Florida Music Director February/March 2021

“DEFENSIVE DRIVING” in the Virtual Choral Rehearsal

RAP EDUCATION:

Struggle, Freedom, and Creativity

Achieving Flow in Musical Experiences

Improving Outcomes in Music Rehearsals and Performances

2 F l o r i d a

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

Contents February/March 2021

Volume 74 • Number 6

F E AT U R E S

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

Reflections of an FMEA Past President. . . . . . 7

Editorial Committee

“Defensive Driving”: in the Virtual Choral Rehearsal. . . . . . . . . . . 12

Terice Allen (850) 245-8700, Tallahassee (tallen1962@hotmail.com) Judy Arthur, PhD Florida State University, KMU 222 (850) 644-3005 (jrarthur@fsu.edu)

June M. Hinckley Music Education Scholarship.. . . . . . . . . . . . . . . . . . . . . . . . 11

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)

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Rap Education: Struggle, Freedom, and Creativity. . . . . . . . . . . . . . . . . . . . . . . 18 Achieving Flow in Musical Experiences: Improving Outcomes in Music Rehearsals and Performances.. . . . . . . . . . . . 24

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

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Official FMEA and FMD Photographers

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2021 FMEA Award Winners. . . . . . . . . . . . . 31

D E PA R T M E N T S Advertiser Index. . . . . . . . . . . . 4

Component News.. . . . . . . . . . 50

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

Research Puzzles. . . . . . . . . . . 56

Advocacy Report. . . . . . . . . . . . 8

Committee Reports. . . . . . . . . 57

2020-21 FMEA Donors. . . . . . . 42

Executive Director’s Notes. . . . . 62

Academic Partners. . . . . . . . . . 46

Officers and Directors.. . . . . . . 63

Corporate Partners . . . . . . . . . 47 February/March 2021

3

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 Florida Gulf Coast University....................................................................... 4 Marine Corps Music Program.....................................................................IFC University of Florida....................................................................................... 6 West Music........................................................................................................ 50 Yamaha Corporation of America................................................................ 10

The advertisers in bold provide additional support to FMEA members through membership in the Corporate and Academic Partners program. These Partners deserve your special recognition and attention.

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.

2020-21 FMEA Membership: You are eligible for membership in the Florida Music Education Association if you are an individual engaged in the teaching, supervision, or administration of music in elementary and secondary schools, colleges, or universities within the state.

Visit FMEA.org/membership to learn more about the benefits of active membership.

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

CIRCULATION: 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.

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4 F l o r i d a

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Steven N. Kelly, PhD

President’sMessage

President Florida Music Education Association

Reflection, Hope, and Remembering:

Our Future Is Bright!

H

ello, FMEA members. As I write this column, I

and mighty FMEA office staff for their commitment to

Professional Development Conference that just ended.

with his dedication and professionalism. Thank you

am still reflecting on our incredible 2021 Virtual

Yes, it was different. Yes, I truly wish we could have

met in person. Yes, I too missed Bern’s! But what an accomplishment by our organization and all of its components. More than 1,600 members attended. More

than 1,800 all-state students attended. We offered a total of 300-plus workshops, clinics, performances, and

opportunities to connect. By all accounts, the conference exceeded expectations. Now what?

As we continue on toward spring, I hope the con-

ference was a demonstration of what Florida music educators can do despite the challenges of a pandemic.

I hope the energy and positive feelings it created will help motivate everyone from our teachers to our stu-

dents and throughout our communities. I’m not naïve in

thinking that teaching magically got easier, but I would like to believe the conference did provide an element

of hope. A reminder of the good still in our profession.

our success. Dr. Josh Bula continues to amaze everyone to the Conference Planning Committee chaired by Dr. John Southall. Thank you to the FMEA Board of Directors and members of the Executive Committee.

These individuals put in so many hours developing this conference. A special thank you to Dr. Kathy Sanz for

her foresight and steady vision. Thank you to the pre-

senters and performers for not giving up and for being so creative with their sessions. Thank you to the exhibi-

tors who have had so many challenges to overcome but continue to support Florida music educators. Thank you

to the all-state students, and their parents, for adjusting

to a different all-state experience. I was so blown away by your musical maturity. Most of all, thank you, FMEA

members, who gave our conference, our organization,

and our profession a chance. You kept music in music education.

