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The First Year:

How to Thrive as a First-Year Teacher PLUS:

June M. Hinckley Music Scholarship Call for Applications Collegiate Advocacy Summit Scholarship 2020 FMEA Award Winners

Programmed for Perseverance, Perfection, Passion, and Performance

Promoting Individual Student Practice in Choir February/March 2020

1


Advertiser Index

The Florida Music Director is made possible by the participation of the following businesses whose advertisements appear in this issue. They make it possible to provide you with a high-quality publication, and we gratefully acknowledge their support of our mission. We hope you will take special notice of these advertisements and consider the products and services offered. It is another important way you can support your professional association and the enhancement of Florida music education. The publisher does not endorse any particular company, product, or service. The Florida Music Education Association (FMEA) is not responsible for the content of any advertisement and reserves the right to accept or refuse any advertisement submitted for publication. Information for advertisers (rate card, insertion orders, graphics requirements, etc.) can be found at FMEAMediaKit.org. ADVERTISERS Alfred Music Publishing Co., Inc ............................................................... 4 Florida Atlantic University ..................................................................... 32 Florida Gulf Coast University .................................................................. 2 Smoky Mountain Music Festival ............................................................. 38 Yamaha Corporation of America ............................................................. 6 Advertisers shown in bold provide additional support to FMEA members through their membership in the Corporate and Academic Partners program. These advertisers deserve your special recognition and attention.

SUBSCRIPTIONS: Direct correspondence regarding subscriptions to: Hinckley Center for Fine Arts Education, 402 Office Plaza, Tallahassee, FL, 32301-2757. Subscription cost included in FMEA membership dues ($9); libraries, educational institutions, and all others within the United States: $27 plus 7.5% sales tax. CIRCULATION: 4,500 educators. Published eight times annually by The Florida Music Education Association, Hinckley Center for Fine Arts Education: 402 Office Plaza Tallahassee, FL 32301-2757. FMEA reserves the right to approve any application for appearance and to edit all materials proposed for distribution. Permission is granted to all FMEA members to reprint articles from the Florida Music Director for non-commercial, educational purposes. Non-members may request permission from the FMEA office. SUBMISSIONS: Article and art submissions are always considered and should be submitted on or before the 1st of the month, one month prior to the publication issue to: D. Gregory Springer, PhD, dgspringer@fsu.edu.

All articles must be provided in digital format (e.g., Microsoft Word). All applicable fonts and images must be provided. Images must be at least 300 dpi resolution at 100% of the size. All submissions must be accompanied by a proof (color, if applicable). Ads may be submitted via email to val@fmea.org. Florida Music Director reserves the right to refuse any ad not prepared to the correct specifications OR to rework the ad as needed with fees applied. 2019-20 FMEA Membership: You are eligible for membership in the Florida Music Education Association if you are an individual engaged in the teaching, supervision, or administration of music in elementary and secondary schools, colleges, or universities within the state. Visit FMEA.org/membership to learn more about the benefits of active membership.

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2

Florida Music Director


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

Hinckley Center for Fine Arts Education

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

Editor-in-Chief

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

Contents Volume 73 • Number 6

February/March 2020

June M. Hinckley Music Scholarship Call for Applications . . . . . . . . . . . . . . . . . . 8

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

Advertising Sales Valeria Anderson (val@fmea.org)

Director of Finance and Client Relations

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

Official FMEA and FMD Photographers

The First Year: How to Thrive as a First-Year Teacher . . . . . . . . . . . . . . . . . . . 13 Promoting Individual Student Practice in Choir . . . . . 18 2020 FMEA Award Winners . . . . . . . . . . . 22 Collegiate Advocacy Summit Scholarship . . . . . . . . 33 Programmed for Perseverance, Perfection, Passion, and Performance

. . . . . . 37

Bob O’Lary Debby Stubing

Art Director & Production Manager

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

D E PA R T M E N T S

Circulation & Copy Manager

Advertiser Index. . . . . . . . . . . 2

Research Puzzles. . . . . . . . . . 45

Copy Editor

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

Committee Reports. . . . . . . . 46

Advocacy Report. . . . . . . . . . . 7

Academic Partners. . . . . . . . . 51

2019-20 FMEA Donors. . . . . 9-11

Executive Director’s Notes. . . . 52

Corporate Partners. . . . . . . 34-35

Officers and Directors.. . . . . . 53

Valeria Anderson, (800) 301-3632 Susan Trainor

Component News.. . . . . . . . . 39 February/March 2020

3


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4    F l o r i d a

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President’sMessage The Next Step: Building on Success

W

ow, what a tremendous 2020 FMEA Professional Development Conference we just had! More

than 15,000 people from across the United States attended. As I walked around the various

conference venues, I was amazed at all the music, all the energy, and all the passion. I encountered people who were excited to be teachers, and others who were looking forward to becoming teach-

Steven N. Kelly, PhD President Florida Music Education Association

ers. I heard wonderful performances of all varieties of music. I learned new ideas and information

that I have already used in my classes. The conference was truly a celebration of all we have done, are doing, and will do. Now, what will you do with this experience?

As we all are aware, teaching is a demanding profession. So much time and energy are required

to provide our students with experiences. It is easy to get so caught up in our daily routines and responsibilities that we forget about the passion and excitement the FMEA conference generates. I simply ask that you pause and reflect on the conference, the music you heard, the information you learned, and the people you met. Take the information and experiences you encountered and

implement them into your teaching. Allow your students to experience your energy and passion.

Re-create the success from your conference experience in your classroom and celebrate with your students!

In reflecting on my own FMEA conference experience, I am completely amazed at all of the parts

and people that must come together to create this celebration. I especially want to thank Dr. John

Southall and the members of the Conference Planning Committee for all of their planning and hard work. Thank you to all of the presenters for sharing their expertise. Thank you to the exhibitors for helping to support our teachers. Thanks to all of the students (and their parents) who took time to

perform in one of the many concerts throughout this conference. Thank you to the FMEA staff for all of their hard work and preparation. Thank you to the FMEA Executive Board for its vision of what is possible. But most of all, thank you to the FMEA teachers for your commitment to music

education. I am reminded that our keynote presenters, Libby Larson and Anne Fennell, encouraged us to think beyond the status quo. To hold on to our foundations, but not be scared of new ideas

and musical ways. To do what is right, for the right reason, and to always do what we do for our students. This is our next step in building upon the success of the FMEA conference experience.

I wish every FMEA member success in their spring semester. It is a very busy time, but an excit-

ing time to be a music teacher in Florida.

Sincerely,

Steven N. Kelly, PhD, President

Florida Music Education Association

February/March 2020

5


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6    F l o r i d a

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AdvocacyReport

Florida Seal of Fine Arts Legislation

What’s the big deal? W

hy is FMEA advocating for this legislation? What’s the big deal? How does a seal on a graduation diploma strengthen music education in Florida schools? I have been asked these questions many

times. By way of answering these questions, consider these well-known expressions:

Jeanne W. Reynolds Chairwoman Government Relations Committee

A journey of a thousand miles begins with a single step. Slow and steady wins the race. The only way to eat an elephant is one bite at a time.

In a perfect world, every legislator, principal, school board member, and influential decision maker

would understand the value of quality music programs and would provide all necessary supports (financial, staffing, etc.) to ensure every school offered world-class music education programs. Schools would be rewarded for their fine music programs, perhaps as part of the school accountability system. We are not there. Yet. And the only way to get there is to take the first step.

The Florida Seal of Fine Arts legislation is a first step. This bill gets that conversation started. It is much

easier to go to a legislator with a very explicit “ask” than to visit the legislator to talk about a generic

message regarding the value of arts education. When constituents ask a legislator to support a specific

bill, that is a concrete request. It requires the legislator to reflect on the request and commit to backing

up his or her verbal support with an action. While it is true that supporting this legislation requires a legislator to take only a small step, it is an important step nonetheless.

This legislation provides recognition to our most accomplished student musicians, which also gets

the conversation started with parents and community members about the importance of a high-quality music education. In short, it gives us a reason to talk about the power of arts education.

THE FOCUS OF THE 2020 LEGISLATION

SEASON HAS BEEN

THE FLORIDA SEAL OF FINE ARTS

LEGISLATION:

LINK TO

Senate Bill 1100

LINK TO

House Bill 1123

Florida Seal of Fine Arts Program Proposed Legislation Talking Points – A Conversation Starter

« Promotes achievement. The DOE cohort study « Currently there is no state incentive to build is great evidence of this. Share your students’ and support thriving arts programs. « stories of success. Students and schools are not rewarded for hav« Addresses Social Emotional Learning. Students ing strong arts programs, despite the fact there We know that arts education:

often find a “home” in arts classes. These class-

« Encourages creativity. A survey of CEOs cleares give students a reason to come to school.

ly indicated that creativity and problem-solving skills are the qualities they look for in job

« Prepares students for the workforce. Arts educandidates.

cation fosters grit and perseverance as well as

Other points to note:

is ample evidence of the positive impact these

programs have on all students. When principals and school leaders are faced between

championing an arts elective program or championing a program that boosts a school

grade in the short term, they are faced with difficult choices.

a commitment to quality work.

This year we had a goal of getting a bill sponsored, and we were successful. As this article goes to

press, it has been heard in two Senate committees. This is something to celebrate. It often takes years to get a bill sponsored, no less passed. We owe a great debt of gratitude to our Government Relations Committee, FMEA collegiate members, and FMEA members who have acted when we have asked. This

will be a marathon, not a sprint. We have started the conversation, and we are well on our way to elevating the profile of music and arts education in Florida. And that is a big deal.

February/March 2020

7


CALL FOR APPLICATIONS

June M. Hinckley Music Education Scholarship We are pleased to announce that the Florida Music Education Association (FMEA) is soliciting scholarship applications for the 2020 June M. Hinckley Music Education Scholarship. The association will award $1,000 scholarships to selected 2019-20 graduating high school students who participated in a Florida all-state ensemble and who intend to major in music education at a Florida college or university. Please access the application at the link below and encourage your students to apply. A P P L I C AT I O N

FMEA.org/Scholarship

About

June M. Hinckley As arts education specialist for the Florida Department of Education,

June Hinckley led the development

of the Sunshine State Standards for the Arts, which are based on the National Arts Standards and were

adopted by the Florida State Board of Education in 1996. Hinckley assisted

schools and school districts with the

implementation of the arts standards and with connecting the arts with

The following should be sent to the FMEA office after submitting the online application: Printed copy of the essay Official transcript — should remain sealed Three letters of recommendation

« « «

the state accountability and testing

program, and she served as a liaison among the various K-12 arts education

groups, higher education, and com-

munity arts organizations. She was a founding organizer of the Arts for

a Complete Education project, which

has coalesced the various community, industry, and school arts organiza-

Postmark Deadline: April 20, 2020

tions in Florida to work cooperatively

and proactively to improve the qual-

ity and quantity of arts programs throughout the state.

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FLORIDA MUSIC EDUCATION ASSOCIATION 2019-2020 DONORS

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

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

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

The following have graciously donated to FMEA from April 1, 2019, through February 11, 2020.

MAESTRO’S CIRCLE $10,000 and up

No current donors at this time.

ARTIST’S CIRCLE $1,000 – $9,999

All County Music, Inc. Clifford Madsen Russell Robinson

SUSTAINERS $100 – $999

Artie Almeida In Memory of June Audrey Grace Lucinda Balistreri In Memory of June Hinckley Shelton Berg Richard Brown Anthony Chiarito Alice-Ann Darrow In Memory of Mr. & Mrs. O. B. Darrow Virginia Densmore In Memory of Shirley Kirwin Cynthia Heidel Dennis Holt In Memory of Dr. Gerson Yessin Llewellyn Humphrey Steven Kelly Carlton Kilpatrick

Sheila King In Memory of John W. King Cathi Leibinger In Memory of Linda Mann; In Honor of Ken Williams Jason Locker In Memory of June M. Hinckley Angel Marchese Carolyn Minear Edward Prasse On Behalf of Nancy Masters Jeanne Reynolds On Behalf of Pinellas County Schools Performing & Visual Arts Teachers Mary Catherine Salo In Memory of Gary Rivenbark & Wes Rainer Steven Salo In Honor of John Jamison & Dr. Bill Prince

February/March 2020

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SUSTAINERS continued Kathleen Sanz In Memory of June M. Hinckley Fred Schiff J. Mark Scott In Honor of Judy Arthur & Judy Bowers Karen Smith In Memory of Retired SFC Alfred C. & Nita Greening D. Gregory Springer Harry Spyker In Honor of Fred J. & Marleen Miller Jeannine Stemmer In Memory of Barbara Kingman & Lauren Alonso

Leiland Theriot Robert Todd In Memory of Gary Rivenbark Richard Uhler Julian White In Memory of Kenneth Tolbert David Williams Kenneth Williams

PATRONS

$25 – $99

Carlos Abril Michael Antmann Judy Arthur In Memory of Ray Kickliter Shawn Barat In Memory of Duane L. Hendon Mark Belfast In Memory of Dr. Mark A. Belfast, Sr. Jessica Blakley In Memory of John Rose Karen Bradley In Memory of Harold Bradley Gordon Brock Jamie Bryan In Memory of Wes Rainer Katarzyna (Kasia) Bugaj Dana Burt Stanley Butts Alexandra Carminati Carol Casey Shelby Chipman Dale Choate Don Coffman Dayna Cole In Memory of Linda Mann Erin Cushing Virginia Dickert In Memory of Lindsay Keller & Debbie Liles Jason Dobson Michael Dye Curtis Edwards Judith Evans

