
In Memory of Mom & Dad
John Nista
In Memory of Stanley Dmitrenko
Mary Palmer
Douglas Phillips
In Memory of Dr. Bobby Adams
Kyle Prescott
Jeanne Reynolds
In Honor of Pinellas County
Performing Arts Teachers
Mary Catherine Salo
In Memory of Gary Rivenbark & Wes Rainer
Steven Salo
In Memory of John “Buck” Jamison & John Aiello & in Honor of Dr. Bill Prince
Alicia Romero-Sardinas
In Memory of John Rose
Kathleen Sanz
In Memory of June Hinckley
J. Mark Scott
In Honor of Jason Locker, Michael Dye, Dr. Judy Bowers, Dr. Judy Arthur, & Dr. André Thomas
D. Gregory Springer
Meghan Alfaro In Memory of Carol Boyce
David Bayardelle
In Memory of Dr. George Sparks
Mark Belfast In Memory of Dr. Mark A. Belfast, Sr.
Greg Carswell In Memory of all deceased members of the FMEA
William Castillo
Jeff Cayer
Zachary Chowning
Patrick Cooper In Memory of Martha Matteson
Dewey Dodds
James Bruce
Jamie Bryan In Honor of J. Mark Scott
Jeff Cayer
Denise Dumala
Timothy Eaton
Amanda Gilbert
SUSTAINERS
(Continued)
$100 – $999
Jeannine Stemmer
In Memory of Barbara Kingman & Lauren Alonso
Leiland Theriot In Memory of Clayton Krehbiel
Richard Uhler
PATRONS
$25 – $99
Patrick Dunnigan
Judith Evans
Margaret Flood
Lisa Foltz
In Memory of Rev. V. Ron Feener
Bradley Franks In Memory of Gary W. Rivenbark
Tina Gill
In Honor of Gary Rivenbark
John Grau
Ron Guzzo
Cynthia Heidel
Bernie Hendricks
Marsha Kindall-Smith
Joshua Langston
Christine Lapka
Howard Weinstein In Memory of Barry Weinstein
Kenneth Williams
Anonymous
Anonymous In Memory of Joan Lee Alkyer
Matthew McCutchen In Honor of John Carmichael
Amelita McGrath
Kelly Miller
Katie McGuire Menges
Reiko Niiya
Terry Pattishall
Edward Prasse
Arthur Pranno
Marie Radloff In Memory of Charles F. Ulrey
Clinton Randles
FRIENDS
up to $24
Angela Hartvigsen
William Hazlett
Lisa Hewitt
Sara Hofschneider In Honor of Adaline Burwell
Angel Irizarry
Jason Jerald
Sarah-Christina Larose
Jessica Moore In Memory of Dr. Nancy Barlar
Brandon Oliva
Connor Oneacre
John Parris
Ian Schwindt
Diana Rollo
William Rose
Susan Smith
Cheri Sleeper
Eddie Steadman
Andrea Szarowicz
On Behalf of Byrdie L. Jackson
Katelyn Taylor In Memory of Jared Benyola
Valerie Terry
Anonymous (4)
Anonymous In Memory of Archange Fils-aime
Sierra Silvia
John Southall
Kelly Southall
Ajori Spencer
Noiree Weaver
Anonymous (8)
DONATE TODAY FOR A STRONGER TOMORROW.
With your support, FMEA will continue to grow its programs for teachers and students, strengthen united advocacy efforts, and improve your professional development opportunities. Visit FMEA.org to learn more information about each fund and to make a donation.
FLORIDA MUSIC SUPERVISION ASSOCIATION
John J. Dupuis President
Celebrating Achievement and Planning Ahead
Nowthat we’re well into the school year, let’s examine some first semester reflections: students are settling into the rhythm of the academic year, winter performances are on the horizon, teachers are already thinking about who will be registering for their courses next year, and students and teachers alike are reflecting on growth and highlights from the first semester.
A few items to add to your planning list:
w Winter Performances: Concert season is in full swing. This is an opportunity to showcase your students’ progress through holiday concerts, winter recitals, parades, and community performances.
w Reflection: This is an opportunity to reflect on student achievement, growth, performance, and highlights from the first half of the year.
w Register for the FMEA Conference: Attend the conference to connect with colleagues, gain new teaching strategies, explore repertoire and resources, and be inspired by performances and sessions that promote music education across Florida.
w Professional Planning for Spring: This involves concert music selection, assessment preparation for MPAs, end-of-year banquets, and possibly spring trip logistics. This is an opportunity to set a full list of goals for your next performance and educational cycle.
Celebrating Achievement Through the Florida Seal of Fine Arts
A new area of momentum in music education is the continued growth of the Florida Seal of Fine Arts. Established to recognize high school graduates who demonstrate excellence and
sustained participation in the arts, the seal is placed on a student’s diploma as a permanent mark of distinction.
According to the Florida Department of Education, the Fine Arts Seal affirms that the arts are not “extras” but central to a complete education. Research supports this: a report by the Arts Education Partnership (2022) found that students engaged in the arts demonstrate higher levels of academic achievement, improved social-emotional skills, and increased community engagement. The Fine Arts Seal is one way to formally recognize these outcomes at
the district and state levels.