The 2021 FMEA Professional Development Conference

And an acknowledgement of what we can do if we come

was my last conference as president of our outstanding

When you face challenges this spring, think about the

and one of the greatest highlights of my professional

together as an organization.

words of Alice-Ann Darrow, the energy of Alysia Lee

and Mickey Smith. Think about the sessions on inclusion,

diversity, technology, teaching beginners, and planning

for music after COVID. And yes, don’t forget that all of

our clinics and all-state sessions are still available to you

through June 1, 2021. Go back and view the sessions I mentioned, and so many other sessions as well. Stay reju-

venated, stay encouraged, and remember that there will be a return to more and better music making soon.

As always, there were so many moving parts to the

success of our conference. Thank you to the incredible

organization. These conferences were such an honor career. Soon, Dr. Shelby Chipman will begin his “tour

of duty” as our president. I am so excited for our future!

You will not be surprised to learn that planning for our

2022 conference has already begun. We are planning for a face-to-face experience where we can give hugs, shake

hands, celebrate successes, and embrace the power of

music in person once again. Until then, stay well and take care of yourselves and your students. I wish every FMEA member success in their spring semester and

beyond. Our future is bright, and I look forward to celebrating it with you.

Steven N. Kelly, PhD, President

Florida Music Education Association February/March 2021

5

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6 F l o r i d a

Music Director

ARTS.UFL.EDU/MUSIC

Kenneth Williams, PhD,

PastPresidentReflections

Immediate Past President Florida Music Education Association

Reflections of an FMEA Past President

A

s inevitable as our changing seasons, the time has

Shelby Chipman … It DOES take a village. You cannot be

Of course, the association’s work is only possible through

their experience, advice, and extraordinary model of ser-

come for my role in the leadership of FMEA to close.

the commitment and support of the members of FMEA and our component organizations, for YOU are the driving force.

I was asked to reflect on my experiences during my

FMEA presidency … however, my journey with FMEA

in the presence of these individuals and not benefit from vice to our profession. (By the way, Mom, I did not choose them, for they, through their kindness, invested in me.)

To each of these exemplary folks ... Thanks for all the

lessons! I am forever in your debt.

What have I learned from my years in FMEA? I learned

began decades before serving on the Executive Board.

we have a noble profession, filled with smart, talented,

FMEA, unbeknownst to me, was having a profound

serve. They support music education, our colleagues, and

Even before attending my first FMEA conference in 1970, impact on my life. You see, I knew at the age of 12, after having had the opportunity to conduct our little school

band at the spring concert, that making music had to be a part of my future. Little did I know that FMEA played

a role in supporting my music education, which would

dedicated musicians/teachers who simply step up to

ful place and bring the gift of music to all of Florida’s children. I have earned the blessing of hundreds of lifelong friendships, all due to being a part of FMEA.

The future of FMEA is bright with our new Executive

Committee, President Shelby Chipman, President-Elect

smart and grounded people and strive to be like them.”

staff, led by Dr. Kathy Sanz, our executive director, are

What excellent and beneficial advice … I must tell you

that my blessing was to simply be in the right place at the right time to benefit from the wisdom and commitment of

Jason Locker, and Past President Steven Kelly. Our FMEA

the heroes who work each day to keep the ship afloat and moving forward.

My advice to our newest (and veteran) music teacher

some of the most brilliant and selfless people who contrib-

colleagues … Work every day to be the best musician you

me to share the names of a few people I had the honor of

when duty to the association calls. Do EVERYTHING

uted, over these many years, to my small successes. Allow

working with and learning from, who went on to serve

« My first college band director – Charles Quarmby « My undergraduate colleague – Kathleen Sanz « My colleague at my first teaching job, Booker BayHaven School – Lucinda Balistreri « My colleague at my first high school job, Sarasota High School – Andrew Wright « My music supervisor while at Winter Park High our association as president.

School – Carolyn Minear

Others committed time and energy to be a personal

mentor and confidant: F. Lewis Jones, Alice Fague, Mary Palmer, John DeYoung, Bobby Adams, Phillip Wharton, Frank Howes, Jeanne Reynolds, Joseph Luechauer, Sheila

King, Beth Cummings, John Southall, Steven Kelly, and

— Carol Ann Tomlinson

our students … They help make our world a more beauti-

allow me to attain my dream.