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Melanie Faulkner Bradley Franks In Memory of Gary W. Rivenbark Mark Goff Louise Gore Sharon Graham Walter Halil John Henderson Bernie Hendricks Stanley Hoch Neil Jenkins Marsha Juday Pauline Latorre Joseph Luechauer Kevin Lusk Cak Marshall In Memory of Sylvia Perry of Peripole, Inc. Stephen Mayo Robert McCormick Kim Miles Ree Nathan John Nista Mary Palmer Harry “Skip” Pardee On Behalf of Quinn & Vivienne Pardee Galen Peters David Pletincks In Honor of Alexis & Jonathan Pletincks Edward Prasse C. William Renfroe In Memory of Herb Beam, Past FVA President Rollins College Department of Music

Alicia Romero-Sardinas In Honor of John Rose Cristyn Schroder Thomas Silliman In Honor of Dr. Thomas Silliman, Sr. John Southall Timothy Stafford In Honor of Olive Stafford Jesse Strouse Sharon Tacot John Watkins John Weaver Howard Weinstein In Memory of Barry Weinstein Farryn Weiss Donald West In Honor of Melvin Maxwell Anonymous (5) In Memory of Elliot Tannenbaum


FRIENDS up to $24 Carmen Aquino Ernesto Bayola Richard Beckford Jessica Calandra Ella Carr Renee Cartee Ernesta Chicklowski Mr. Emanual Rivers II Kelly Chisholm Blair Clawson In Memory of Shirley Kirwin David Cruz Richard Dasher Matthew Davis In Memory of Robert Morrison Dennis Demaree Cheryl Dubberly Debbie Fahmie Jenny Freeman Tina Gill In Memory of Gary W. Rivenbark Lise Gilly Gerry Hacker

Harold Hankerson Jesse Hariton Cheryce Harris Angela Hartvigsen William Henley Ashton Horton Aisha Ivey Jason Jerald Rolanda Jones In Memory of June M. Hinckley Adina Kerr Katie Kovalsky Mia Laping Catherine Lee Anthony Lichtenberg Patricia Losada Claudia Lusararian In Honor of Sue Byo Deborah Mar In Memory of Mrs. Barbara Kingman Matthew McCutchen In Honor of John C. Carmichael Kristy Pagan

Hank Phillips Katherine Plank Marie Radloff In Memory of Charles F. Ulrey Emma Roser Stacie Rossow Edgar Rubio Anthony Ruffin Melissa Salek Jack Salley John Sinclair Thomas Stancampiano Phil Tempkins Joseph Tremper Gary Ulrich Billy B. Williamson Matthew Workman Richard Yaklich Anonymous (11) In Memory of Tom Damato In Honor of Ms. Helen Bailey

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.

February/March 2020

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C 12    F l o r i d a

Music Director


THE FIRST YEAR

How to Thrive as a First-Year Teacher

C

by John-Rine A. Zabanal, PhD

Introduction

podium. This transition from being a stu-

and waited for new-teacher orientation to

ration as a music teacher! You most likely

ficult adjustment for many new teachers.

first day of school, as I sat alone in my

Congratulations! You finished your prepacompleted a degree in music, learned how

dent to becoming a teacher can be a difThere are times when you might feel as

to play several instruments, completed

if you are alone and that you are the only

have your first job. Now what?

ed with your first year. I am here to tell

tests required for licensure, and now you It is time for you to teach students

how to make music. You may have other teaching experiences, which may include

summer music camps, band camps, or

practicum experiences—all of which I hope you found to be valuable prior to

your teaching internship (Hourigan & Scheib, 2009). It is not until your first year

of teaching, however, that you have true

control of your classroom and full respon-

one experiencing the challenges associatyou that you are not alone. The purpose

of this article is to help you calm down and realize that everything will be O.K. I was a new teacher once; every teacher was a new teacher once. Using research

If you decide to attend graduate school, that is an additional year or two living as a student. That means you have spent

18 to 20 years of your life identifying as a

student! Once you sign your first teaching

contract, you are suddenly pushed to the other side of the proverbial and literal

I had done. I had moved far from home to

a state where everything was so unfamil-

iar, and I was about to stand in front of a group of students—many of whom were taller than me—and teach music.

It is challenging to be a first-year teach-

lation during their first year of teaching

that will help you thrive in your first year.

major at The Ohio State University, I com-

on an undergraduate degree as a student.

table, and four chairs, that I realized what

teachers and provide some guidelines

a few issues experienced by many new

as a student. You typically have 13 years may have spent four or five years working

nothing other than a bed, a dining room

er. Researchers have found that beginning

Reaching Out to Colleagues

in K-12 schooling as a student; then, you

newly leased apartment furnished with

and personal experience, I will address

sibility of your students. As a young teacher, you have mostly been socialized

start. It was not until the day before the

During my last year as a music education

pleted a final recital, I interned at three different schools, and I frantically applied

to string orchestra jobs across the nation.

It was not until June of that year that I landed a job at a high school and middle

school in Virginia, nearly eight hours

away from my hometown in Ohio. I was ecstatic to have a job! With the help of my parents and my aunt, I moved to Virginia,

got settled, changed my driver’s license,

teachers experienced loneliness and iso-

(Conway & Christensen, 2006; Jones, 1977; Krueger, 1996). Students are socialized in

groups of other students in similar grade levels, which means they are close in age

to one another. They typically take the

same classes and have many common issues over which to commiserate. This type of socialization does not exist once

students leave their academic studies, especially when starting a new job. The

adults that surround first-year teachers

are in different phases of their lives, and the social rules regarding age no longer

apply. Young teachers have colleagues Continued on page 14 February/March 2020

13


First-Year Teacher Continued from page 13

who are old enough to be their parents

to ask their more-experienced colleagues

age. Their colleagues may be getting mar-

petent. They want to prove that they can

and who often have children of a similar

ried or having children. It is rare for there to be several other new teachers, or even

younger and experienced teachers, who are in a similar life-phase for new teachers to befriend.

If you are lucky, there may be two or

three music teachers in a building; however, there is often only one. It can also

be difficult for a young music teacher to find colleagues who can relate to the

problems and issues that are idiosyncratic to a music program, especially if you are the only music teacher in the building. As

such, it is important for you to avoid lock-

ing yourself in your classroom or office to complete the never-ending checklist.

questions out of fear of appearing incomsuccessfully lead their program on their

own, and they often make mistakes that

could have easily been prevented if they

had asked questions. I was lucky to have lunch at the same time as my middle

school music teacher colleagues. Due to this particular schedule, I was able to ask questions candidly in an informal and

relaxed environment. We also had a habit of staying after school hours after the

dismissal bell to socialize and share all kinds of stories and experiences. I encour-

age you, as young teachers, to seek these

conversations and establish relationships with your colleagues.

You must venture out of the confines of

Leading a Professional Life

colleagues! Reach out to veteran teachers

and enforce professionalism among their

the music room and reach out to other in your building or veteran teachers in

your discipline at other buildings. Most of the time, they appreciate having a fresh

point of view that new teachers may provide. They are also happy to share their

wisdom and experience to help others. It is important that you establish strong

positive relationships with veteran teach-

ers so you can learn vicariously from their experiences and allow them to help you.

During my first year of teaching, I

found myself consistently asking my much older and experienced middle

school band and choir director colleagues questions ranging from classroom management

to

upcoming

performance

assessments. The guitar teacher, who was

Most teacher preparation programs teach preservice teachers. Preservice teach-

ers are expected to dress professionally during school observations, practicum

experiences, and while attending con-

ferences. They are also expected to be professional in all correspondences with

wardrobe and avoided clothing that my

teachers, and potential employers. This

tempted to wear jeans on jeans day or to

their professors, advisors, cooperating demonstrates discipline, proper manner-

isms, and overall “good class.” This habit should not change once you become a

teacher. You must adopt and maintain a high level of professionalism in terms of

behavior, attire, and overall presentation in order to distinguish yourself from the students.

During my first year of teaching, a

students might wear. You may also be

dress more casually during spirit weeks. You may also see your more experienced colleagues wear more relaxed clothing on a daily basis. Remember that you are a new and young teacher. Sometimes

your appearance of age is indistinguishable when compared to that of your stu-

dents. Therefore, wearing appropriate and professional clothing is important if you want to be viewed as professional.

also early in his career but still more

middle school student approached me,

how easy it was for me to ask questions

ing company on my button-down shirt,

Concert Day

I was wearing a clothing brand that was

it came to planning any major event,

experienced than me, was impressed with and appreciated my willingness to learn.

Although I did not think I was doing anything special, his approval of my inquiries stuck with me, and I never stopped asking

questions. New teachers are often afraid

14    F l o r i d a

pointed to the logo of a name-brand clothand said, “I didn’t know you were cool!”

often worn by my students. After that

incident, I made it a priority in my budget to add more professional attire to my

Music Director

I learned one important lesson when and it was the importance of delegating

tasks to students. For my first concert,

I attempted to do everything myself:


to ask me a question. Although this may

appear cold, most questions could be

answered before they arrived to me, and thus, I only handled high-priority situa-

tions. What I learned from this was that the students were able to be efficient

and independent, and the concert went smoothly. Delegating tasks to students and preparing them may take additional

time at first, but it teaches them how to be independent, and it makes the concert a less exhausting experience for you. Classroom Management

During my first year of teaching, I was

the fourth orchestra teacher at the middle school in four years. My eighth-grade class

had experienced a new set of routines

each year, and the lack of consistency was apparent in the students’ behaviors. As a new teacher, I struggled with classroom management in general, but this class

had a student who was a special case. The student—we will call her Laura—disrupted the class by continuing conversations

during instruction, by taking her time setting up chairs, keeping track of student

sheet music, and how precisely to set up

instruments, fixing broken strings, and

attendance, to fold music programs, and

attendance, preparing programs, tuning

the list continues. I was exhausted before the performance even started. One of my

more-experienced colleagues asked me

why I did not delegate certain tasks to my students—I did have section leaders after all. After much thought and planning, I

the stage. I trusted them to take concert

to collect music after the concert. I also asked additional students to volunteer for various concert duties such as moving

equipment, setting up the stage, handing out programs, and serving as ushers.

A few classes before each concert, I

decided to try it.

would give a brief lecture about Murphy’s

drafted a list of duties and responsibilities

done to prepare for it. Additionally, I

A month before my next concert, I

that would be delegated to my section leaders. Once the list was complete, I

trained each section leader to do each task. I taught them how to tune with pegs confidently and quickly, to replace

a broken string, to repair a chin rest, and other simple fixes. I showed them

where I stored certain equipment, extra

Law, its significance, and what can be

reviewed the hierarchy of our orchestra. If students needed help, they should first ask a friend. If the friend did not have an

answer, then they should ask a section leader. If the section leader was unable

to answer, then the section leader could

ask me. The crux of this hierarchy was that only section leaders were allowed

preparing materials, and by interjecting

her thoughts at whim during rehearsals. I tried everything I could think of in my

tiny toolbox of discipline techniques, and

unfortunately, nothing appeared to work. After sharing my frustration with my

music colleagues, I realized that I was not utilizing my greatest resource, Laura’s

parents. In fact, I was afraid of talking to parents and avoided it as much as possi-

ble. One day, Laura was being especially disruptive, and my usual disciplinary

protocol was not effective. During my

planning period, I decided to call home and explain her behavior to her parents.

Unfortunately, I did not get to speak to her

parents, so I left a voicemail. The next day, I overheard Laura’s friends asking her to

come over for the weekend. She said she

was grounded for a week because I had

Continued on page 16

February/March 2020

15


First-Year Teacher Continued from page 15

called home. Needless to say, Laura was well-behaved after that.

Classroom management appears to be

the biggest concern among preservice

teachers (Campbell & Thompson, 2007; Kelly, 2000) and new in-service teachers

(Krueger, 1996; Madsen & Hancock, 2002). It is a skill best learned in the field and

improved upon with actual students, but

how do we know we have a solid foundation for managing a class? Classroom

management must be a multifaceted process that begins with the lesson plan.

Students must be kept engaged and on

task on a continuous basis; otherwise they may get bored and move to an off-task behavior that is not conducive to learning.

Once an effective lesson plan has been

created, it is now up to you as the teacher to maintain order. You must be able to

identify students who are off task and quickly adjust your interactions to help them correct their behaviors. You can

to test the limit of each teacher through

and I found myself teaching many more

ing your proximity to students, identify-

important that you follow the procedures

of three nights. As an itinerant orchestra

and using them as models, or reprimand-

tration. A good administration will sup-

behaviors. You must also have a protocol

they will be more inclined to support

must be prepared to follow through with

already set building wide. Many parents

is the key to managing a class. If being

ers. Parents do not want their child to be

detention, you must be prepared to give

port the teacher if they believe the teacher

ly after the third tardy.

your classroom management, parents can

make simple adjustments such as chang-

various classroom interactions. It is also

ing positive behaviors in other students

that were put in place by your adminis-

ing students who are exhibiting off-task

port you in any way they can; however,

for students who misbehave, and you

you if you follow the procedures that are

the protocol. Demonstrating consistency

are also supportive of their child’s teach-

late to class three times results in a lunch

a disruption in class, and many will sup-

the student a lunch detention immediate-

is fair and just. If you are consistent with

Another principle of classroom man-

agement is having a good support system.

be your strongest allies.

This includes fellow colleagues, adminis-

Self-Care

tocol you established in your classroom

teach evening private lessons at a local

building-wide protocol. Additionally, if

overload myself with private students,

ly following through with a schoolwide

ing new students. Unfortunately, I had

students than I wanted to over the course teacher, I had several evening commit-

ments at two different schools, and I found myself overwhelmed with trying to keep up with rescheduling lessons as well

as my regular teaching responsibilities. I frequently forgot to eat meals and did

not get adequate sleep, which did not help

my overall health. I knew something had to change, and I needed to reserve more

time for myself. Eventually, I learned to say no to incoming students, I lowered

the enrollment of my private studio, and I limited my teaching to one night per

week. I was able to establish myself as a private teacher, keep up with my responsibilities as a school teacher, and have

trators, and parents. The disciplinary pro-

Early in my teaching career, I wanted to

will be strengthened if it aligns with a

music studio. I knew I did not want to

students see that teachers are consistent-

so I attempted to be careful about accept-

new teachers feel overworked, over-

disciplinary plan, they may be less likely

trouble saying no to additional students,

(Jones, 1977). Even veteran teachers

16    F l o r i d a

Music Director

time to take care of my own personal needs.