Educators are encouraged to guide students in documenting their qualifications for the seal, which may include specific courses, performance participation, community engagement, and portfolio submissions. For students, the seal is not only a celebration of their artistic journey but also a valuable credential that communicates creativity, perseverance, and collaboration to colleges and employers.
Preparing for the Spring Semester: Performance Assessments and Beyond
Even as winter concerts conclude, educators must turn quickly toward spring planning. For many programs, district and state music performance assessments (MPAs) represent the next significant benchmark. These assessments are not merely about ratings, but also provide structured opportunities for students to demonstrate growth, apply musicianship skills, and receive feedback from respected adjudicators.
Preparing for assessment requires careful planning. Repertoire must be
selected to challenge and inspire students while meeting the technical and stylistic requirements of the adjudicator’s rubric. Rehearsals should be planned carefully, balancing the refinement of performance literature with the continued development of fundamental skills. Educators must also prepare students emotionally, helping them view assessment ratings as both a goal and a learning opportunity.
Beyond MPAs, the spring semester often includes a range of additional opportunities like solo and ensemble, spring musicals, community performances, and graduation ceremonies.
Careful planning ensures that each event is given the preparation it deserves without overwhelming students or teachers.
Looking Forward: A Collective Commitment
As 2025 concludes, Florida music educators have much to celebrate and much to anticipate. The FMEA Professional Learning Conference provides renewal and community. The Fine Arts Seal elevates the profile of student achievement. Winter productions showcase the artistry and joy of performance. The spring semester invites us to prepare thoughtfully for assessments and celebrations of student
learning. And through it all, careful planning ensures that our music programs remailn a visible and valued part of school and community culture.
The months ahead will require dedication, creativity, and collaboration. But they also promise moments of joy, pride, and inspiration. As educators, we share a common goal: to provide every student in Florida with the opportunity to experience the power and joy of music.
In the words of Leonard Bernstein, “Music can name the unnameable and communicate the unknowable.” Let’s continue to inspire through music.
Mark A. Belfast, Jr., PhD Advisor
Level Up Your Professionalism … Again!
Congrats on putting a button on another semester of your college career! Over the next several weeks, I hope you’re able to find time to rest (mind, body, and soul!) and refill your tank before the spring semester. Make time to chat with old friends. Plan to be on task with your family when you’re at home with them. Binge-watch that show that’s been on your watchlist for months. Sleep!
Before you return to campus in January, make sure you visit the FMEA Professional Learning Conference website (or use the FMEA app), log in, and bookmark the following sessions sponsored by Florida NAfME Collegiate:
Wednesday, January 14, 2026
7 pm Florida NAfME Collegiate Presidents Forum (for presidents and members of chapter executive boards)
Thursday, January 15, 2026
1 pm Through Your Eyes: How to Survive & Thrive in the College Music Ed Degree
5:30 pm Florida NAfME Collegiate General Business Meeting #1
Friday, January 16, 2026
10:30 am The Goldilocks Principle: How to Find a Job That’s “Just Right”
Saturday, January 17, 2026
10 am Florida NAfME Collegiate General Business Meeting #2 (state executive board elections)
Component Memberships
Last month, I provided information related to collegiate membership eligibility requirements and privileges for the Florida Bandmasters Association (FBA) and the Florida Elementary Music Educators Association (FEMEA). Now, in Part 2 of that message, you’ll find information related to the Florida Orchestra Association (FOA) and Florida Vocal Association (FVA). You’ll need to ensure your FMEA membership is up-to-date before you register for January’s FMEA Professional Learning Conference. When you do so, consider adding one of these component memberships to your collegiate membership:
FOA Collegiate Student Membership ($15)
To be eligible for the FOA collegiate student membership, you must: w be enrolled in a college or university music program and not yet be employed as a full-time educator.
w be pursuing a degree in music education
Membership privileges include:
w access to workshops, clinics, and educational sessions focused on orchestral pedagogy, conducting, classroom management, and string teaching methodologies
w opportunities for networking with in-service music educators, FOA board members, district chairpersons, and fellow collegiate students
w opportunities to attend FOA-sponsored events
w discounted registration rate ($20) for the annual FOA Fall Conference
w direct access to district chairpersons through the FOA website ( myfoa.org)
FVA Collegiate Student Membership ($10)
To be eligible for the FVA collegiate student membership, you must:
w be enrolled in a college or university music program and not yet be employed as a full-time educator.
w be pursuing a degree in music education
Membership privileges include:
w access to bulletins, minutes, and materials distributed by the FVA
w discounted registration rate ($25) for the annual three-day FVA Summer Conference
Finally, here is my annual holiday decree: When you go home for the holidays, don’t let your family listen to cheesy holiday music! I don’t know ALL the great holiday music, but here’s a bunch (let me know what else should be included): Holiday Playlists
Jason Lane President
Huge Shoes to Fill
BY GRACE WIECKOWSKI
fter our January conference, I will have the honor of stepping in as president of Florida NAfME Collegiate and leading an organization that has given me so many opportunities to grow as a music educator and a leader. Seeing the work our current executive board members and our current president, Jason Lane, have done, I know I have huge shoes to fill.