My mother always told me, “Surround yourself with

As educators, we need to understand that there is no finish line in our work.

can be. Nurture the children in your charge. Step forward you do with ARTISTRY. And as my mother would say,

“Surround yourself with smart and grounded people and strive to be like them.”

So, to you, the members of FMEA, on behalf of the stu-

dents whose lives you enrich every day, I thank you for

your passion and service to our profession. I thank each

of you for allowing me the privilege of serving as your FMEA president-elect, president, and past president, an honor I shall cherish for the rest of my days.

With warmest regards,

Kenneth Williams, PhD, Immediate Past President Florida Music Education Association

February/March 2021

7

AdvocacyReport

Creativity and Advocacy D

o Schools Kill Creativity? That is the title of a 2006

time he spent with us at our 2008 FMEA conference. I

more than 69 million people and has been translated into

Conference in June 2007. At that point, I knew I wanted

Sir Ken Robinson TED Talk that has been seen by

64 languages. If you somehow missed it, do yourself a favor and watch it HERE.

Ever since Sir Ken Robinson passed away in August

of last year, I have been reflecting on his legacy and the

8

Florida Music Director

first heard Sir Ken speak at an Americans for the Arts

him to be our keynote speaker for my first conference as

FMEA president. It was a challenge to secure a celebrity of

his stature, but we did it. Sir Ken was nothing but gracious as we worked through the logistics of that first general

Jeanne W. Reynolds

Chairwoman Government Relations Committee

session on January 10, 2008. It took some significant planning. We had the stage filled with young musicians from

Riverview High School. Sir Ken’s keynote address was

woven between student performances, and he made con-

nections effortlessly between creativity and the critical importance of arts education. He was brilliant. And we were all better for it.

Fast forward to 2021. The 2021 con-

ference was a very different confer-

ence than the 2008 conference. What connects these two conferences is

creativity. Merriam Webster defines

James T. Perry, former FMEA executive director; Sir Ken Robinson; and Jeanne W. Reynolds at the 2008 FMEA conference

new things or think of new ideas.

demic-related medical, economic, or educational challeng-

phenomenon

muscles to meet these challenges.

creativity as the ability to make Wikipedia describes creativity as a whereby

something

somehow new and somehow valu-

es we faced. People in all fields stretched their creative

You may be wondering what an article about Sir Ken

able is formed. Certainly, the FMEA

Robinson and creativity has to do with government rela-

and valuable with its stellar online

share Sir Ken’s message about creativity and the impor-

community created something new conference. While I grieved the loss of an in-person conference, I also marveled at the creative problem-solving

skills of the FMEA staff, the FMEA Conference Planning Committee, the

FMEA board, and all the presenters.

When it comes to creativity, some people believe you either have it or you don’t. That is simply not true. As

tions and advocacy. Let me explain. We must not only tance of arts education when we meet with legislators and decision makers, but we must also be creative in the

ways we advocate. It is a new world. We have new ways of meeting virtually with legislators and sharing our work

with them. The Government Relations Committee is also stretching its creative muscle and will be communicating

with members about the most effective ways to advocate.

Be on the lookout for some short video tips.

When you talk with your legislators about the impor-

Sir Ken helped us to see, creativity is

tance of the Florida Seal of Fine Arts, talk about the

Each and every day during this

are no better classes to build these skills than arts classes.

in all of us.

pandemic year, teachers have been stretching their creative muscles,

inventing new solutions to problems

importance of developing creative thinking skills. There

This pandemic year has highlighted the importance of creativity in ways that none of us could have foreseen.

Working with Sir Ken Robinson on the 2008 FMEA

never before imagined. If we have

conference was one of the highlights of my career. I am

ing year, it’s that creativity is critical to

er to ensure all students have access to high-quality arts

learned anything from this challengour success and critical to our future.

Certainly, there were no “multiple

choice” answers to any of the pan-

committed to honoring his legacy by working even hardeducation so that all students can reach their creative potential.

Do Schools Kill Creativity? Not if we can help it.

February/March 2021

9

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10 F l o r i d a

Music Director

C A L L F O R A P P L I C AT I O N S 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. Ms. Hinckley

assisted schools and school districts with the implementation of the arts standards and connecting the arts with the state accountability and testing program, and served as a liaison

among the various K-12 arts education groups,

June M. Hinckley Music Education Scholarship We are pleased to announce that the Florida Music Education Association (FMEA) is soliciting scholarship applications for the 2021 June M. Hinckley Music Education Scholarship. The association will award $1,000 scholarships to selected 2020-21 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.