Being a first-year teacher is hard. Many

burdened, overtired, and overwhelmed


no. When you are asked to complete an

tion, to share your experiences, and to

your regular responsibilities, such as put

you were, after all, a first-year teacher at

extra task that is not considered part of

together an additional performance or be

in charge of a major event, as a younger

John-Rine A. Zabanal,

to determine if the extra task will pre-

and director of string music

vent you from performing your primary

responsibilities as a teacher or negatively

impact your ability to prioritize your own self-care. If you believe you are up for the challenge, then of course, you may say yes.

If you are already feeling overwhelmed, it

is important to remember that you can say

no. Ultimately, you must practice this in

order to balance your personal life with your work life and learn how to decide what you can or cannot handle. Conclusion

terms of emotional exhaustion (McLain, 2005). It is important for you to practice self-care and to take a break. Self-care is

defined as the practice of activities that people can initiate and perform on their

own behalf in the interest of maintaining life, healthful functioning, continuing

personal development, and well-being

(Orem, 2001). There are several forms of self-care that many people practice at

varying degrees such as exercising, eating well, prioritizing sleep, drinking plenty of water, and practicing good personal hygiene. Due to the demands of teaching

and our responsibility to our students, however, we may place the needs of others in front of our own needs.

Self-care is a learned practice that must

be performed deliberately and continu-

one point in your life.

teacher you may feel obligated immedi-

ately to say yes. But you must take time

experience a moderate level of burnout in

help ease their fears. Do not forget that

It is tough to be a first-year teacher, but the good news is that you are only a new

teacher once. If you stay at your school the following year, teaching will be much easier for you. If you decide to work at a different school, it may be your first year

at your new school, but you are still no longer a first-year teacher. Either way, you get a second chance to introduce your-

self on the first day of school, to prepare for the first concert, to establish your

expectations with your students, and so

much more. You will have a better understanding of how to manage a class, teach

your lessons, interact with colleagues and

parents, and solve problems as they arise. Your teaching identity will be strength-

ened as you have one full year of teaching

experience on your own, and you can put your first year of firsts behind you.

Although you will be excited to move

PhD, is assistant professor education at the VanderCook

College of Music. He previously taught as adjunct fac-

ulty at Florida State University and as orchestra director (grades 6-12) in Spotsylvania

County Schools, Virginia. He holds degrees from FSU and The Ohio State University. References Campbell, M. R., & Thompson, L. K. (2007). Perceived concerns of preservice music education teachers: A cross-sectional study. Journal of Research in Music Education, 55, 162176. doi:10.1177/002242940705500206 Conway, C., & Christensen, S. (2006). Professional development and the beginning music teacher. Contributions to Music Education, 33(1), 9-25. Retrieved from http://www.jstor.org/ stable/24127197 Hourigan, R. M., & Scheib, J. W. (2009). Inside and outside the undergraduate music education curriculum: Student teacher perceptions of the value of skills, abilities, and understandings. Journal of Music Teacher Education, 18(2), 48-61. doi:10.1177/1057083708327871 Jones, G. S. (1977). A descriptive study of problems encountered by first-year instrumental music teachers in Oregon (Doctoral dissertation). Retrieved from ProQuest Dissertations & Theses. (UMI No. 7810203) Kelly, S. N. (2000). Preservice music education student fears of the internship and initial inservice teaching experience. Contributions to Music Education, 27(1), 41-50. Retrieved from http://www.jstor.org/stable/24127017 Krueger, P. J. (1996). Becoming a music teacher: Challenges of the first year. Dialogue in Instrumental Music, 20, 88-104. Madsen, C. K., & Hancock, C. B. (2002). Support for music education: A case study of issues concerning teacher retention and attrition. Journal of Research in Music Education, 50, 6-19. doi:10.2307/3345689

ously by each individual (Orem, 2001).

on to the next step in your teaching career,

cover your coughs are learned habits that

follow you. Take some time to get to know

McLain, B. P. (2005). Environmental support and music teacher burnout. Bulletin of the Council for Research in Music Education, 164, 71-84. Retrieved from https://www.jstor.org/ stable/40319261

Take a few moments to have a conversa-

Orem, D. E. (2001). Nursing: Concepts of practice (6th ed.). St. Louis, MO: Mosby.

Taking the time to wash your hands and

help prevent sickness. Another learned

habit is knowing that it is O.K. to say

do not forget the new teachers who will them, to help them, and to guide them.

February/March 2020

17


Promoting Individual Student P in Choir

C

Choirs are the sum of the individual singers in a group. It is important that not

only are the individual singers practicing

promoting and evaluating individual student practice in choir.

in high-quality rehearsals in the choir

Start With “Why”

ing individually outside of the normal

Leaders Inspire Everyone to Take Action,

setting, but that they are also rehearschoir rehearsal. This process may

In his book Start With Why: How Great

seem daunting to some singers at first; however, with the necessary tools, sequencing, and evaluation, individual student practice can have a profound effect on the overall choir. This article offers practical options for choir directors to use for

18    F l o r i d a

Music Director

Simon Sinek (2013)

writes that “… peo-

ple don’t buy WHAT

you do, they buy WHY

you do it, and WHAT

you do serves as the

director first explain to his or her students

why they should practice on their own. This intentional act of leadership will

help bring about the positive change more quickly than simply telling the students

what they are going to do and how they are going to do it. Once they understand

the director’s reasoning and can see the potential benefits for themselves and the choir, the students will buy in and put forth the effort.

I have observed several positive out-

tangible proof of WHY

comes as a result of promoting and imple-

very important that the

ers. The benefits have included greater

you do it” (p. 77). It is

menting individual practice for choir sing-


PB + D > C friction in technology as: “… the name

given to any quality that makes a prod-

uct more difficult or time-consuming to use” (Roose, 2018, para. 4). In an article

from Scientific American, author David Pogue wrote a formula for the likelihood of voting. Pogues’s (2012) formula was described as follows:

The formula for predicting someone’s likelihood to vote is something like

PB + D > C, where P is the probability that

Practice

your vote will make a difference, B is the benefit to you if your candidate wins,

D is the gratification you get from voting, and C is friction—the hassle

of registering to vote, then getting to the polling place, standing in line, and so on. Clearly, lowering the friction would increase turnout (para. 9).

We can transfer this idea for our pur-

by Zachary Thompson

poses from the likelihood of voting to the likelihood of students using the provided technology to practice their choir music.

Decreasing the number of steps to

access the rehearsal files in order to prac-

tice will lower the friction and increase overall musicianship from the students,

practice. Students who are capable of play-

the likelihood of student use. In addition,

his or her part accurately, students’ will-

individual part as a reference with which

accessible by a mobile phone. This will

able to play the piano to this level of skill.

use as opposed to being available only on

ownership of each singer’s ability to sing ingness to perform more challenging

repertoire, and more engaging rehearsals

focused on higher-level musical concepts. By developing the habit of practicing choir

music individually, students will be better prepared for events such as honor choirs, auditions, and performing in choirs at the college or professional level. Using Technology

There are many different options and

mediums for students to use for individual

ing the piano should be able to play their

it is important to make the practice tracks

to sing; however, not every student will be

dramatically increase the frequency of

It is therefore realistic to offer other ways

a computer.

technology will offer every student the

rehearsal tracks for your choir students.

anywhere.

The best option for your choir program

easy as possible to use and access to create

piano skill level, and technology skill

increase the likelihood for adoption and

rehearsal tracks with a professional sing-

for students to be able to practice. Using

There are several options for providing

ability to practice his or her own part from

Each option comes with pros and cons.

It is important to make technology as

will come down to your budget, time,

a “frictionless” environment, which will

level. One option is to purchase premade

use by the students. Roose (2018) defined

Continued on page 20 February/March 2020

19


Individual Student Practice Continued from page 19

er performing each voice part, such as

Choral Tracks by Matthew Curtis, which

has been described as follows: “Choral Tracks offers the highest quality, professionally sung rehearsal tracks for choral singers of all levels, promoting indepen-

dent, accurate, and expressive singing with a catalog of over 6,000 pieces of music” (Choral Tracks, n.d., para. 1).

also play a specific voice part alongside

Evaluation and Accountability

forming the piece. This will offer the sing-

tations and provided the necessary tools

a recording of a high-quality choir perers more context while rehearsing their part. In addition, the director can layer the

accompaniment or additional voice parts using audio recording and editing software such as Audacity or GarageBand. There are also several free options from

Finally, the director can input the notes

which the director can choose. Cyberbass.

of the score into music notation software

music under the public domain. This site

sound file as an mp3. It is important to

are many smaller choral selections avail-

ute the rehearsal files using a closed or

source for finding free rehearsal tracks for

copyright infringements, the rehearsal

more time to find high-quality rehearsal

the public. I have used services such as

offers practice tracks for choral

such as Finale or Sibelius and export the

specializes in major works; however, there

note that the director should only distrib-

able. YouTube.com

can also be a great

internal communication service. To avoid

choir music. Using this site might require

files should not be made accessible to

tracks, though.

Remind and Google Classroom to distrib-

com

Another option is for the director to

ute rehearsal files.

create his or her own rehearsal

Once the director has laid out the expecfor individual student practice in choir, he

or she must hold the students accountable. From my experience, not all of the stu-

dents will put forth the required amount of time and energy without being monitored and held accountable. Jocko Willink

explained, “This is the dichotomy: while a leader wants team members to police

themselves because they understand why, the leader still has to hold people accountable through some level of inspection to

ensure that the why is not only understood but being acted upon” (Babin & Willink, 2018, p. 190). Ideally, you want

the individual singers and each section to hold each other accountable; however,

it is ultimately up to the director to provide the external reinforcement of this

tracks. The simplest way to

behavior.

use the recording applica-

able is by giving them a grade for learning

director will play and/or

The director can assign an entire compo-

at a time while using the

the singers to learn. There are a variety of

I recommend using a

perform the music, each having a differ-

ing device such as a

found that starting with the director lis-

this is the method the

of the normal class time is the ideal situ-

frequently. The director can

tion. In addition, the director can assess

do this is for the director to

One way to hold the students account-

tion on a smartphone. The

their individual part of their choir music.

sing each voice part one

sition or a section of a composition for

application to record.

ways for the director to hear the singers

higher-quality record-

ent degree of intensity or difficulty. I have

Zoom

tening to each singer individually outside

H4N

Pro,

if

director will be using

20    F l o r i d a

Music Director

ation, especially for the first implementa-


Conclusion

The experience of promoting individual student practice can positively affect a

director’s program. Starting with explaining the reasons why the director wants

the students to practice on their own is an

important first step. Providing tools such as using frictionless technology for the

students will improve the likelihood of implementation. Holding the students

accountable through monitoring and graded assessments will ensure that students are learning their choir music. As a result of promoting individual student

practice in choir, I have witnessed signifi-

cant gains in the singers’ ownership of their music, students’ willingness to per-

form advanced repertoire, and increased engagement of higher-level musical concepts during rehearsals.

Zachary Thompson is the middle school and high

school choir director and worship leadership teacher

at Covenant Day School in

Matthews, North Carolina. the students by hearing them in sections,

frequently. That is not to say, however,

choir. Some students are motivated by

ing and holding the students account-

small groups, quartets, or even the entire

not letting their section down or being perceived negatively by their peers. The

director must use caution and set very clear expectations when singers are being

assessed in front of the other singers in the choir. It is also important to explain to the students that they are being graded

on their ability to learn and demonstrate their part, not their vocal quality.

In the early stages of implementing

this process, the director will need to

use frequent assessments. As the stu-

dents become accustomed to being held accountable for preparing their music,

the director will not have to monitor as

that the director should stop monitorable altogether. Babin and Willink (2018)

explained, “For leaders, it is often a struggle to know when and where to hold the

line” (p. 68). This can be especially true when implementing a new system such as promoting individual student practice in choir. Babin and Willink continued with, “A leader cannot be overbearing.

But the dichotomy here is that a leader

cannot be too lenient and let things slide when the safety, mission success, and

long-term good of the team are at stake” (p. 68). It is ultimately up to the director

to find the balance that works for his or her choirs.

He holds the MM in choral conducting from

Austin Peay State University and the BME from Slippery Rock University. References Babin, L., & Willink, J. (2018). The dichotomy of leadership: Balancing the challenges of extreme ownership to lead and win. New York: St. Martin’s Press. Choral Tracks (n.d.). Choral tracks: Practice made simple. Retrieved from https://choraltracks. com/en/about-us Pogue, D. (2012, April 1). Make technology—and the world—frictionless. Scientific American. Retrieved from https://www.scientificamerican.com/article/technologys-friction-problem/ Roose, K. (2018, December 12). Is tech too easy to use? New York Times. Retrieved from https:// www.nytimes.com/2018/12/12/technology/ tech-friction-frictionless.html Sinek, S. (2013). Start with why: How great leaders inspire everyone to take action. New York: Portfolio/Penguin.

February/March 2020

21


Congratulations to the 2020 FMEA Award Winners The following pages highlight the award winners from the 2020 FMEA Awards Ceremony.

Music Educators of the Year (Pages 23-25)

in encouragement, and promotion of music education in

music educator who has served his/her students, commu-

nificant efforts in support of music education resulting in

recognizes outstanding merit in music teaching. The recip-

and allocation of resources.

music education professional for 10 or more years.