Last January at our FMEA conference, finding out I was elected and would one day be serving as president of the largest state NAfME collegiate body felt surreal, and my time to step into the presidency seemed a million years away. However, as we approach our January conference, I can say with certainty that time flies. I would like to thank Kathryn Lang, Loanne Masson, Elizabeth Kennedy, and Alana Pittman—without all of you, I don’t think I’d be the leader I’ve become in this role. I would also like to thank Jason Lane for his mentorship, without which I don’t think I’d be ready to step into my role as president. Finally, I’d like to thank Megan Robichaud, our immediate past president, who encouraged me to run and to get involved with Florida NAfME Collegiate in the first place. Without her, I definitely would not be writing this article today.
I’m so excited to build upon the work of our previous board and to show my fellow collegiates that we are the future of music education. The time to get involved is now. Throughout my time as president-elect, I’ve had opportunities to interact with Deb Confredo, our national president. Something she is often quoted as saying is “As music educators we are not simply teaching music; we are teachers of people through music.” I believe Florida NAfME Collegiate shares a similar sentiment. We are not just advocating for the future of music education in Florida; we are building a network of lifelong connections that will serve us throughout and past our teaching careers.
I’m so honored to step into my role as president, and I’m excited to see what the future of this organization holds. I look forward to meeting more current, future, and retired music educators at our conference in January.
Go, Florida NAfME Collegiate!
Grace Wieckowski is a junior music education major at Stetson University and president-elect of Florida NAfME Collegiate.
CONTEMPORARY MEDIA COMMITTEE
Clint Randles, PhD Chairperson
Elevating Contemporary Music-Making in Florida’s Schools
s music education evolves across Florida, contemporary music programs are redefining what it means to be a musician in the classroom. Today’s students live in a world of digital tools, diverse genres, and self-produced sound. For contemporary music educators, songwriting stands at the heart of this transformation—connecting students’ creativity, cultural identities, and musical skills in ways that resonate deeply with their daily lives.
Why Songwriting Matters in Contemporary Music Education
Contemporary music education is about empowerment through creation. Instead of focusing solely on reproducing existing works, songwriting invites students to become active creators, blending listening, performing, composing, and producing into one holistic process. This aligns perfectly with Florida’s Next Generation Sunshine State Standards for Music, which emphasize creative thinking, collaboration, and innovation.
When students write
and produce their own songs—whether in pop, rock, hip-hop, R&B, indie, or electronic styles—they’re not just learning music theory or rhythm patterns. They’re applying those skills to create something personal and authentic. Songwriting becomes a powerful way to explore harmony, melody, and form while developing emotional intelligence, self-expression, and critical listening skills.
Connecting Learning to Students’ Lives
One of the greatest strengths of contemporary musicmaking is its ability to reflect the diverse musical culture of Florida. From Miami’s Latininfused beats to Tampa’s indie scene and Jacksonville’s hip-hop roots, students are surrounded by vibrant musical influences. Inviting them to draw from these sounds in their songwriting makes learning relevant and inclusive.
Songwriting also validates students’ identities. Many young people are already composing, producing, and sharing music outside of school using platforms like Soundtrap, GarageBand, and
BandLab. Bringing those tools into the classroom bridges the gap between personal creativity and academic learning. When students see that their ideas matter, engagement and motivation increase.
Practical Ways to Integrate Songwriting
You don’t need a professional studio or advanced training in composition to start a songwriting program. Here are a few ways to bring it into your contemporary music classes:
w Collaborative Creation: Encourage small groups to co-write songs, blending lyric writing, beat making, and performance.
w Genre Exploration: Assign projects where students reinterpret songs in different styles or fuse genres, helping them understand structure and production.
w Digital Production: Use free or school-approved platforms to record and arrange student originals, connecting songwriting to music technology standards.
w Performance and Sharing: Host school “song show-
cases” or release student EPs online, turning classroom learning into realworld music experiences. These approaches align with modern music education frameworks promoted by organizations like Music Will and the Association for Popular Music Education, which emphasize accessibility, creativity, and student choice.
The Bigger Picture: Building Creative Musicians
Songwriting transforms students from passive learners into active artists. It teaches them to take risks, collaborate meaningfully, and express their unique voices. For teachers, it opens the door to dynamic, studentdriven classrooms where creativity fuels growth. By weaving songwriting into contemporary musicmaking, Florida educators can prepare students not only to understand music, but to shape its future. In an age when creativity and innovation define success, helping students discover their own sound is one of the most powerful lessons we can offer.
DIVERSE LEARNERS COMMITTEE
Christine
Lapka,
EdD Chairperson
So Many Sessions … And You’ll Want to Be at All of These!
If part of what brings you to conference each year is the chance to connect, swap ideas, and get real answers from fellow educators—this is your year. The Diverse Learners Committee is hosting two highly interactive sessions created for exactly that purpose. Come ask questions, share challenges, and leave with practical strategies you can use Monday morning.