Apply online at FMEA.org/Scholarship.

A P P L I C AT I O N

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

« « «

Postmark Deadline: April 20, 2021

higher education, and community arts organi-

zations. She was a founding organizer of the Arts for a Complete Education project, which

has coalesced the various community, industry, and school arts organizations in Florida to cooperatively and proactively work to improve the

quality and quantity of arts programs throughout the state.

Ms. Hinckley served as president of MENC

(now NAfME), was chair of the National Consortium for Arts Education Association, and

represented all the arts on several national

committees. She was a member of the writing

team that developed the National Standards for Music Education. As MENC president, Ms. Hinckley conceived and initiated Vision 2020:

The Housewright Symposium on the Future of Arts Education. This effort has been credited

with providing a blueprint for music education for the future that picks up the work done at the

Tanglewood Symposium. Ms. Hinckley received

the Hall of Fame Award from FMEA and the ACE of Hearts Award from Arts for a Complete

Education/Florida Alliance for Arts Education.

In 2003 she was designated an NAfME Lowell Mason Fellow.

February/March 2021

11

“Defensive in the Virtual Choral T

eaching during the COVID-19 pandemic has been difficult for all

educators, particularly those in the choral music field. Learning to

navigate virtual choral rehearsals has brought both technological and

pedagogical challenges, particularly when we cannot interact in real time with our students. Most of us have discovered that traditional methods of

instruction are not practical within this virtual environment, and so we find ourselves pivoting in search of alternate ways to effectively teach our singers.

Figure 1

Traditional teaching pattern cycle

12 F l o r i d a

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Driving” Rehearsal

by Sandy P. Hinkley, PhD

Feedback in the Traditional Choral Rehearsal

Traditional choral instruction typically involves the

EXAMPLE 1

rehearsal. Within a music environment, researchers

Teacher: “Let’s begin at measure 10 and try to sing the entire phrase in one breath.”

continual provision of feedback to singers throughout

have found that this feedback is most effective when delivered as a part of a teaching pattern cycle (Price,

1992); that is, (1) the teacher provides a prompt, (2) students respond in some manner, and (3) the teacher pro-

(Teacher has previously observed that students tend to breathe after longer duration notes and predicts students may breathe after the dotted half note.)

vides feedback relative to the task at hand (see Figure 1).

Student group performs with audio on mute.

if an individual student unmutes and performs, deliv-

Teacher: “Please don’t breathe after the dotted half note in m. 13. Again, please …”

While feedback is possible during a virtual rehearsal, ering feedback to a full group is impossible because of

the asynchronous mode of instruction. Undoubtedly, this makes it difficult to assess what our students know and can do in the moment. Thus, we must step “outside

the box” to find a way to deliver feedback that is still somehow meaningful.

While not all students may have taken a breath after the dotted half note, the delivery of immediate, specific, and related feedback allows for a complete teaching cycle and reinforces the teacher’s desired phrasing.

Feedback in the Virtual Choral Rehearsal

Effective rehearsals are the result of many complex

variables, one of which is a conductor’s ability to pre-

EXAMPLE 2

rately predict how our singers may respond and then

Teacher: “Please begin at measure 30 taking note when voice parts come into unison.”

dict and prevent errors (Freer, 2009). If we can accusequence instruction in a way that mitigates the chance of those errors occurring, our choirs are more likely to

experience success. Consequently, if we can shift our feedback in the virtual rehearsals to address errors

that have likely occurred while singers are muted, we

increase the chance of this feedback being valid (see

(Teacher has previously observed that when voices move from harmony to unison, they do not always sing in tune— particularly if a voice part is approaching this pitch from below; consequently, the teacher predicts a specific unison note will be flatter in part II.)

Figure 2). Similar to defensive driving strategies where

Student group performs with audio on mute.

feedback model anticipates how students may respond

Teacher: “The unison pitch on beat 3 of m. 32 was not quite in tune—part II, please lift as you move up to this pitch. Again, please …”

we anticipate what other drivers may do, the predictive based on past observed behaviors (i.e., patterns of

response). While this feedback may not reflect how the

entire group has performed, it is likely that at least sev-

eral students have responded in the predicted manner.