FMEA Music Education Service Awards (Page 29)

Superintendent of the Year (Page 26)

music educators who have been active in music education

The FMEA Music Educator of the Year is awarded to a

nity, and profession in an exemplary manner. This award ient must have demonstrated notable achievement as a

The FMEA Superintendent of the Year is awarded to the Florida school district superintendent who is not a professional music educator, but has displayed ardent support of

the district’s school music programs. This award recogniz-

es leadership, excellence in encouragement, and promotion of music education in Florida schools. Leadership Award (Page 27)

The FMEA Leadership Award is presented to an individu-

al who demonstrates outstanding and sustained skill in a leadership or an administrative capacity and who carries

the mission of FMEA forward throughout the state and/or the nation. The recipient must have demonstrated notable

achievements as a leader in promotion of music education and a continued commitment to the profession. Administrator of the Year (Page 28)

The FMEA Administrator of the Year is awarded to a school administrator who is not a professional music educator, but who displays ardent support of the school music

program. This award recognizes leadership, excellence

22

Florida Music Director

Florida schools. The recipient must have demonstrated sig-

awareness or enhancement of the school’s music program

The Music Education Service designation is awarded to for 25 years or more. This award recognizes the outstanding service of our members who have committed themselves to this profession for most of their adult lives. FMEA Music Enrollment Awards (Pages 30-31)

The Middle and High School Music Enrollment Award is presented to music programs demonstrating high enrollment in music courses. This award recognizes the effec-

tiveness of programs that offer attractive music curricula as well as those that excel in the recruitment and retention

of students. Schools hold the award for three years. They may be looked to as models of quality programming,

scheduling, and recruitment and retention of students.

In order to qualify for this award, at least 30% at the high school level and 45% at the middle school level of the entire

student body must be enrolled in a music course. This

year, we are proud to announce that 26 schools will be

recognized. Sixteen of these schools have half or more of their total student population enrolled in music education courses!


E L E M E N TA R Y M U S I C E D U C AT O R O F T H E Y E A R

Virginia B. Dickert Jacksonville Country Day School Nominated by Joani Slawson on behalf of FEMEA

Virginia Dickert has lived in Jacksonville, Florida, her entire life. She holds the BME and the MA in teach-

ing from Jacksonville University. She has spent over 39

students participate in all-state elementary performing groups.

Always seeking to help those less fortunate, Virginia

years teaching in both the private and public school

has successfully written grant projects through FEMEA

several local churches. She has been the music special-

ments and collaborative music experiences to Title I

systems of Jacksonville, as well as conducting choirs in ist at Jacksonville Country Day School for 25 years and still teaches there today. She has also served as con-

ductor for all-county honor choirs in Camden County, Georgia, and Alachua County, Florida. In 2018, the

University of North Florida chose Virginia to be one of

four teachers recognized with the Gladys Prior Award for Career Teaching Excellence.

Mrs. Dickert has been highly involved in FEMEA

for many years. She consistently has students participate in the all-state elementary performing groups,

and the Jacksonville Symphony Guild, bringing instrupublic schools in Duval County. In 2009, she won the FEMEA Dorothy Land President’s Grant for Drumline Buddies and in 2011 for Buddy Drummers. In 2013,

Virginia was recognized with the FMEA Exemplary Project Award for her work in collaborating her students

with those in Title I schools. Laurie Zentz described, “It

is Virginia Dickert’s unselfish drive and enthusiasm for bringing high-quality musical experiences to all children that defines her professional career.”

Virginia’s service to her local Orff chapter is equally

and she assists with logistics each year. In 2004, she

impressive as she hosts workshops, provides instru-

Development Conference. In 2011 and again in 2020,

ways.

brought a group to perform at the FMEA Professional

Virginia led the sight-reading session at the conference, and in 2019, she offered her expertise in a conference

panel of elementary teachers who consistently had

ments and facilities, and offers support in many other Virginia Dickert believes in the power of performing

and feels every student deserves an opportunity to shine onstage.

February/March 2020

23


S E C O N D A R Y M U S I C E D U C AT O R O F T H E Y E A R

Michael N. Dye Niceville Senior High School

Nominated by J. Mark Scott on behalf of FVA

Michael N. Dye began his 44-year teaching career

adjudicated the state high school choral assessments

Arkansas. In 1990, he accepted the position of direc-

and Oklahoma.

at Southwest Junior High School in Hot Springs, tor of choral activities at Niceville High School. His

in Florida, Alabama, Louisiana, Missouri, Arkansas,

Mr. Dye served as FVA president in 2007-09 and

choirs consistently earn superior ratings at FVA dis-

FSMA president in 2016-18. Michael currently serves

earned the FVA Choir of Distinction Award. They

Honors include 2004 Niceville High School Teacher

trict and state performance assessments, and 18 have have sung internationally throughout Europe and

three times in New York’s Carnegie Hall. More than 500 of Mr. Dye’s students have made one of the FMEA all-state choruses during his career. His students

on the board for the Center for Fine Arts Education.

of the Year and runner-up to the Okaloosa County

Teacher of the Year. Mr. Dye was the 2018 FVA Hall of Fame inductee.

Michael Dye earned the BME from Henderson State

have taken more than 150 seats in the FVA Reading

University in Arkansas, followed by the MME from

more seats in the All-State Reading Chorus than any

from the University of Arkansas.

Chorus. Each fall semester the Niceville students earn other public, comprehensive high school in Florida. In

Arkansas State University with continuing studies Michael’s career has been one of continuous service

her letter of support, Judy Arthur explained, “That is

to his profession, working to help make music avail-

tial teaching.”

of theater at Missouri State University, is one such for-

no accident. It is a carefully planned process of sequenMr. Dye has coordinated each of the Florida all-

state choruses and spearheaded the effort to establish the FVA TTBB All-State Chorus. Michael conducted

the 2013 Florida All-State Men’s Chorus and the 2017 Arkansas All-State Female Chorus as well as numerous

district and regional honor choirs. Additionally, he has

24    F l o r i d a

Music Director

able to every student. Michael Foster, now a professor

mer student who claims, “Whatever life I have lived, whatever art I have created, and whatever legacy I leave to my own students is in large part due to the influence of Mr. Dye upon my life.”

Michael Dye is highly respected by his peers and a

role model for Florida music educators.


C O L L E G E M U S I C E D U C AT O R O F T H E Y E A R

David L. Brunner University of Central Florida

Nominated by Wesley Roy and Ashley Lewis on behalf of FVA

David L. Brunner, DMA, is professor of music and

and NAfME. He has served as an all-state conductor of

Florida and is highly regarded for his work with sing-

years. Additionally, he is a commissioned composer.

director of choral activities at the University of Central ers of all ages. Dr. Brunner graduated magna cum

numerous FMEA performing groups throughout the Dr. Kelly Miller said, “Conductors at all levels recog-

laude with the BME from Illinois Wesleyan University

nize David Brunner’s writing for its intricacies and

Northwestern University. He holds the DMA in cho-

of textures, and romantic melodies in addition to

and then went on to earn the MM in conducting from ral literature and conducting from the University of Illinois.

Dr. Brunner has appeared as an in-demand honor

choir conductor, workshop clinician, conference pre-

senter, and composer in 34 U.S. states, Canada, the UK,

beauty. This is due, in part, to evocative texts, variety

his experimentation with nontraditional tonalities.”

Nationally, David has published articles for NAfME and has contributed significantly in many state music education associations and conferences.

In her letter of support, Dr. Sandra Snow, professor

Europe, Australia, and Japan. As a composer, he has

of music education and choral conducting at Michigan

and was named the Raymond W. Brock Commissioned

be nurtured anywhere and with anyone willing to find

received annual ASCAP awards over the past 20 years Composer, the American Choral Directors Association's

highest honor for American composers. Dr. Brunner has more than 120 works in print with Boosey & Hawkes and Walton Music. At UCF, Dr. Brunner has

garnered every teaching and research award available to a faculty member—some more than once.

David Brunner has a long history of service to FMEA

State University, stated, “For David, beauty and art can it. There is a purity of purpose to David’s work that has

shaped his career and his impact on the thousands of singers he has interacted with through time.”

As a conductor, composer, and educator, David

Brunner has touched the lives of many people and has made a lasting impact in the choral landscape in Florida and beyond.

February/March 2020

25


SUPERINTENDENT OF THE YEAR

James “Rocky” Hanna Leon County

Nominated by Peter Pursino, chairman of FVA District 3, on behalf of FVA

Few superintendents understand the value and power

During his time as principal, fine and performing arts

of music education like James “Rocky” Hanna. He

programs grew, and 50% of the student body was involved

music and arts education. In an era of high-stakes testing,

intendent, Mr. Hanna has encouraged and supported

believes that every student should have access to quality tight school budgets, and stressful learning environments, Rocky provides advocacy and an investment in

music education. He is truly a champion for music education in the state of Florida.

James Hanna has a long history in Leon County. He is

the third generation in his family to graduate from Leon High School. After earning an associate’s degree from

Marion Military Institute, he was commissioned as an

officer in the U.S. Army. He went on to work on the BA in business administration at Georgia Southern College, after which he took on a job as a hall monitor back at his

alma mater, Leon High School, while attending night

school at Florida State University to earn his teaching cer-

in one of 40 arts elective options. Since becoming super-

programs in the district that offer a wide variety of music and art electives. He has provided much-needed district funding for all secondary school music programs. This

funding became an annual line item and included $50,000 to each high school and $25,000 to each middle school pro-

gram. At the time Mr. Hanna took the superintendent’s seat, there was no cohesive curriculum for the elementary music programs. When he learned of their needs, he provided $40,000 in the budget to acquire a much-needed

standardized curriculum and online tools. In addition, he allocated funds to increase the supplemental pay, which resulted in a raise for most high school music educators.

Dr. Steve Kelly, FMEA president, described his inter-

tificate. Rocky, as he is commonly called, left Leon High to

action with Rocky when he was principal of Leon High

educator, but went back to Leon as its dean of students

mittee for a new band director there. He shared a con-

serve as a social science teacher, then dropout prevention while earning his educational leadership degree from

FSU. He then became the assistant principal and finally

principal of his alma mater until he moved to the position of divisional director for the county in 2013. Mr. Hanna

has been serving as superintendent of schools in Leon County since November 2016.

As principal of Leon High School, Rocky supported

School. Dr. Kelly was asked to sit on the selection comversation that he had with Principal Rocky Hanna when Rocky admitted that he did not understand music from an artistic perspective, but that he was very aware that

music students stay in school and contribute a “unique

and necessary culture that improved Leon High in every respect.”

Dr. Kelly was not at all surprised to learn that during

and encouraged the development of increased offerings of

Rocky Hanna’s tenure as principal of Leon High School,

nomic students and those considered at risk.

beyond traditional band, chorus, and orchestra.

general music classes targeted to reach the lower socioeco-

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the music curriculum expanded tremendously, and


LE A D E R S H I P AWA R D

J. Mark Scott Retired

Nominated by Elizabeth Phillips on behalf of FVA

J. Mark Scott embraced his passion for music edu-

cation more than 50 years ago in Jacksonville, Florida. After receiving the BME and the MA in teaching

current formats. These changes greatly increased the MPAs’ effectiveness and participation rate.

Throughout his career and service, Mr. Scott’s

from Jacksonville University and starting his music

servant leadership heart has been evident in his

Vocal Association. While developing choral programs

constantly and graciously guides new and veteran

teaching career, Mr. Scott became active in the Florida

of noted reputations, Mr. Scott served FVA in many capacities including district chairman, middle school chairman, and FVA president.

After more than 30 years of dedication to FVA,

Mr. Scott was chosen to be FVA’s executive director. As executive director, he has helped increase FVA’s influence on choral music education. Most notably,

approachable demeanor, wisdom, and patience. He teachers to become better music educators and leaders in the organization. Joy Loomis of Avon Park High

School stated, “He is highly regarded and respected by his peers and colleagues, and he is someone we

earnestly desire to follow. He is leading us to be better musicians, teachers, and human beings.”

There is no way to estimate the number of stu-

he co-chaired the development and implementation

dents and teachers who have been greatly affected

music performance assessments. Dr. Kevin Coker of

Niceville High School stated, “He will be remembered

of the FVA adjudicator training program for the

Henderson State University stated, “His dedication and hard work have resulted in an unparalleled

MPA experience that places emphasis on high-quality

teaching, performing, and learning.” Additionally, Mr. Scott led the transformation of the state-level

solo and ensemble and choral MPA processes to their

by Mr. Scott’s efforts and leadership. Michael Dye of as the one who was actively involved in every aspect

of making us a better organization and more effective educators.”

Thanks to Mark Scott’s dedication and service,

choral music education continues to thrive in Florida.

February/March 2020

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A D M I N I S T R AT O R O F T H E Y E A R

James Chad Kirk Melbourne High School, Brevard County

Nominated by Melbourne High School music faculty; Cindy Johnson, district music resource specialist; and Dr. Mark Mullins, superintendent

James Chad Kirk, EdD, has served as principal of

Brevard County. Since his time at “Mel Hi,” Principal

long history of success in athletics, academics, and the

that lead the Brevard County district in enrollment in

Melbourne High School since 2015. This school has a

arts. In the early 1990s, a young man came through the high school band program. He was a section leader and

eventually drum major of the Melbourne band. Today,

Kirk has helped the arts programs grow into programs music courses and encouragement in the participation in FMEA-sanctioned events.

Chad Kirk attended Florida State University where he

he is recognized as its principal.

received the BA in history and the BS in social science

invested in the growth of the arts programs through

FSU Marching Chiefs during his years in Tallahassee.