Come Talk With Us! Two Conversations You Won’t Want to Miss:
Including Everyone: A Conversation With the Diverse Learners Committee
The Power of Collaboration:
Teaching Our Diverse Learners
Friday January 16, 2026 1pm
Friday January 16, 2026 11:35am
Christine Lapka
Cody Puckett
Nerissa Rebagay
Daniel Beilman
Edward Ercilla
Christine Lapka
Cody Puckett
Nerissa Rebagay
Join the Diverse Learners Committee for an interactive panel discussion on fostering inclusivity in music education. This session will provide a platform for attendees to ask questions, share experiences, and learn effective strategies for integrating students with disabilities into music classes and ensemble rehearsals.
Are you a passionate music educator, a dedicated therapist, or someone eager to better support diverse learners? Join us for an insightful expert panel discussion. We will facilitate this event to help ensure all questions are answered.
More Can’t-Miss Sessions Supporting Diverse Learners:
Exceptional Music Education: Collectively Enhancing Outcomes for Students With Autism
Beyond the Senses: Creating Pathways to Musical Excellence!
Harmonizing Inclusion: Making Musical Connections Among Students With Disabilities
One Size Fits … Some: Differentiation in Band Repertoire
Music for Every Body: Inclusive Music Education Strategies for Blind/Visually Impaired and DHH Students
Special Guest Spotlight: Dr. Alice Hammel
Thursday, January 15, 2026 3:10pm
Friday, January 16, 2026 7:55am
Friday, January 16, 2026 7:55am
Friday, January 16, 2026 7:55am
Friday, January 16, 2026 4:15pm
We are thrilled to welcome one of the leading voices in inclusive music education!
Connecting Social Justice, Music, and Disability
You Have Questions, We Have Answers! Including Students With Disabilities and Differences in Band
Thursday, January 15, 2026 2:05pm
Thursday, January 15, 2026 3:10pm
Katie Kovalsky
Edward Ercilla
Matthew Weihmuller
Julia LaPierre
Laura Bock
Suzanne Charney
Micah Killion
Samuel Estes
Valerie Núñez-Caicedo
Alice Hammel
Alice Hammel
Nerissa Rebagay
AWARDS COMMITTEE
Sondra A. W. Collins
Chairperson
long with the rest of FMEA, your FMEA Awards Committee is excited to see you in January at our FMEA Professional Learning Conference! This year’s awards recognition at the Second General Session will shine a spotlight on our awardees, and you will have an opportunity to hear a short message directly from them. You will get a glimpse into the hearts and minds of the awardees regarding the value of music education and the role they play in assuring that all students, at all schools, receive quality and comprehensive music education. And don’t forget to check out the digital FMEA Professional Learning Conference Program, as each awardee has a spotlight biography and photo so you can get to know them better. I hope you are as excited as we are about celebrating our honorees. Your Awards Committee is also currently working hard to award those of you that have applied for the Music Education Service Awards and the Music Education Enrollment Awards—these awesome individuals will be announced in the Conference Program as well.
Please join me in applauding your 2026 FMEA award winners!
2026 FMEA Awardees
MUSIC EDUCATOR OF THE YEAR
Janine Jones Elementary Music Educator Osceola Magnet School School District of Indian River County (nominated by Sherry St. Petery, on behalf of FEMEA)
COLLEGE MUSIC EDUCATOR OF THE YEAR
Dr. Mark A. Belfast, Jr. Assistant
Professor of Music Education
Florida State University (nominated by Steven N. Kelly)
ELEMENTARY ADMINISTRATOR OF THE YEAR
Melinda Cunningham
Principal, Hawkes Bluff Elementary School, Broward County Public Schools (nominated by Jessica Gronberg, on behalf of FEMEA)
SECONDARY ADMINISTRATOR OF THE YEAR
(nominated by Dr. Arnekua Jackson, on behalf of the Multicultural Network)
Dr. Marcus Scott Principal, Augusta Raa Middle School Leon County Schools
SUPERINTENDENT OF THE YEAR
Superintendent Pinellas County Schools
(nominated by Ajori Spencer)
LEADERSHIP AWARD FOR MUSIC EDUCATION
All-State Orff Ensemble Coordinator Florida Elementary Music Educators Association
(nominated by Madison Kerr, on behalf of FEMEA)
SCHOOL BOARD OF THE YEAR
Pinellas County School Board
DISTINGUISHED SERVICE OF AN INDIVIDUAL IN MUSIC EDUCATION
Elisabeth (Lisa) J. Olson Voice Instructor
(nominated by Michelle Tredway, on behalf of FVA)
EXEMPLARY MODEL MUSIC PROGRAM
Instruments of Change
Kevin K. Hendrick
Lisa Hewitt
CEO Glen Schubert in conjunction with Hillsborough County Public Schools, Music Supervisor Jon Sever (nominated by Dr. Jeffrey Cayer)
Kevin K. Hendrick, Lisa N. Cane, Dawn M. Peters, Caprice Edmond, Laura Hine, Stephanie Meyer, Katie Blaxberg, Eileen M. Long
(nominated by Meghan Alfaro, on behalf of FEMEA)
Andrea Szarowicz President
Happy Holidays and Greetings From FOA!
s we approach winter break, let’s celebrate the achievements we’ve made so far and look forward to an even brighter start to 2026. With the holidays right around the corner, the Florida Orchestra Association invites you to reflect, recharge, and prepare for another incredible year of music-making. Mark your calendars for the 2026 FMEA Professional Learning Conference—a premier event offering inspiring insights, powerful performances, and opportunities to grow both professionally and personally. Early registration closes on December 12, 2025—don’t miss it!