Here (next column) are two examples of feedback given using the predictive model:

Once again, while not all singers may have sung out of tune, the feedback allows for a complete teaching cycle and brings singers’ attention to a place that will always require them to think about intonation.

Continued on page 14 February/March 2021

13

Defensive Driving Continued from page 13

Figure 2.

Predictive teaching pattern cycle

Common Patterns of Response in Developing Singers

Following is a list of common issues experienced with develop-

ing singers that can be used as a resource to predict errors in

performance. This is by no means an exhaustive list, nor does it represent how all singers respond all of the time. It is, however,

a compilation of anecdotal observations made with middle and high school singers over the course of several decades of teach-

ing. Ideally, this list will serve as a springboard to shift your mindset toward using the predictive model.

PITCH: In general, singers tend to prioritize pitch over

rhythm; pitch matching is a highly complex process—one that involves perception, discrimination, recall, and vocal adjust-

ment (Joyner, 1969). Issues students may have in pitch reading include:

14 F l o r i d a

Music Director

« They miss repeated pitches, especially those across barlines. « They miss skips, particularly those larger than a third. « They incorrectly sing in stepwise motion when reading triads (e.g., singing d-r-m when reading d-m-s or singing l-t-d when reading l-d-m).

« They also tend to sing d-t-d when reading d-s-d or d-r-d. « They have a particularly hard time finding (and later tuning)

« They miss “tendency tones” that do not resolve in predictable the pitch fa.

« They miss pitches that come after musical sequences; relatedways (e.g., fa-mi, ti-do).

ly, they miss pitches that do not adhere to the pitch direction of previous pitches.

« They miss pitches between systems and on page turns.

INTONATION: In general, intonation is less accurate when singers are in the learning phase. During this time, it is likely

that most singers are not singing well in tune, since the vocal mechanism is constantly shifting to find pitches. Common

« They sing flat on repeated pitches. « They sing flat when singing in slower tempos. « They sing flat at the ends of phrases. « They sing flat when approaching pitches from below. « They overshoot high pitches or undershoot low ones. « They lose integrity of pitch when singing staccati passages. « They sing out of tune when a rhythm and/or language is issues in the way of intonation include:

« They sing out of tune when there is dissonance with other complex.

« They sing out of tune when the tessitura of a piece sits in voice parts or with the accompaniment.

the passaggio area; relatedly, they sing out of tune when the tessitura is very low or high for long periods of time.

« Extremes in dynamics will often lead to intonation issues.

PART SINGING: In general, singers lose part-singing inde-

pendence more often when singing in homophonic structures.

« As in pitch reading, a complex rhythm or language affects

Other observed issues include:

« They tend to second guess themselves on pitches written in

« They confuse eighth and quarter note triplets; relatedly, they

also confuse dotted quarter-eighth patterns with dotted eighth-sixteenth patterns.

« They miss rhythms when pitch movement is unpredictable. « They miss rhythms between systems and on page turns. « They rush in tempo when singing staccato passages. « They rush in tempo as a piece becomes more familiar. « They drag in tempo when pitches aren’t solidly learned. « They drag in tempo when text is unfamiliar or difficult. « As they sing faster, they sing louder; conversely, as they sing softer, they sing slower.

DYNAMICS: Most developing singers tend to ignore dynamic markings in music, particularly when they are in the pitch/

rhythm learning phase. Additionally, singers’ performance of

dynamics often influences other variables, some examples of

« As they sing louder, the vowel spreads; as they sing softer, which include:

« As they singer louder, they increase tension; as they sing the vowel collapses.

« As they sing louder, they tend to sharp; as they sing softer, softer, they lose core and focus to the sound. they tend to flat.

part-singing abilities.

TEXT AND DICTION: On the whole, singers perform with

close dissonance with other voice parts and sing pitches that produce consonant intervals instead.

tend to sing too informally in the English language, often

« They struggle with voice parts that move in and out of uni-

son with other voice parts; the unison pitches are often out of tune, even when learned.

less precise diction when in the learning phase; singers also using the vernacular pronunciation instead of proper choral

« They miss pitches/rhythms when the text contains an unfa-

diction. Other inclinations include:

« They get pulled off their part when there is voicing crossing « They struggle with text that alternates between syllabic and with another voice part.