In Chad Kirk’s short tenure so far as principal, he has

supporting the creation of additional music classes and

adding allocations to the music department. Course

offerings in band, chorus, and orchestra have more than doubled under his leadership. Enrollment in music classes has grown from 340 students to 553 students, supported by the best practice of giving priority to the

music classes when building the master schedule for the school while still meeting the demands of IB scheduling.

education in 1996. Chad was a proud member of the After graduation, he moved back to Brevard County to

begin his teaching career. He enjoyed teaching history at Hoover Middle School, Bayside High School, and

Melbourne High School before entering graduate school for educational leadership. Dr. Kirk earned the MS from

Nova Southeastern University in 2003 and the EdD from Florida State University in 2019.

From playing saxophone with the band to singing

Supporting the growing music program creates addi-

baritone in choir, Dr. Kirk uses his talents and passion

third acoustically treated music classroom to accommo-

school and community.

tional challenges regarding space. Dr. Kirk provided a date the growing music staff.

Prior to his principalship at Melbourne High, Dr.

Kirk served as principal of Central Middle School in Brevard County. As a middle school principal, he fully

supported the expansion of the only guitar program in

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to form connections with students and families in his

Letters of support received from current as well as

former music faculty provide evidence of James Chad

Kirk’s commitment to quality music education for all students.


2 0 2 0 F M E A M U S I C E D U C AT I O N S E RV I C E AWA R D S This year, we celebrate 570 total years of teaching among the following 19 honorees:

Mark B. Ellis 25.5 years Apopka High School Rhett Cox 26 years Timber Creek High School

Wanda Berry 30 years Hunters Creek Middle School

Charles Watford 26 years Dr. Phillips High School

Shona E. McFadyen 30 years Ronald Blocker Educational Leadership Center

Christopher Perez 26.5 years Freedom High School

April Laymon 30.5 years Beauclerc Elementary School

Teresa Cameron 27 years Eastside Elementary School

Joan Tracey 31 years Aston Elementary School

Susan Packer 34.5 years Windy Ridge K-8 School

Andrea Green 27 years Jones High School

Dorothy Trascritti 31 years Bryant Elementary School

Lisa Hewitt 35 years West Brooke Elementary School

Keith Nichols 27 years Pershing K-8 School

Yelitza E. Greene 32 years University High School

Paul R. McLaughlin 36 years Coronado Beach Elementary School

Chrissa K. Rehm 27 years Brookshire Elementary School

Pamela Guess 32 years Laureate Park Elementary School

David Laniewski 36 years Wolf Lake Middle School February/March 2020

29


2020 FMEA MUSIC E N R O L L M E N T AWA R D S Congratulations to the following schools:

MIDDLE SCHOOLS Bell Junior Senior High School – 45% Gilcrest County Principal: Lisa Barry Christopher Dunn Avalon Middle School – 46% Santa Rosa County Principal: LaTonya Leeks-Shepherd Michael (Mike) Philley Tiffany Reeves Ferry Pass Middle School – 46% Escambia County Principal: Juanda White Russell Bertles Christina Aldahondo Ashley Leigh Classical Preparatory School – 47% Pasco County Principal: Jasmine Brightman Rachel Mann Apopka Memorial Middle School – 49% Orange County Principal: Kelly Pelletier Robb Ross Kyle Sargent Kayla Morris

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Surfside Middle School – 49% Bay County Principal: Matt Pitts James Colvin Frederick Mullen P.K. Yonge Developmental Research School, Middle School – 50% Alachua County Principal: Dr. Carrie Geiger Jamie Burg Rachel Snyder Melanie Harris Sunridge Middle School – 50% Orange County Principal: Amy McHale Rhea Parks-Smith Missie Westerman Stephanie Sandritter Southwest Middle School – 51% Orange County Principal: Raymond “Chuck” Yockel Kimberley Mascarenhas Amy Wacksman Kristen De Guzman Jennifer Erickson

Glenridge Middle School – 52% Orange County Principal: Dr. Chris Camacho James Brannock Brian Sullivan Johanna Gonzalez Zhan Dolinskiy Bob Martinez Middle School – 53% Hillsborough County Principal: Toby Johnson Christopher Johns-Klein Robert DeLoach Jillian Savia Meadow Woods Middle School – 54% Orange County Principal: Marisol Mendez Zachary Pecore Alexandra Hawkins Gabriela Santiago Shannon Jongema Deane Bozeman School – 56% Bay County Principal: Josh Balkom Brandon Poiroux Jeremy Johnson Julie Johnson


HIGH SCHOOLS Dr. Phillips High School – 31% Orange County Principal: Dr. Suzanne Knight Bradley Carman Jane Moore Isiah Maxey Jackson Pinder Raine Allen James Patrick Charles Watford Nicole Nasrallah

Lake Nona Middle School – 56% Orange County Principal: Stephanie Jackson Courtney Connelly Hannah Jennings Lynne Rudzik Ashley Majka Progress Village Middle Magnet School of the Arts, Middle School – 56% Hillsborough County Principal: Peter Megara Jennifer Renfroe Kristen Franzen Peter Rowley Kelly Cottet Lake Como School K-8 – 59% Orange County Principal: Isolda Antonio Fisher Jayna Pottorf Pershing K-8 – 62% Orange County Principal: Bernadette Jaster Keith Nichols

Grace Lutheran School, Middle School – 64% Pinellas County Principal: Nicole Clifton Jennifer Tippett Marilyn Hall Raa Middle School – 78% Leon County Principal: Christopher Small Megan Sahely William Sahely Joshua Lessard Barbie Townsend Cynthia Prescott Pine Crest School, Middle School – 79% Palm Beach County Principal: Kristi Combs Allison Mair Dannel Espinoza Martha Schimelpfenig Howard Academy of Arts, Middle School – 90% Orange County Principal: Kimberly Beckler Oscar Vinson Melissa King Mary Lubaroff Damon Wille Aaron Penfield

Pine View School, High School – 32% Sarasota County Principal: Dr. Stephen Covert Seth Gardner Victor Mongillo Christopher Mink P.K. Yonge Developmental Research School, High School – 32% Alachua County Principal: Dr. Carrie Geiger Jamie Burg Robert Marski Melanie Harris Leon High School – 46% Leon County Principal: William (Billy) Epting Lee Commander Keenan Ellis Shawn Fassig Lisa Leaman Tabitha Peck Edward Prasse Peter Pursino St. John’s Classical Academy, High School – 59% Clay County Principal: Lori Meredith Brooks Clarke Brooke Smith

February/March 2020

31


YOUR MUSIC IS OUR MUSIC

MUSIC fau.edu/music 561-297-3820

32    F l o r i d a

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Collegiate Advocacy Summit Scholarship

FMEA will choose two exceptional collegiate music students to be awarded a scholarship to attend the 2020 NAfME Collegiate Advocacy Summit on Capitol Hill. The event will take place June 23-25, 2020, in Washington, D.C. Please include three letters of recommendation along with your essay and application to be considered. Deadline:

March 20, 2020

DOWNLOAD APPLICATION

CLICK HERE February/March 2020

33


GOLD

SILVER PARTNERS Music is Elementary Music Man, Inc. The Horn Section, Inc. Partners as of February 11, 2020.

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

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

PARTNERS

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

Music & Arts National Concerts Noteflight Romeo Music Spring Hill Music Academy Tampa Bay Institute for Music Therapy West Music Company

February/March 2020

35


AN ENSEMBLE EXPERIENCE OF A LIFETIME!

2020 All-National Honor Ensembles Gaylord Palms Resort & Convention Center Orlando, Florida

November 5—8, 2020 The All-National Honor Ensembles represent the top performing high school musicians in each state across the country. Students may audition for the following ensembles: • • • • • •

Concert Band led by Rodney Dorsey Symphony Orchestra led by Nobuyoshi Yasuda Mixed Choir led by Frances Fonza Jazz Ensemble led by Todd Stoll Guitar Ensemble led by Chuck Hulihan Modern Band led by Tony Sauza

Participants will learn from renowned conductors and showcase their musicianship in a final concert. Audition Deadline: May 1, 2020, 11:59 PM ET Learn more: nafme.org/ANHE

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PROGRAMMED FOR

Perseverance, Perfection, Passion, and Performance by Eldean Hagans

A

s musicians, we are programmed for per-

quickly burst my bubble with “Good, now where’s

mance. We rehearse the same seven-minute piece,

we finally marry quasi-perfection with passion,

severance, perfection, passion, and perfor-

measure by measure, note by note, ad nauseam. Practice seems unending as we seek the elusive

perfect play-through. Even when all the notes and rhythms are “perfect,” there is an expectation for passion in the music. Early in my years of piano

lessons, I was so excited to be able to play my

piece perfectly as printed on the page. My teacher

the feeling … the expression … the passion?” When there looms the ever-stressful performance where

it could fall apart in one blazing instant. My senior recital in college contained one of those meteor-hurtling-toward-the-earth moments when my fingers

were far ahead of my brain. It was all I could do

to hold the piece together until the saving grace Continued on page 38

February/March 2020

37


Perseverance Continued from page 37

of the double bar. These programmed

of meetings, paperwork, and evaluations,

heart for the musician breathes passion

tity, can stack more stress on an already

either help ease the workload or just listen

it seems every menial task and non-musi-

traits, which are part of a musician’s iden-

frazzled music educator; however, these ingrained practices can be harnessed to

persevere by phoning a friend who can and understand.

To persevere toward perfection is in

fight stress and create a meaningful life

every musician’s DNA. The old saying

Steve Jobs stated, “I’m convinced that

through rehearsal halls and music studios

performance filled with joy.

about half of what separates the successful entrepreneurs from the non-successful

ones is pure perseverance.” Successful

musicians are experts at perseverance. It is instilled in us from early music

lessons. The teacher encourages repeat after repeat until we master those first

rudimentary scales. So, we must strive to apply perseverance in all aspects of life.

When that sweet student continues to struggle, persevere by trying new and different teaching strategies until finally you

are rewarded with that “Ah-ha” moment.

When the parent-from-you-know-where

decides to launch an unfounded vendetta against your reputation and instruc-

“Practice makes perfect” still echoes

worldwide. But the pursuit of perfection becomes the impossible dream consider-

ing perfect is truly just an opinion. There

is a comfort in striving to do your best rather than striving for perfection. The tiny and powerful Japanese figure skater

Midori Ito once said, “I have no regrets because I did my best … all I could.” One

can only do the best one can do. It is our expectation of students. Why do we beat ourselves up when we do our best and it

music teacher spirit, watch the face of a student as he joyfully plays the drum. He

is the same student you redirected eight

times at the beginning of class. But now

he smiles and laughs as he attempts to

echo simple four-beat rhythm patterns …

and succeeds. His joy is contagious as his peers now happily participate when they

previously sat with solemn faces due to his usual disruption of class. This … this is where every tired, worn-down music

educator finds strength to carry on with a passion for the job that restarts the weary heart.

Performance evaluations often strike

fear in teachers’ hearts; however, perfor-

and coach Wes Fesler: “There is nothing

students to shine. “Show what you know”

vated by the words of three-sport athlete more perfect than doing your best.”

Just as my childhood piano teacher

pointed out, it is the expressive elements

administrators and colleagues. When you

and the movement of melodies. Likewise,

feel like you just can’t take another day

cal meeting is sucking the life out of your

is not “perfect”? Be encouraged and moti-

tional practices, persevere through calm communication and expert support from

into the career of music education. When

that bring passion into the beat of rhythms

the music educator’s love of music and

mance is where music teachers encourage

is a commonly used adage. Perhaps we should take our own advice by using

these ingrained characteristics of perseverance, perfection, and passion to create

a life performance that sings in the soul of

students, rocks the world of colleagues and administrators, and establishes joy-

ful music-making for communities to embrace and celebrate.

Eldean Hagans holds

Elementary, Middle, and High School Band, Choir, and Orchestra 2020: April 3 April 17 April 24

2021: April 9 April 16 April 23

2022: April 8 April 22 May 6

www.SMMFestival.com or call:1-855-766-3008 38    F l o r i d a

the MM from Florida State University. She is

the music specialist at Meadowlane Intermediate School

in

Melbourne,

where she has served for 17 years. She has

also served in leadership positions for music organizations in Brevard County as well as

at the state level. Eldean is an active musician

outside of the school environment through involvement in piano accompaniment and

vocal performance. With more than 27 years of experience in music, Mrs. Hagans has taught

private lessons and class lessons to all ages, preschool through adult.

Music Director


ComponentNews

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Ernesta Chicklowski, President

A good beginning makes a good end. — English Proverb

I

hope your 2020 is off to a great start personally and profes-

sionally. The new year is a time of hope and renewal. The

beginning of each year brings refreshing changes as well as new goals and adventures. As we leave one more year behind and move forward into the next one, here’s hoping 2020 brings you and yours a successful year of adventures in teaching elemen-

tary music and that you and yours are healthy and happy. This is an exciting to time of year to take risks with your students’

musicality, to challenge them to learn a new instrument or skill,

and to explore various ways to express themselves in your music classroom.

The 2020 FMEA Professional Development Conference was

a refreshing and revitalizing way to kick off this new decade,

with incredible professional development, networking and sharing with colleagues, and inspirational concerts. What a wonderful whirlwind conference week was!

This first conference serving as FEMEA president was a very

exciting experience; my heart is overflowing with gratitude and pride in our professional organization. I am privileged to lead

an outstanding FEMEA team of district chairpersons: Meghan Alfaro, Ashley Peek, Pauline Latorre, Eldean Hagans, Jenny

Chambless, Sydney Johnson, Jason Thomashefsky, and Lesleigh Howard-Zeno. Thank you doesn’t seem like enough words to

express my gratitude to our FEMEA Executive Board: Jennifer

Sullivan (executive director), Rosemary Pilonero (immediate past president), and Joani Slawson (president-elect), along with

the amazing coordinators of our All-State Elementary Chorus

and our All-State Elementary Orff Ensemble, Robert Todd and Holly Mullinex.