This year, we’re thrilled to host some of the most celebrated all-state conductors, each bringing their artistry, energy, and expertise to our ensembles and students. Watching these renowned conductors lead our young musicians
from their first rehearsal to their final performance is one of the most rewarding experiences of our conference.
Our 2026 all-state conductors include:
w Symphonic (11–12) Orchestra – Dr. Tammy Yi w Concert (9–10) Orchestra –Dr. Frank Diaz w Middle School (7–8) Orchestra – Dr. Beth Reed w High School (9–12) Honors Orchestra – Dr. BettyAnne Gottlieb w Middle School (7–8) Honors Orchestra –Dr. David Pope Each conductor brings a unique perspective and passion to the podium. The transformation these students undergo over the course of a few days—from nervous first notes to confident, unified performances—is nothing short of inspiring. Let’s come together to support these remarkable young musicians and celebrate their dedication and artistry.
Congratulations
Congratulations to the 2026 All-State Students!
The Florida Orchestra Association extends heartfelt congratulations to all students selected for the 2026 all-state orchestras! Your dedication, preparation, and musicianship represent the best of our state’s young artists.
If you need assistance or have questions, please reach out directly to your ensemble’s coordinator. Coordinator contact information can be found under the Board List section at myfoa.org. w 11–12 Symphonic Orchestra: Steven Bossert w 9–10 Concert Orchestra: Katherine Ng w 7–8 All-State Middle School Orchestra: Marcey Sperr
w 9–12 High School Honors Orchestra: Samantha Felber
w 7–8 Middle School Honors Orchestra: Jennifer Erickson
Your coordinators are here to guide and support you through every step of your all-state experience.
Reignite Your Passion: Session Highlights
The conference isn’t just about performances—it’s about rejuvenation and inspiration!
This year’s lineup of expert clinicians offers sessions that will invigorate your teaching and spark new ideas.
w It CAN Be Just as (If Not More) Fun! Incorporating Band Culture & Rehearsal Techniques in the Orchestra Classroom – Andrea Reynolds, Calogero Fanara
DIAZ
w From Rehearsal to Revelation: Insightful Strategies Inspired by Master Teacher Cliff Colnot – Matthew Davis
w Habits of a Successful Beginning Strings Class
– Sarah Ball, Margaret Selby
w What the MPA Judges Are Listening For – Kasia Bugaj, Jennifer Haber
w The Ultimate Warm-Up
Remix – Portia Bradby, Antoine Khouri, Christian Davis
w Help Your Students (and Yourself) Navigate Stage Fright & Thrive Under Pressure – Susanna Klein
w Rehearsal Techniques to Elevate Your Orchestra
– Keith Dodson, Jason Jerald
w Prompt & Circumstance: Mastering AI in Your Music Classroom
– Tian Sanchez-Ballado
w Elementary Strings Success & Shenanigans
– Caroline Senko, Rebecca Senko
w Taking the Next Step: How to Become an FOA Leader
– Lauren Pardee, Cheri Sleeper, Andrea Szarowicz, Laurie Bitters
w Transferable Tasks for the Emerging Orchestra
Teacher – Adaline Burwell
w Getting Beyond Page One: Tools & Helpful Hints for the Non-String Educator
– Cheri Sleeper, Dakeyan Graham
w String Techniques for Band Teachers
– Anne Marie Patterson
Plan to attend the FOA General Membership Meeting on Thursday, January 15, at 5:15 pm in TCC, 301.
The Power of Connection
Don’t forget to make time for conversations in hallways, over coffee, and between sessions. The wisdom and encouragement exchanged among colleagues often become as valuable as the formal presentations. You’ll leave the conference feeling uplifted, supported, and proud to be part of this vibrant community of music educators.
A Note of Gratitude
As we conclude the first half of the school year, take pride in your accomplishments— both big and small. Your dedication continues to shape the next generation of musicians and leaders.
Have a safe and restful winter break, enjoy time with loved ones, and return refreshed for all that 2026 holds. We’re deeply grateful to be part of such a passionate community of music educators—and we can’t wait to see you at the conference!
Meghan Alfaro President
December is here, and that means so are the holiday concerts! As you prepare for your upcoming performances, please remember to take a moment to reflect on all you’ve accomplished this first semester. You’ve seen kindergarteners grow and learn what it means to be in school. You’ve shared the joy of music with your first and second graders, and maybe saw that one student master steady beat for the first time. Your third and fourth graders have learned new rhythms and melodies and are enjoying the experience of more challenging music. And maybe you’ve noticed certain fifth graders who have begun to identify themselves as young musicians. The work you do every day in your classrooms makes a lasting impact on a child for the rest of their life.