RHYTHM AND TEMPO: Since singers tend to focus on pitch

more so than rhythm (particularly when pitch matching is problematic), there are typically more rhythm errors with developing singers. It is also common for singers to have

tempi issues when pitches are not solidly learned. Other ten-

« They mistake unbeamed eighth notes for quarter notes. « They miss half notes, especially on beat 2. « They struggle with subdivisions, especially on beat 1.

dencies displayed with rhythm/tempo include:

miliar word.

« They forget to link final consonants to the next word; relatedneumatic settings.

ly, singers tend to close too early to the consonant and drag it out (e.g., skiessssss).

« When singing multiple pitches on one vowel, they often « They move to the secondary vowel too quickly in diphchange the vowel.

« They let voiced consonants pollute the vowel, especially Ls, thongs.

« They tend to chew R sounds, particular those at the ends of Ms, and Ns.

words (e.g., never, hour).

Continued on page 16

February/March 2021

15

Defensive Driving Continued from page 15

« They tend to mispronounce words in foreign languages that « In the attempt to shape a taller, rounder vowel, they misproare very similar to English words (e.g., in in Latin).

nounce the word (e.g., and incorrectly pronounced with the same vowel sound as in bond).

« They tend to sing all syllables with equal weight rather than with the appropriate syllabic stress.

TONE QUALITY: When pitches, rhythms, language, and/or

part singing independence are not solid, singers’ tone quality

almost always tends to suffer. In general, the more complex the piece, the less healthy the vocal tone. Other tendencies

« They sing with inconsistent vowel shapes when struggling

observed include:

NAVIGATION IN MUSICAL SCORES: Singers often overlook score markings and are frequently confused by other

visual elements of a score. Some issues with score navigation

« They read down to the next staff rather than down to the next include:

« They tend to miss navigational markings, such as repeat system (especially singers new to reading in parts).

signs, D.S. al Coda, etc., and then do not know where to go in the music.

« They breeze through pitches marked with a fermata and do « They tend to ignore articulations, especially slurs. « They get confused if a measure is split between systems. « They get confused when the stem direction switches direcnot look up at the conductor.

tion and often misread the interval as a skip. « They under sing and do not use enough breath energy. « get confused when voice parts go from being notated on « They collapse the vowel/soft palate when singing descend- They a single staff to being notated on their own staff, or vice versa. ing pitches. « read less fluently in music when text is printed in the « They sing “pick up” notes without connection to the voice; They middle of a staff (e.g., in between the treble and bass staff) with pitches or rhythms.

often these notes may sound spoken on pitch, particularly with male singers.

« They sing “to” the high note, rather than “through” the high

« They sit on long tones without moving their air forward, and note and the breath stalls.

« They sing with a fuzzy sound, particularly in register shift the note becomes stagnant.

« They over sing if they are attempting to be a “leader” in their areas (passaggio).

« They sing with a strident sound on loud sections; conversely, section.

instead of directly beneath their voice part.

Conclusion

While this predictive model cannot replace the validity of live

feedback delivered in a traditional environment, it can serve as a means to more thoughtfully guide virtual choral rehearsals.

In using predictive feedback based on common patterns of

response, rehearsals can be more effective, even in an asynchro-

nous environment. I have deep faith in today’s choral educators and believe when this season finally passes, we all will have

many new ideas from which to draw. In the meantime, I hope

« They sing out of tune on diphthongs because the primary

these suggested strategies will add to your current toolbox and

PHRASING: In general, developing singers tend to focus

choral activities and coordinator of music education

they lose resonance in the sound in softer sections. vowel is not unified as a group.

more on the micro ideas (e.g., pitches and rhythms) and ignore the macro ones (e.g., phrases and sections). Before phrasing

is addressed, here are some common patterns that singers

« They tend to breathe on bar lines, between systems, or on

display:

« They breathe after long note values, even if it is in the middle page turns.

« They breathe before large leaps, especially male singers makof a word.

ing a register shift.

16 F l o r i d a

Music Director

allow you to more effectively teach in your virtual interactions. I wish you all the very best in this challenging journey.

Sandy P. Hinkley, PhD, is the associate director of

at Sam Houston State University, where she conducts the SHSU Men’s Choir and teaches courses in music education and literacy.

References

Freer, P. K. (2009). Beyond error detection: A cycle of pedagogical skills for choral conductors. Choral Journal, 50(3), 34-45.