I am excited about our ongoing work to move our organiza-

tion forward for the benefit of Florida’s elementary music educators and students. Special thanks to our vendors and supporters:

West Music (Judy Pine), Music Is Elementary (Ron Guzzo), and

Kathy Sanz, and Josh Bula, and the FMEA Conference Planning Committee. Heartfelt thanks and congratulations to John K. Southall, chairman of the Conference Planning Committee.

We wrapped up the 2020 conference by announcing our

Peripole (Andrew Perry), who made it possible to have clinicians

election results for the even-numbered district chairpersons.

Orff Ensemble.

new district chairpersons who will serve for two years on the

and instruments for sessions and for our All-State Elementary We were honored and inspired at the 2020 conference by our

headliner clinicians who brought their wealth of knowledge

and passion to the elementary music teachers of Florida: Dr. Rene Boyer (Peripole), Matt Stensrud (West Music), and Karen

Howard (Music Is Elementary). The FEMEA part of the conference couldn’t happen without the support and diligent work of the FMEA team: Kenneth Williams, Steve Kelly, Val Anderson,

Thank you for taking time to vote online. We welcome these FEMEA board: Dorothy Yorty (District 2), Sydney Johnson

(District 4), Shannon Stem (District 6), and Luis Rios (District 8).

Congratulations to all, and I look forward to working with you to serve the elementary music teachers and students of Florida.

FMEA 2020: What a great week of inspiration and artistry to

carry us forward in our profession! I am honored to serve our organization.

February/March 2020

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ComponentNews

FLORIDA VOCAL ASSOCIATION

Jason Locker, President

T

he 2020 FMEA Professional Development Conference

man and representative to the FMEA

standing adju-

to Jay for shouldering this huge responsi-

for another out-

was fantastic! I was in awe of the keynote speakers and

dicator renewal

interest session clinicians, of

workshop,

the invited performing groups

to

Carlton Kilpatrick

and the all-state ensembles, of

for coordinating the

the exhibitors and sponsors, of the

FMEA awards recipients, and of our

the books, and one I will not soon for-

reading sessions. We are always grate-

with the all-state choruses and our read-

accompanists, and students. Thank you

to Jeannine Stemmer, Tommy Jomisko,

Liz Phillips, Andrea Peacock, Thomas

Desmond, and John Luffred. Thank you

with excellence and grace.

We are now well into MPA season. I

experience at this year’s district and state

conference, and this year is no exception!

FVA had an amazing team of coordina-

ference tasks throughout the past year

room, and to Paul Miller for

accompanying our FVA-sponsored

ful to Marilyn Wirsz and Head’s House

tors working with our all-state conductors,

bility, and for completing his many con-

wish all of our members and students

to thank for their efforts in support of the

Florida Vocal Association at the FMEA

Conference Planning Committee. Thanks

choral performances in

the convention center ball-

incredible members. This was one for

get! Each year, there are several people

also to Dale Choate

of Music for their assistance and support ing sessions. Thank you to Mark Scott and Jo Hagan, who work very hard behind the

scenes to keep everything running like a well-oiled machine. Finally, the biggest share of our annual FMEA conference

work falls to Jay Dunn, our clinics chair-

a positive and meaningful educational MPA events. At their best, MPAs are a tool we can use to improve our students’

performance and our own instructional

practice. I have always told my students there is no such thing as a perfect performance, and there is always room for

them (and for me) to get better. I hope we all can embrace that point of view, and

remember there is a great deal more to the MPA experience than the top right corner of the adjudication sheet! Thank

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

Marc Decker, DMA, President

T

hanks to everyone who helped make the 2020 FMEA

Professional Development Conference a success! It was a

pleasure connecting with colleagues, exchanging ideas, and learning new methods and techniques to help us evolve into more effective music educators.

The FCMEA business meeting was equally invigorating

and productive. For over a year now, past president Dr. Stacie

« Encourage communication between the colleges and universities in the state of Florida « Address common issues at the colleges and universities in the state of Florida « Encourage and assist the professional growth of the membership

Another important action the mem-

Rossow has been working to draft bylaws that solidify our

bership took at our meeting was to fill

provisional bylaws at our fall meeting, and in January voted

of president-elect. Please join me in wel-

governing rules and purpose. The membership reviewed the overwhelmingly to adopt them. We’ve always known our

purpose, but up until now have failed to write it down for the

« Promote teaching at the collegiate level in the state of Florida « Encourage improvement and advancement in college and world to see. The purpose of FCMEA shall be to:

university music programs

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an immediate vacancy in the position coming Dr. Sandra Adorno from Florida International University who will imme-

Sandra Adorno, PhD diately assume the duties of the FCMEA FCMEA president-elect president-elect.

We encourage all of our members to submit proposals for

the 2021 FMEA Professional Development Conference and hope you have a fantastic spring term!


FLORIDA NAfME COLLEGIATE

Katherine Attong-Mendes, President

STUDENT TEACHING What You Need to Know, From the Perspective of a Student Teacher

« Be confident. Now is the time to fake it until you make it. Your first day, maybe your first week, will definitely be scary and may be a little intimidat-

ing. Students can tell when you’re nervous, and if you let them, they can read your emotions like a book. The more time you spend acting confident, the more confident you will become. Remember that you have spent many long

« Don’t be afraid of what you don’t know. If you already knew everything semesters preparing for this—you can do it!

you to MPA chairwoman Deborah Mar

and technology chairman Brandon Monse

for their work on the 2020 MPA Omnibus, which can be found on our website (FVA.net)

on the Governing Documents

page. Thanks also to Kevin Albright for his continued work composing the exercises for our MPA sight-reading books.

For high school entries that receive a

superior rating, please make sure you

register in a timely fashion if you choose to participate in our outstanding state solo

and ensemble MPA or state choral MPA events. Mark Scott does his best to accom-

modate schools’ scheduling requests, but he cannot guarantee that each school will get its requested schedule. Early registra-

tion and payment increase the likelihood you will receive your preferred schedule for state MPA events.

MPA season can be stressful for sec-

ondary music educators. Do yourself a favor and schedule some quiet time on

the calendar during these months. Thank

your district chairperson for the sacrifices made on your behalf, and your adjudicators for sharing their expertise. Most

importantly, tell your students how much you care about them and appreciate all of

their hard work. Choral music is alive and well all over the state of Florida, and I look

forward to hearing your fine work over the next several weeks!

there was to know about teaching, you wouldn’t need to do an internship. In fact, the day you think you know everything there is to know about teaching is probably the day you should retire. Your mentor teacher and university

coordinators and supervisors are there to help you. Don’t be afraid to ask for help! Use all of the resources you have available to gain as much knowledge

« Capitalize on what you do know. Plan a lesson on something you are as you can from this experience.

extremely knowledgeable or passionate about. If you have extensive knowl-

edge of a particular instrument, help the students who play that instrument.

If you know how to play to your strengths, students will trust you and your expertise. Put yourself in a position to be successful by allowing students to

« Be professional. Being punctual, staying organized, and dressing approprisee you do something you’re experienced in.

ately will go a long way toward making a good impression, not only to your

mentor teacher, but to your host school’s faculty, staff, and administration. It is better to be overdressed for the first two weeks than to have an awkward conversation about appropriate attire. Always remember the golden rule—early

« Learn your students’ names as soon as possible. Make sure your students is on time, and on time is late!

understand that you value them as a human being, not just as clarinet number seven. Greet them as they come into your classroom and say good-bye to

them as they leave. Ask them about their other classes and interests outside

« Be open to feedback. Remember that you are here to learn and to improve of music. Students are people, too!

yourself as an educator. Take all feedback into consideration. Even if you

don’t like or don’t agree with an idea, comment, or suggestion, try it anyway. Sometimes you learn what to do, and sometimes you learn what not to do. Either way, you will learn something, and you can’t learn anything without

« Most important—have fun! This is the culmination of years of work toward trying new things.

your music education degree. Remember why you chose this vocation to begin with. Cherish the moments you have with your students and learn as much as you can. You are the future of music education!

February/March 2020

41


ComponentNews I

’m not sure if this is true for anyone

for the example he set, and while my

and I’m still having trouble writing “2020”

I continue to follow that example and

else, but we are well into our new year

when asked to fill in the date on forms.

It’s amazing how much faster time goes

by when multiple tasks are looming and deadlines are approaching like moths to

a flame. As I look back, our 2020 FMEA conference seems so long ago, when it has

really been less than a month since we were all together, learning and laughing

notes are in electronic form on my phone, hope to set the same for the next generation.

Here are some of my reflections and

« I absolutely loved watching the Allfavorite moments from FMEA 2020:

State Elementary Chorus during the

opening session. The day before, I had

in Tampa.

walked by the group’s rehearsal and

Early in my career, I was always in awe

was stopped in my tracks by what I

of the more experienced master teach-

tion with each other and the importance of gathering together regularly

to strengthen those connections. Social

to interact with each other in person. The handshakes, hugs, and even simple

eye contact received in those few days at FMEA can be rocket fuel

to launch us into the spring

mistakes.

next to Dr. Cliff Madsen during the opening session. We had a fascinating discussion about bias being about more than gender and race. (I wanted

to take notes on my phone, but I was afraid he might have a “paper and

pencil” bias, so I waited until later to do so.)

learning a few new tricks I could take back to my own classroom.

and Composers” session, I facilitated a discussion with Dr. David

Waybright, Dr. David Ragsdale, and Haley Woodrow, the composer who wrote the FBA commissioned piece, HIM. Ms. Woodrow made the wise

insight that we should make sure

« Dr. Libby Larsen’s presentation on the

Dr. Libby Larsen

evolution of music and “content on demand” requires that we think about

our current music education models

semester. I am so grateful for

« Sonic Escape is one of my new favorite carefully.

Sonic Escape

tional memories I have is of

sitting next to Jim Hacker at FMEA, chatting about life and

work. The content of the conversation wasn’t particularly memorable, but rather, it was

how it ended. The clinician was introduced and began the presentation. Mr. Hacker

proceeded to take out a small notebook and pen and take

notes, actively seeking to con-

tinue learning even when he had the reputation of being a

master teacher. I’m thankful

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« I had the fantastic opportunity to sit

« During the FBA “Meet the Conductors

touch, but it will never replace the need

One of the most educa-

to make music, not to avoid making

told her I truly enjoyed watching her,

media has made it easier for us to keep in

those moments together.

that students can focus on rehearsing

saw the conductor, Robyn Lana, and

the Tampa Convention Center greeting

name. I truly felt the need for connec-

Cathi Leibinger, President

was hearing in the warm-up. Later, I

ers and how they could walk through

everyone they met confidently and by

FLORIDA BANDMASTERS ASSOCIATION

Music Director

ensembles for YouTube brain breaks

« Watching Gary Green conduct the Allduring class.

State Intercollegiate Band really makes me wish I had attended college in

« Calista Zebley worked magic with the Florida.

Middle School Honors Band. It was truly an amazing concert and was so

« Jody

much fun to hear.

Dunn’s work with the High

School Honors Band was equally out-

« Walking past the UF booth in the standing and just so musical.

exhibits, I gave a cool “head bob” to Dr. Dre Graham, 2020 Florida Teacher


of the Year, only to realize that it was actually only a life-size cutout of this amazing teacher.

« The 2020 FMEA All-State Bands AllStar Lineup:

• Omar Thomas, composer (The All-

State Concert Band played A Mother

of a Revolution; the Symphonic Band played Come Sunday.)

• Haley Woodrow, composer (The

All-State Middle School Band

played the world premiere of the FBA commissioned work, HIM.)

• Steve Danyew, composer (The

All-State Concert Band played the world premiere of Entrata, written for Gary Green.)

• Conductors Michael J. Garasi, All-

Cathi Leibinger with Phil Wharton

State Middle School Band; Dr. Dave

Ragsdale, All-State Concert Band; and Dr. David Waybright, All-State Symphonic Band

« Our

Cleve Maloon

All-State Middle School Jazz

Band under Cleve Maloon rivaled many high school ensembles, while

the All-State High School Jazz Band

premiered a new piece by its director, Mike Tomaro, who told everyone, “This is probably one of the best

all-state jazz bands I’ve ever worked with.”

This was definitely one of the most

inspiring FMEA conferences I have attended. I have a special appreciation

for Dr. Steve Kelly, FMEA president, and his theme for this conference, Celebrating Musical Excellence: Past, Present, & Future. Dr. John Southall and his Conference

Planning Committee also deserve accolades for the tireless work they do to make

our FMEA such a success. I am proud to be a music educator in Florida.

Dr. John Southall

Dr. Patrick Dunnigan conducting the Florida State University Wind Ensemble

Dr. Steve Kelly

February/March 2020

43


ComponentNews O

FLORIDA MUSIC SUPERVISION ASSOCIATION

Harry “Skip” Pardee, President

n behalf of all the music program

at the conference in your own program.

education for our students, and I hope

like to thank you for being members of a

amount of work to ensure a well-rounded

gies learned from the conference in your

leaders in our beautiful state, I would

truly vibrant professional organization

Music educators put in a remarkable

you can consider some of the great strate-

classrooms in an effort to streamline that work. Have a wonderful third quarter

in FMEA! Nothing is clearer to me each

with your students!

January after attending the annual profes-

sional development conference in Tampa. As the Conference Planning Committee wrapped up the Sunday morning meeting, I was yet again astounded by the

FLORIDA ORCHESTRA ASSOCIATION

part to phenomenal Executive Board and

Matthew Davis, President

success of the conference, due in no small

Board of Directors’ leadership and our dedicated membership. We are all part

of a truly noble profession, and it is a privilege to serve Florida’s students along with you.