January conference is right around the corner! FEMEA is excited to bring you phenomenal professional learning opportunities. We highlighted our headliners in last month’s issue, so now let’s look at all the other amazing events and sessions planned for you! Make sure to join us on Thursday, January 15, at 4:15 pm, for the Elementary Music Meet & Greet and Annual Business Meeting, and then stick around after dinner for our fun Thursday night session. It’s a great chance to connect and share ideas with the people who really get what it’s like to make magic in the music room every day!
Thursday, January 15, 2026
w FEMEA Annual Curriculum Fair
Come share or gather ideas from our incredible elementary music colleagues across the state! Contact Shannon Stem if you want to participate at shannon@femea.flmusiced.org.
w All-State Elementary Chorus performance
w Ani Silva-Berrios – FEMEA West Music headliner
w FEMEA session presenters
Dr. Megan Sheridan
Emerson Oliver
w NEW TIME – FEMEA Annual Business Meeting & Meet and Greet at 12noon
Door prizes!
w Level Up! Group Games With Beth Ann Hepburn at 7:15pm
Lots of fun and MORE door prizes!
Friday, January 16, 2026
w All-State Elementary Orff Ensemble performance
w Melissa Fuller Flores – FEMEA Peripole headliner
w FEMEA session presenter
— Javel Perriel
Saturday, January 17, 2026
w FEMEA session presenters
Ernesta Chicklowski
Dr. Rob Lyda
Lisa Langston
Remember to stop by our partners in the Exhibition Hall for great elementary music products and discounts!
FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION
FLORIDA VOCAL ASSOCIATION
Jeannine Stemmer President
Tidings of Comfort and Joy
WhenI was about 10 years old, my family and I went to the movies on Christmas night. I wish I could tell you what movie we saw, but I honestly have no recollection. What I do remember vividly is what happened when we got home. As usual, I was the last one to get out of the car. I’ve always marched to the beat of my own drum. My father noticed that the house alarm had gone off and rushed inside. My mom followed quickly behind, and of course, my sister was right on her heels. Meanwhile, little old me was taking my sweet time, probably singing “Part of Your World” or “Wind Beneath My Wings” as I strolled toward the front door.
Then, out of nowhere, a man jumped from behind our Christmas tree, waving a stick. He pushed me aside and leapt over the fence before disappearing into the night. My family was around the back of the house, and
there I was, standing alone, heart pounding, at the front of the house.
Thankfully, I wasn’t harmed, but I was shaken. It’s funny how just 10 seconds of fear and uncertainty can leave a mark that lasts a lifetime. That Christmas became one of my most vivid memories, not because of the presents or the laughter, but because of that moment when I felt completely alone and unsafe.
Over time, I’ve come to hear my mother’s voice reminding me:
“Focus on the beautiful moments, the ones filled with love instead of fear, peace instead of strife.”
She used to drive me crazy with her constant “rosecolored glasses” outlook on life, but she was right. True joy can only take root when it’s grounded in peace and comfort.
What a simple but powerful truth.
So, what is comfort?
Comfort is hope. Comfort is strength. Comfort is
knowing that even when things feel uncertain, we are not alone.
There’s a reason the old carol says “tidings of comfort and joy,” not joy and comfort.
Comfort comes first. Joy cannot truly exist until it’s anchored in comfort, in hope, in peace, in support.
And what is joy?
Joy isn’t the same as happiness. Happiness can come and go with circumstances, but joy is deeper; it’s unshakable. Joy can exist even in sadness; it can rise up in moments of fear.
This Christmas season, I encourage you to pause and ask yourself:
Is there joy in your life? Are you sharing that joy in your classroom? Have you found your comfort, your strength, your peace, your hope? Because once you do, joy can surely follow.
As we gather in song and celebration this season, may we remember the power of
music, how with it we can create spaces of comfort, safety, and hope. Through music, we have the privilege of helping our students discover not just happiness, but a deep and steadfast joy that endures long after the final notes of their winter concerts fade.
I am so proud of our Florida Vocal Association as we prepared students for their all-state tests and auditions. The all-state adjudicators and committee, led by Michelle Tredway, were amazing. Thank you for your service to the students of our state. I am honored to be part of this incredible group and hope to see you at FMEA in Tampa, where we can continue to share the timeless tidings of comfort and joy with one another.
INTERESTED IN TEACHING MUSIC IN FLORIDA?
Please take time to thank and support our 2025-2026 Academic Partners.
The College of Idaho
BRONZE PARTNERS
Florida Gulf Coast University
Florida Southern College Rollins College
Partners as of November 4, 2025.
*Please visit FMEA.org/partners for partnership details or call 850-878-6844.
FOR MUSIC TEACHERS
This on-going column seeks to stimulate awareness of research issues for FMEA teachers and researchers.
FMEA RESEARCH COMMITTEE
D. Gregory Springer, PhD, Chairperson Florida State University
Research Puzzles Retaining Early-Career Music Teachers
It is well documented that many music educators leave the field within the first few years of teaching. Furthermore, many states have a shortage of music teachers as evidenced by the number of unfilled music teaching positions (Hash, 2021). This growing shortage of music teachers is a major problem that should be addressed by music education writ large. Dr. David S. Miller recently conducted a study analyzing the retention and attrition of early-career music educators in one state (Miller, 2025). As described in the article, “the purpose of this study was to examine the retention and attrition patterns of early-career music teachers in Maryland” (p. 85).
To address this purpose, Miller (2025) analyzed data from the Maryland Longitudinal Data System from the years 2013 to 2022. For this study, he defined early-career music educators as those with fewer than five years of teaching experience. He analyzed the data using descriptive statistics and a survival analysis, the latter of which is an approach that allows researchers to analyze and predict how long it takes for a given event to occur. In the current study, that event was whether teachers left the profession during those years. This study involved careful, thorough, and rigorous data analysis, and the results are both trustworthy and compelling.
Miller (2025) found that just under three-quarters of music teachers (74%) retained their current teaching position each year, whereas 8% moved to a different Maryland school. A larger proportion of teachers (18%) left teaching in Maryland,
which could mean that they were no longer teaching or that they continued teaching in another state. Results of the survival analysis indicated that approximately half of music teachers in the state of Maryland stopped teaching during their first five years, and years two and three seemed to offer the highest risk of attrition. There are many other important and interesting results discussed in the study, so I encourage you to access the article and read all of it.
Although the results of Miller’s (2025) study are representative of one state, they illuminate trends that are similar to other states. Therefore, they offer broad implications regarding music teacher recruitment, retention, compensation, and certification/licensure requirements. Hash (2021) explained that “Effective music instruction depends on an adequate and consistent supply of qualified teachers” (p. 17), and Miller’s (2025) findings indicate that much work needs to be done to ensure a full workforce of qualified music teachers. Future research in this area is needed to inform ongoing conversations and policy decisions about teacher recruitment and retention nationally.
References
Hash, P. M. (2021). Supply and demand: Music teacher shortage in the United States. Research and Issues in Music Education, 16(1), Article 3. https://commons.lib.jmu.edu/rime/vol16/iss1/3
Miller, D. S. (2025). The retention and attrition of early-career music teachers: a survival analysis. Arts Education Policy Review, 126(2), 82–98. https://doi.org/10.1080/10632913.2024.2329699
Email your questions and feedback to dgspringer@fsu.edu with a subject heading Research Puzzles.
CONNECT
MILLER
Mark Custom Recording Service, Inc. Music & Arts
Partners as of November 4, 2025.
*Please visit FMEA.org/partners for partnership details or call 850-878-6844.
Please take time to thank and support our 2025-2026 Corporate Partners.
PARTNERS
Cathy’s Choir Class
Hal Leonard
Head’s House of Music
J.W. Pepper & Son, Inc.
Music is Elementary
BRONZE PARTNERS
MusicFirst PACE Travel
Sight Reading Factory
West Music Company
Executive Director’s
The mission of The Florida Music Education Association is to promote quality, comprehensive music education in all Florida schools.
FMEA Executive Director
Kathleen D. Sanz, PhD
The Power in Our Profession: Music Education for Collective Impact NOTES
The Florida Music Education Association’s 82nd Professional Learning Conference: The Power in Our Profession: Music Education for Collective Impact will be held in Tampa, January 14–17, 2026. This conference, with its high-powered theme, will directly impact our ability to move music education forward in our state as we collaborate on a common agenda for teachers and students. There will be many exciting and inspiring sessions, along with concerts and keynote presentations. This year, our opening general session on Thursday will feature keynote speaker Gerry Brooks, social media advocate, followed by the United States Air Force Band of the West
Student Leadership Workshop and Student Conference Experience
In addition to the 24 all-state performing ensembles, students will have the opportunity to attend the Student Leadership Workshop on Wednesday, from 1 pm to 4:30 pm, which will feature Jaymel “J. Dash” Johnson, producer, songwriter, film composer, and Jacksonville native, with additional sessions by leading music educators. The Student Conference Experience is scheduled for Thursday and Friday. It will feature Summer Camargo, a trumpet player from the Saturday Night Live band and a former Florida all-state student. Your students will not want to miss hearing and seeing her.
We sincerely hope you have already made your plans to attend. Preregistration is now open, with an early registration deadline of December 12, 2025.
Please note:
w Early registration closes at midnight, December 12, 2025, after which prices increase to the regular registration rates. You may continue to register and pay online until the conference.
w The postmark deadline for checks mailed to pay for conference registration is December 12, 2025. After this date, all unpaid conference registrations must be paid by credit card online, or a check must be brought to the conference.
Advocacy and Government Relations
The 2026 Legislative Session will begin on January 13, 2026, and is scheduled to end on March 13, 2026. The Florida Music Education Association, in collaboration with the Florida School Music Association (FSMA) and the Florida Art Education Association (FAEA), is developing the Center for Fine Arts Education 2026 Legislative Platform. Please review the platform on the FMEA website in January. If you have questions about the bills as they move through the process, please call Dr. Kathleen Sanz at the FMEA office. It is crucial for you to personally engage in helping legislators make informed decisions that benefit Florida students, including those in music education. FMEA leadership and staff are looking forward to seeing you in January at the 2026 FMEA Professional Learning Conference and All-State Concerts.