I

t was great to see all of you at our wonderful FMEA Professional Development Conference! I hope you were inspired by the sessions, the guest speakers, and

the various performances. Again, I would like to thank all of the session present-

One particular thought struck me at

ers and coordinators as well as our all-state students and conductors for exhibiting

ties to the timely conference theme of

our all-state coordinators, Andrea Szarowicz, Steven Bossert, Vivian Gonzalez,

this conference: the clear and cohesive Celebrating Musical Excellence: Past, Present,

& Future. Each embrace from old colleagues we have not had the opportunity to see for some time was in and of itself

musical excellence. Each preparatory beat

true artistry. On behalf of the FOA Executive Committee, we would like to thank Sarah Taylor, and William Sanderson, for their outstanding service and dedication to creating a positive and successful musical experience for our students. We

would also like to thank Erik Bryan and the Eau Gallie Chamber Orchestra for their outstanding performance at the conference.

Thank you to the members for attending our FOA general membership meet-

the all-state conductors gave to our tal-

ing. It’s hard to believe we are already planning for our 2020-21 Fall/FMEA confer-

was in anticipation of musical excellence

you for your support.

ented students before their performances

in the present. And of course, each professional development session attended by music educators in our state looked

to the presenter’s resources and skills to move their own music programs into the future. These experiences from our time

together only strengthen our efforts in music education in our communities. As leaders in the arts, we know too well the

challenges teachers have in attending rel-

ences! If you have any suggestions, please email me at mdavis@myfoa.org. Thank

« March 13, 2020 « April 3, 2020 « April 4, 2020 « April 20-22, 2020

As we head into the MPA season, please be mindful of the following dates: State Solo and Ensemble MPA Application Postmark Deadline

State Concert MPA Application Postmark Deadline State Solo and Ensemble at Strawberry Crest High School, Dover

State Concert MPA at Blake High School, Tampa

Our state concert MPA adjudicators and clinicians are Dr. Stephen Benham

evant, practical, and long-lasting profes-

from Duquesne University, Dr. William LaRue Jones from University of Iowa,

to their field. The 2020 FMEA Professional

University, and Dr. Mark Laycock from Wichita State University.

sional development opportunities specific

Development Conference certainly pro-

Dr. James Mick from Ithaca College, Dr. Robert Gillespie from The Ohio State As always, please feel free to contact any of us on the board with your questions

vided that for our profession. Thank you!

or concerns.

advantage of any and all opportunities to

encourage your students to listen to the music beyond the page.

As we look to the coming months, take

apply that musical excellence experienced

44    F l o r i d a

Music Director

I wish you the very best on your district MPAs this year. Please take time to


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

RESEARCH COMMITTEE CHAIRMAN

Don D. Coffman, PhD University of Miami

What might teachers do to assess student motivation? “You can lead a horse to water, but you can’t make him drink.”

E

xperienced teachers know that some learners are harder to inspire than others. I regularly

remind my students of this formula: “Motivation

= Efficacy x Value”—if either of these two factors (belief

that one CAN achieve; belief that achieving is WORTH it) is “0,” then the equation yields zero motivation.

Yet this formula is admittedly overly simplistic, fail-

ing to reveal any of the elements of motivation, which is multifaceted. One assessment approach to understanding

student motivations is the MUSIC model of academic achievement (Jones, 2009), which postulates five aspects that are represented in the acronym: eMpowerment,

Usefulness, Success, Interest, Caring. An 18-item questionnaire asks students to indicate how they feel about

the subject (empowerment, usefulness, interest) and

about the teacher (caring). The assessment was designed for any subject in school. The author’s website (themusicmodel.com)

has a user manual that shows how to

administer and score various versions of the inventory,

from elementary school age to college age students and in various languages.

More recently, some music researchers (Parkes et al.,

2017) administered a version of the middle school/high school inventory, tailored for music, to 93 students in 5th through 12th grade in one school who were in general music or band classes.

Students responded to the MUSIC inventory items on

a 6-point Likert-type scale with the following descriptors: 1 (strongly disagree), 2 (disagree), 3 (somewhat disagree), 4 (somewhat agree), 5 (agree), and 6 (strongly agree). The MUSIC inventory consisted of the following number of

items for each component: four items for empowerment (e.g., “I have choices in what I am allowed to do in music

class”), three items for usefulness (e.g., “In general, music class work is useful to me”), four items for success (e.g., “I am confident that I can succeed in music class work”),

three items for interest (e.g., “The music class work is interesting to me”), and four items for caring (e.g., “My music teacher cares about how well I do in music class”).

Confirmatory factor analysis verified the validity of

the inventory, and Cronbach’s alphas showed good reliability for the inventory.

This nuanced assessment tool could reveal to a teacher

which aspects of a class are aligning with students’ interests and which aspects are missing the mark. The Parkes

article is free to NAfME members from the publications

page of the website listed within the references below. I encourage you to give it a read. References Jones, B. D. (2009). Motivating students to engage in learning: The MUSIC Model of Academic Motivation. International Journal of Teaching and Learning in Higher Education, 21, 272-285. Parkes, K. A., Jones, B. D., & Wilkins, J. L. M. (2017). Assessing music students’ motivation using the MUSIC Model of Academic Motivation Inventory. Update: Applications of Research in Music Education, 35(3), 16-22. https://doi.org/10.1177/8755123315620835

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

with a subject heading Research Puzzles.

February/March 2020

45


CommitteeReports

DIVERSE LEARNERS COMMITTEE Alice-Ann Darrow, PhD, Chairwoman

Positive Alternatives to the Troubling Reality of Restraint and Seclusion in Schools

I

n a letter to U.S. Secretary of Education Betsy DeVos this past January, two senators and 10 members of Congress called for the Department of Education to ban seclusion

In the 2015-2016 school year, 122,000

types of disciplinary actions are most frequently used with students who have disabil-

restrained or secluded, according

and prohibit certain restraint techniques in the nation’s schools. Data indicate these

ities (Diament, 2020). While many states have guidelines for the use of these controversial practices, the guidelines are not uniform across states. Schifter (2019) makes the

case for federal legislation reporting that restraint and seclusion are to be used only as a last resort when all other options have failed; however, they are frequently overused, and too often their misuse has resulted in the death of students. Schifter further justifies the need for legislation banning seclusion and restraint based on discriminatory practices regarding students with disabilities and students of color:

students across the country were to data from the Civil Rights Data Collection. Students with disabili-

ties and African American students

were disproportionately disciplined in this way. Even though students

with disabilities make up 12 percent of total enrollment across the country, they make up 71 percent

of students who were restrained and 66 percent of the students who were secluded; African American

students make up 15 percent of total enrollment, and yet they represent

27 percent of those students were

subject to restraint and 23 percent of those students who were secluded in school. (p. 3)

46    F l o r i d a

Music Director


Complicating such discriminatory prac-

tices, the U.S. Government Accountability

Office (U.S. GAO) (2019), a federal watch-

dog, has reported data indicating many school districts underreport or even fail to report uses of seclusion and restraint.

Some states, such as Florida, have

passed laws (see Florida Statutes § 1003.573) that establish the documentation, reporting, and monitoring requirements for the

use of seclusion and restraint (Online Sunshine, 2020); however, unlike the use of seclusion and restraints in juvenile

justice facilities and mental health facilities, there is currently no federal law

that specifically addresses

appropriate limitations on the

use of these practices in the nation’s schools. Over a decade ago, the Government Accountability Office

reported its staff had found hun-

dreds of cases of alleged abuse and

How are seclusion and restraint

(Schifter, 2019). Students with disabili-

Restraint involves the use of physical force

death related to the use of these methods

ties are particularly vulnerable victims. Students with autism spectrum disorders

or other disabilities who may be nonverbal are unable to self-report if they have been restrained or put in seclusion.

Why are seclusion and restraint used in schools?

When students pose a threat to themselves or others, school administrators,

resource officers, or other trained personnel may need to restrain them physically or remove them from the classroom

to a safe space. Students are allowed the time and space they need to calm

themselves. Sadly, when these types of discipline go awry, students can be trau-

matized, injured, or even killed. The risks

for misuse, overuse, injury, or death are

used in schools?

to restrict a student’s movement. The stu-

dent may be held by his or her arm or held to the floor by an adult’s body

weight. Other devices such as straps or pharmaceuticals are also used to restrain

students’ physical movements. Seclusion

involves placing students in locked rooms or other smaller spaces from which they

are unable to leave voluntarily. The rooms

may have small windows, but no chairs or desks that can be thrown or broken.

Time-out corners or tables are also con-

sidered seclusion, though students are not

generally enclosed in such spaces; thus, teachers can easily check on the students and the students can see out. For us as

musicians, it is likely not surprising that Continued on page 48

too great. All children deserve to be safe in school (Abamu, 2019).

February/March 2020

47


CommitteeReports DIVERSE LEARNERS

Continued from page 47

researchers found when music has been

played in seclusion rooms, the individuals confined calmed faster and were released

earlier than in rooms when music was not played (Lai, Su, Lin, Yu, Lin, 2010).

Individuals with disruptive tenden-

cies rarely respond well to seclusion or restraint. Consequently, other more

positive research-based practices are

recommended by numerous professional organizations, such as the Council

for Exceptional Children, and by the Individuals with Disabilities Education Act (IDEA, 2004). IDEA requires PBS

(positive behavioral supports) be considered in all cases of students whose behavior impedes their learning or the

disruptive behaviors. The term approach is

important, as PBS is not a specific inter-

vention or technique, but rather strategies that are a part of the approach.

and successful environments for students’ social or academic deficits. PBS is a

comprehensive research-based approach

intended to address all aspects of a stu-

dent’s problem behavior. PBS involves a proactive, collaborative, assessment-based

learning of others. Results of research

Other Disciplinary Options for

process to develop effective, positive indi-

Interventions often indicate that positive

Positive Behavioral Support (PBS) refers to

with challenging behaviors. Along with

reports in the Journal of Positive Behavior behavioral supports are effective as the

first-line approach to managing students’

Music Educators

vidualized interventions for students

a range of preventive and positive inter-

reducing problem behaviors, the approach

ventions designed to create supportive

is structured to address quality-of-life issues and plans for the student’s future. It

is an approach that merges values regarding the rights of people with disabilities

with practical application of how learning and behavior change occur. The princi-

pal goal of PBS is to improve the daily life of students and their support providers in home, school, and community

settings (Hallahan, Kauffman, & Pullen,

2017; Turnbull, Turnbull, Wehmeyer, & Shogren, 2016). PBS is supported by recent

mandates, including amendments to the Individuals with Disabilities Education Act, which call for the use of functional

behavioral assessments and positive supports and strategies (IDEA, 2004).

PBS has three primary features: 1) func-

tional (behavioral) assessment; 2) com-

prehensive intervention; and 3) lifestyle enhancement (Kauffman & Landrum,

« Functional assessment is a process for 2013):

identifying the events that prompt

48    F l o r i d a

and maintain problem behavior. This

Music Director


AWARDS COMMITTEE

process involves information gathering through record reviews, interviews, observations, and the devel-

opment of summary statements that describe the behavioral patterns iden-

Debbie Fahmie, Chairwoman

I

enjoy hearing the perspective of others regarding the FMEA Awards Program.

This year, Sondra Collins, music teacher in Marion County, joined the Awards

Committee. She has had experience on the receiving end as both her principal and

« A comprehensive intervention or plan

one of her school board members have won FMEA awards in the past. I asked

are structured to: a) change the envi-

recognition. I look forward to receiving many wonderful award applications again

tified and their functions.

is developed that includes multiple proactive strategies. These strategies

ronment so that triggering events are

removed; b) teach new skills that can replace problem behaviors; c) eliminate or minimize natural rewards for problem behavior; and d) maximize

rewards for new replacement behaviors. The key principle of PBS is the

comprehensive approach to improv-

ing multiple areas of students’ lives: their personal relationships, social

and academic activities, and health

« PBS outcomes include lifestyle enhance(Turnbull et al., 2016).

ments such as building and maintaining meaningful relationships,

expressing personal preferences and making choices (self-determination), and participating in community activ-

ities. Such lifestyle enhancements are facilitated by establishing a positive long-range vision with the student and

his or her family, and then, through effective collaborations, assembling

natural supports to realize the vision (Kauffman & Landrum, 2013).

Music Participation as a Positive Behavioral Intervention and Lifestyle Enhancement

We are fortunate as music educators that

our subject matter is an inherently nonthreatening and inviting medium. Music offers the reluctant student a safe environ-

ment in which to explore and express emotions. It is also adaptable in ways such

as style, age appropriateness, and sophistication and, as a result, is applicable to a

Sondra to share her thoughts with me regarding the awards program having now been on this side of things.

I love the call to action that Sondra gives us. As this year’s nominations open

up, please be sure to think of those in your sphere of influence who are worthy of this year.

Here is what Sondra had to say …

Awards Committee, ilege of serving on the FMEA This year I have had the priv not be more hum0 awardees. This work could 202 EA FM the ose cho ing help mote quality, ortant to our mission—to pro bling, more worthy, or more imp at better way to proon in all Florida schools. Wh comprehensive music educati t do good? shine a spotlight on those tha mote music education than to cation in this sic The level of amazing mu edu The applications are stunning. icult time choosthing, the committee had a diff state is truly astounding. If any in every application category, with such excellence ing just one awardee in each ases such as “this is committee members stated phr in, aga r ove and er Ov ket. pac se applicants are excellent.” another tough one” and “all the of leadership, few rose above others in aspects And yet, an awesome, select e, the FMEA 2020 sic education. One such awarde service, and excellence in mu cribed the expethe Year, Mr. Michael Dye, des Secondary Music Educator of do as a music ation of all that I have tried to rience as one that “is a confirm another fellow n went on to describe seeing educator for 44 years.” He the r: “W hen Carlton same award in a previous yea the d rde awa be r cato edu sic mu general session, I e a couple of years ago at the Kilpatrick came onto that stag the same things us up there being honored for was like, ‘Wow! That’s one of .’ I was moved I could be there someday myself most of us do every day. Maybe I do. It was a signiffeel more important for the job by that moment! It made me people who know Carlton.” icant moment for me and the there. You have EA 2020 awardees—you are Michael Dye, and all our FM we do. We thank feel more important for the job us de ma e hav You us. ved mo you. rselves. You, too, could be there someday you Fellow music educators, you, d you, too, could job you do on a daily basis. An too, could be recognized for the e thing— regard for this wonderful littl hold up others in similar high , cation. Let’s all promote quality their excellence in music edu h on. It’s high time we raise eac comprehensive music educati e giv more important, and other up, help each other feel ts. each other significant momen

Continued on page 50 February/March 2020

49


CommitteeReports

DIVERSE LEARNERS

Continued from page 49

wide range of student ages and abilities. EMERGING LEADERS COMMITTEE

Mary Palmer, EdD, Chairwoman

N

ominations are now open! It’s time to identify our 2020 FMEA Emerging Leader candidates. Do you know someone who has the potential to be a lead-

er and champion for music education at his or her school, community, region, state,

nationally or beyond? YOU might be that person yourself! It’s time for nominations (self-nominations are accepted) to the FMEA Emerging Leaders program. More information is included at https://fmea.org/programs/emerging-leaders/.

« Meet other enthusiastic people who are destined for leadership in music education … share the excitement and possibilities together! « Meet and interact with FMEA and NAfME leaders. « Serve FMEA in various ways at the 2021 Professional Development Conference. « Be a 2021 conference presenter as part of the Emerging Leaders program. « Be inspired and informed at the summer 2020 Emerging Leaders Conference (on June 13, 2020, at the University of Central Florida in Orlando). « Expand your horizons as you expand your professional network. Why become a part of the FMEA Emerging Leaders?

Let’s build for the future together! Please take time to nominate the next FMEA

Emerging Leader candidates today!

Congratulations to the 2020 FMEA Emerging Leaders who were

presenters for our annual Pecha Kucha style conference presentation:

Nearly all students respond positively to

music; thus, this response establishes a strong foundation for engaging in prosocial behaviors. Participating in music making can result in the development of

meaningful relationships and can provide opportunities to take part in community music activities as adults. Meaningful

relationships and engaging activities are

lifestyle enhancements that provide natu-

ral supports all students need to succeed in school and in life. References Abamu, J. (2019, June). How some schools restrain or seclude students: A look at a controversial practice. Retrieved from https://www.npr.org/2019/06/15/729955321/ how-some-schools-restrain-or-secludestudents-a-look-at-a-controversial-practice Diament, M. (2020, January). Education department urged to ban seclusion in schools. Retrieved from https://www.disabilityscoop. com/2020/01/17/ed-department-urged-toban-seclusion-in-schools/27670/ Hallahan, D. P., Kauffman, J. M., & Pullen, P. C. (2017). Exceptional learners: An introduction to special education (12th ed.). New York, NY: Pearson Educational. Individuals with Disabilities Education Improvement Act, Pub. L. No. 108-446, 20 U.S.C. 1400 et seq. (2004). Kauffman, J. M., & Landrum, T. J. (2013). Characteristics of emotional and behavioral disorders of children and youth (10th ed.). New York, NY: Pearson Educational. Lai, C. Y., Su, Y. Y., Lin, S. T., *Yu, C. Y., & Lin, Y. C. (2010). Music and restraint: Emotional control effects on psychiatric patients kept in seclusion. Journal of Nursing and Healthcare Research, 6(4), 308-318. Online Sunshine (2020, February). The 2011 Florida Statutes s. 1073.573. Retrieved from http://www.leg.state.fl.us/ Statutes/index.cfm?App_mode=Display_Statute&URL=1000-1099/1003/ Sections/1003.573.html

Back row: Amber Svetik (Electa Lee Magnet Middle School, Manatee County), Giselle Panagiotakis (Lakewood Ranch High School, Manatee County), Alexis Pletincks (Bayshore High School, Manatee County), Dr. Mary Palmer (chairwoman), William Mollineaux (The Osceola County School for the Arts, Osceola County), John Koenig (River Springs Middle School of Technology and Innovation, Volusia County), and Malissa A. Baker (Manatee County) Front row: John Weatherspoon (Lake Worth High School, Palm Beach County) and Emily Kinnunen (Independence Elementary School, Orange County)

50    F l o r i d a

Music Director

Schifter, L. A. (2019, February). The need for federal legislation on seclusion and restraint. Retrieved from https://tcf.org/content/ commentary/need-federal-legislation-seclusion-restraint/?session=1 Turnbull A. P., Turnbull H. R., Wehmeyer M. L., & Shogren K. A. (2016). Exceptional lives: Special education in in today’s schools (8th ed.). Upper Saddle River, NJ: Pearson Education. U.S. GAO (2019, June). GAO-19-551R Accuracy of restraint and seclusion data. Retrieved from https://www.gao.gov/assets/700/699795.pdf


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

GOLD PARTNERS

SILVER PARTNERS

University of North Florida

BRONZE PARTNERS

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

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

Partners as of February 11, 2020.

*Please visit FMEA.org/partners for partnership details or call 850-878-6844. February/March 2020

51


ExecutiveDirector’sNotes FMEA Executive Director Kathleen D. Sanz, PhD

2020 Conference Celebrates Musical Excellence

T

he 76th FMEA Professional Development Conference and All-State Concerts provided a great experience for our stu-

The mission

of the Florida

dents and teachers. There were 13,500 attendees with an additional 5,700 unbadged concert attendees. Celebrating

Musical Excellence: Past, Present, & Future was the theme, and we certainly had a great opportunity to hear how FMEA

Music

celebrates through our keynote speakers, conductors, presenters, and students. The FMEA Board of Directors, component

Association is to

ference for our members and students. Dr. Steve Kelly, president; Dr. Shelby Chipman, president-elect; and Dr. Kenneth

Education

organizations, committee chairpersons, volunteers, and staff meticulously worked together to provide the optimum con-

promote quality,

Williams, past president, along with our components, deserve a round of applause for their leadership in providing quality

music education

Please mark your calendars for the 2021 FMEA Professional Development Conference and All-State Ensembles sched-

comprehensive in all Florida schools.

experiences for attendees. uled for January 13-16, 2021. The call for proposals and performing ensembles is open until May 12, 2020. Additional information can be found on the FMEA website. Music in Our Schools Month March is Music in Our Schools Month. Music Changes Lives is the theme. Many activities are posted on the NAfME. org website, including lessons developed by the NAfME Council for General Music for second and fifth graders. Please review the information for assistance in celebrating this important event. Advocacy/Government Relations The 2020 Legislative Session began on January 14 and will continue until March 14. So far this year, we have been able to have Senate Bill 1100 Florida Seal of Fine Arts pass a committee in the Senate, and we are trying to get movement in the House. Please stay in touch with legislative activities. Please be sure to develop relationships by calling and visiting your state senator and representative and telling your story so they understand the importance of music education in every student’s life to achieve a well-rounded education. In addition, other bills of interest are being heard in committee meetings. FMEA will continue to provide updates on legislation that may have an impact on your programs. Forty (40) Florida NAfME Collegiate students attended Advocacy Day on February 11, 2020. There were representatives from several of our state universities, including Florida A&M University, Florida State University, Florida Gulf Coast University, Florida Southern University, Southeastern University, and University of South Florida. In addition, FMEA President Steve Kelly, President-Elect Shelby Chipman, Advocacy Chairwoman Jeanne Reynolds, Executive Director Kathy Sanz, and charter Collegiate Day organizer Andrew Burk attended this important event. While we had several university participants, let’s work through your collegiate chapters to have representatives from all of our state colleges and universities next year. During the upcoming months, our performing groups will be preparing for spring concerts and music performance assessments. Please remember to invite school board members, legislators, and other decision makers to your concerts. Get on their calendars early. Have a wonderful second semester by performing artistically. I look forward to hearing many of your performing groups at the music performance assessments. Musically,

Kathleen D. Sanz, PhD

52    F l o r i d a

Music Director


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

Officers and Directors

EXECUTIVE BOARD President

Steven N. Kelly, PhD

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

Kenneth Williams, PhD

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

Shelby Chipman, PhD

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

Cathi Leibinger

Ransom Everglades School 2045 Bayshore Dr.; Miami, FL 33133 (305) 250-6868; president@fba.flmusiced.org FCMEA President

Marc Decker, DMA

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

Ernesta Chicklowski

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

Katherine Attong-Mendes

University of Miami; kxa395@miami.edu Florida NAfME Collegiate Advisor

Mark A. Belfast, Jr., PhD

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

EX-OFFICIO MEMBERS Historian/Parliamentarian & Executive Director....................................................Kathleen D. Sanz, PhD Hinckley Center for Fine Arts Education 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793; kdsanz@fmea.org Editor-in-Chief.....................................................D. Gregory Springer, PhD FSU College of Music; 122 N. Copeland St.; Tallahassee, FL 32306 (850) 644-2925; dgspringer@fsu.edu FSMA President................................................................Craig Collins, EdD College of Arts & Media, Southeastern University 1000 Longfellow Blvd.; Lakeland, FL 33801 (863) 667-5657; cscollins@seu.edu

FMEA COMMITTEE CHAIRPERSONS Awards.................................................................................... Debbie Fahmie fahmied@yahoo.com Budget/Finance, Development.................................. Steven N. Kelly, PhD Florida State University, College of Music, KMU 330 Tallahassee, FL 32306; (850) 644-4069; skelly@admin.fsu.edu

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

FLORIDA NAfME COLLEGIATE President............................................................ Katherine Attong-Mendes University of Miami; kxa395@miami.edu Past President...............................................................Jennifer Luechauer jennifer.luechauer@browardschools.com

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

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

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

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

Past President...............................................................Rosemary Pilonero rosemary@femea.flmusiced.org

Contemporary Media................................................... David Williams, PhD University of South Florida; 4202 E. Fowler Ave., MUS 101 Tampa, FL 33620; (813) 974-9166; davidw@usf.edu

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

Diverse Learners.....................................................Alice-Ann Darrow, PhD Florida State University, Music Education and Music Therapy 123 N. Copeland St.; Tallahassee, FL 32306 (850) 645-1438; aadarrow@fsu.edu

FLORIDA MUSIC SUPERVISION ASSOCIATION

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

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

FMEA Corporate & Academic Partners....................................Fred Schiff All County Music; 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fredallcounty@aol.com Government Relations..................................................Jeanne W. Reynolds Pinellas County Schools, Administration Bldg. 301 4th St., SW, P.O. Box 2942; Largo, FL 33779-2942 (727) 588-6055; reynoldsj@pcsb.org Multicultural Network...................................................Bernard Hendricks Ocoee High School, 1925 Ocoee Crown Point Pkwy.; Orlando, FL 34761 (407) 905-3009; bernard.hendricks@ocps.net Professional Development........................................................Scott Evans Orange County Public Schools; 445 S. Amelia St.; Orlando, FL 32801 (407) 317-3200; scott.evans@ocps.net Research...................................................................... Don D. Coffman, PhD University of Miami; d.coffman1@miami.edu

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

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

FLORIDA ORCHESTRA ASSOCIATION President................................................................................Matthew Davis Harrison School for the Arts; 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 499-2855; matthew.lawson.davis@gmail.com Past President...........................................................................Jason Jerald jason.jerald@sdhc.k12.fl.us Executive Director............................................................. Donald Langland 220 Parsons Woods Dr.; Seffner, FL 33594 (813) 502-5233; Fax: (813) 502-6832; exdirfoa@yahoo.com

FLORIDA VOCAL ASSOCIATION

FMSA President

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

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

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

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

Past President.....................................................................Tommy Jomisko tommy@fva.net

FOA President

PROFESSIONAL DEVELOPMENT CONFERENCE

Harry “Skip” Pardee

Matthew Davis

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

Jason Locker

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

Edgar Rubio

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

Exhibits Managers................................................ Byron and Bobbie Smith 4110 Tralee Rd.; Tallahassee, FL 32309 (850) 893-3606; fmeaexhibits@fmea.org Local Co-Chairpersons Ted Hope—(813) 272-4861; ted.hope@sdhc.k12.fl.us Melanie Faulkner—(813) 272-4461; melanie.faulkner@sdhc.k12.fl.us Hillsborough County Public Schools, School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602

Executive Director....................................................................J. Mark Scott 7122 Tarpon Ct.; Fleming Island, FL 32003 (904) 284-1551; exec@fva.net Business Manager..................................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; business@fva.net

CENTER FOR FINE ARTS EDUCATION

402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 Executive Director....................... Kathleen D. Sanz, PhD (kdsanz@fmea.org)

FLORIDA BANDMASTERS ASSOCIATION

Director of Operations........................Valeria Anderson, IOM (val@fmea.org)

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

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

Past President........................................................................Jason Duckett Bartram Trail High School; 7399 Longleaf Pine Pkwy.; St. Johns, FL 32259 (904) 343-1999; pastpresident@fba.flmusiced.org

Technology Director......................................Josh Bula, PhD (josh@fmea.org) Public Affairs & Communications Coordinator..............................................Jenny Abdelnour (jenny@fmea.org) Marketing & Membership Coordinator................................. Jasmine Van Weelden (jasmine@fmea.org)

February/March 2020

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Profile for Center for Fine Arts Education, Inc

Florida Music Director February-March 2020