University of Central Florida; 12488 Centaurus Blvd.; Orlando, FL 32816-8009; (407) 823-4545; kelly.miller@ucf.edu
Conference Planning Committee Chairperson John K. Southall, PhD Indian River State College; 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 418-9133; johnsouthall@me.com
FSMA President Benny L. Bolden, Jr., EdD laruemusic99@gmail.com
Hall of Fame Chairperson...................................................... Mary Palmer, EdD (407) 252-5172; mpalmerassoc@aol.com
Florida NAfME Collegiate Advisor Mark A. Belfast, Jr., PhD (850) 644-3424; mbelfast@fsu.edu
DOE Arts Education Consultant Erin O’Connor
Florida DOE, Bureau of Standards & Instructional Support 325 W. Gaines St.; Tallahassee, FL 32399-0400 (850) 245-0762; erin.o’connor@fldoe.org
President.......................................................................................... Jason Lane Florida A&M University; jason1.lane@famu.edu
FLORIDA MUSIC SUPERVISION ASSOCIATION
President.................................................................................... John J. Dupuis Volusia County Schools; 200 N. Clara Ave.; DeLand, FL 32720-4207 (813) 787-6790; jjdupuis@volusia.k12.fl.us
MULTICULTURAL NETWORK
Chairperson................................................................... Arnekua Jackson, PhD St. Thomas University; 16401 NW 37th Ave.; Miami Gardens, FL 33054 arnekuajackson@gmail.com
COMMITTEES
Advocacy Jeanne W. Reynolds, Co-Chairperson (727) 744-7252; jeannewrey@gmail.com
Advocacy Angela Hartvigsen, Co-Chairperson School Board of Sarasota County; 1960 Landings Blvd.; Sarasota, FL 34231 (941) 927-9000; angela.hartvigsen@sarasotacountyschools.net
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
Contemporary Media
Clint Randles, PhD University of South Florida; 4202 E. Fowler Ave.; Tampa, FL 33620-9951 (813) 974-2311; randlesc@usf.edu
Diverse Learners
Christine Lapka, EdD University of Central Florida; 12488 Centaurus Blvd.; Orlando, FL 32816-2372; christine.lapka@ucf.edu
Emerging Leaders Dakeyan C. Graham, PhD, EdD, DMA Alachua County Public Schools; 3600 NE 15th St.; Gainesville, FL 32609 dregraham@gmail.com
Florida Corporate & Academic Partners
Fred Schiff All County Music; 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fred@allcountymusic.com
Professional Learning Ajori Spencer Pinellas District Office; 301 4th St. SW; Largo, FL 33770-3536 (727) 588-6055; spencera@pcsb.org
Research D. Gregory Springer, PhD
FSU College of Music; 122 N. Copeland St.; Tallahassee, FL 32306 (850) 644-2925; dgspringer@fsu.edu
Secondary General Music Ed Prasse Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net
Student Engagement Michael Antmann, EdD Freedom High School; 2500 W. Taft-Vineland Rd.; Orlando, FL 32837 (407) 816-5600; michael.antmann@ocps.net
FMEA COMPONENTS
FLORIDA BANDMASTERS ASSOCIATION
President Jeff Cayer, EdD president@fba.flmusiced.org
Past President Bernard (Bernie) Hendricks, Jr. Ocoee High School; 1925 Ocoee Crown Point Pkwy.; Ocoee, FL 34761 bernard.hendricks@ocps.net
Executive Director Neil Jenkins Florida Bandmasters Association; P.O. Box 840135; Pembroke Pines, FL 33084 (954) 432-4111; Fax: (954) 432-4909; exec@fba.flmusiced.org
Business Manager Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; jo@barefootaccounting.com
FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION
President Meghan Alfaro Pinellas District Office; 301 4th St. SW; Largo, FL 33770-3536 (727) 588-6055; meghan@femea.flmusiced.org
Past President Ashley Peek Holley-Navarre Intermediate; 1936 Navarre School Rd.; Navarre, FL 32566-7504; ashley@femea.flmusiced.org
Executive Director .................................................................. Jennifer Sullivan 1750 Common Way Rd., Orlando, FL 32814; (321) 624-5433; slljenn@aol.com
FLORIDA ORCHESTRA ASSOCIATION
President Andrea Szarowicz Steinbrenner High School; 5575 W. Lutz Lake Fern Rd.; Lutz, FL 33558-9234 (813) 792-5131; aszarowicz@myfoa.org
Past President ............................................................................. Laurie Bitters Winter Park High School; 2100 Summerfield Rd.; Winter Park, FL 32792 (407) 622-3200; laurie.bitters@gmail.com
Executive Director Cheri A. Sleeper 1915 S. 47th St.; Tampa, FL 33619; (813) 363-4139; csleeper@myfoa.org
FLORIDA VOCAL ASSOCIATION
President Jeannine Stemmer Florida Christian School; 4200 SW 89th Ave.; Miami, FL 33165 (305) 226-8152; jeannine@fva.net
Past President David Pletincks Powell Middle School; 4100 Barclay Ave.; Brooksville, FL 34609-0860 (352) 403-8437; david@fva.net
Executive Director David Verdoni verdoni@fva.net
Business Manager...................................................................... Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; business@fva.net