Joyner, D. R. (1969). The monotone problem. Journal of Research in Music Education, 17(1), 115-124. https://doi.org/10.2307/3344198 Price, H. E. (1992). Sequential patterns of music instruction and learning to use them. Journal of Research in Music Education, 40(1), 14-29. https://doi.org/10.2307/3345771

F M E A Professional Development Series

Diversity, Equity, Inclusion, & Access in the Music Classroom The Professional Development Committee is hosting a four-part mini-series designed to lay the foundation for more inclusive music classrooms in Florida schools. As part of this series, participants will explore the elements of diversity, equity, inclusion, and access as a way to encourage intentionality toward meeting the goal of music education for ALL students. Each of the four sessions will be 60 minutes long and will include opportunities for interactivity.

Session 1 Feb. 22, 2021 7:00 PM EST

Session 2 Mar. 30, 2021 7:00 PM EDT

Session 3 Apr. 19, 2021 7:00 PM EDT

Session 4 May 17, 2021 7:00 PM EDT

Visit fmea.org/programs/webinars to register to attend.

Registration is free for all FMEA members.

February/March 2021

17

Rap Education Struggle, Freedom, and Creativity

S

by Víctor Manuel Rubio Carrillo and Joshua Argueta

SOCIAL VALUE AND CULTURAL CONTEXT

that students come to our classrooms

crimination still perpetuates, it is impor-

grounds. Consequently, we neglect to tap

In these times of unrest when racial distant to expose ourselves and our students to a palette of diverse musical cultures.

Equally important, the music must be

relevant to students to garner interest

and create more profound connections

and understandings. According to Forbes

(as cited in Gilmore, 2018), hip-hop is the most consumed musical genre in the

world. Hip-hop, as a broader cultural manifestation, includes practices such

as poetry, graffiti, fashion, turntablism, breakdancing, and rap, which is its most prominent musical style.

Students who come to our schools are

already exposed to rap in one way or

Frequently, we fail to acknowledge

with a plethora of different musical back-

into their knowledge to build upon it. We might opt for folk songs and music that

we believe students should know, but what are the repercussions of neglecting their musical culture in the music class?

Hip-hop and rap music play a role in

establishing youth culture and influence urban students from low-income families. By using rap, we provide creative

opportunities for students to engage with meaningful music making. It can help

them express their thoughts safely and

even encourage students to stay in school (Au, 2005).

Rap often gets a bad reputation for its

another. Adding this music to the class-

language and topics; however, rap art-

and validation of many students’ musical

regarding the lack of diversity in the

room setting provides relevance, interest,

experiences. When we connect students’ in-school music experiences with the music they experience outside of school,

we create a more profound and more enriching education.

18 F l o r i d a

ists have posed critiques in their songs school curriculum and how it has not adequately prepared them for life after

graduation (Au, 2005). By understanding

rap music, we can improve our curricuContinued on page 20

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February/March 2021

19

Rap Education Continued from page 18

lum to meet the needs of students. When

Rap has developed into a cultural

teachers do this, as Gilmore (2018) states,

reflection of the social issues and chal-

learning, to march to the beat of their own

nities. To some, this may come across as

we “liberate students to author their own

drum machine, and when they are ready, to drop the mic” (p. 35).

Recognizing the historical and socio-

cultural legacy of rap can help us tran-

scend common moral tensions. After all,

it is an integral part of students’ lives, as it promotes a positive self-image and

responsibility (Sealey-Ruiz & Greene, 2011). As teachers, we can address music

standards using rap as a vehicle. You will find that even “hard to reach” stu-

dents and others who perhaps were not the most participative in music class can

connect better. When students express

lenges that artists face in their commu-

a discourse of profanity, with topics such as sex, money, material expenditures, and

drug consumption (Johnson et al., 2017; Powell, 1991); however, music education can help students critically examine and

challenge some of the normative lyrical

content in the music. Schools and edu-

cators have the responsibility to meet students where they are, even if this

is uncomfortable (Sealey-Ruiz & Greene,

2011). Opposition to rap culture can be part of a misunderstanding and misrepresentation of its cultural meaning.

get glimpses into their personal lives and

TEACHING AND LEARNING RAP

be able to understand them better and

How do we teach rap if we have never lis-

themselves through rap music, you will interests. Through their writings, you will solidify a connection of trust.

THE POETICS OF RAP

The identity of rap resides in its lyrics. A rap song, at its core, tackles social injus-

tices and the struggles of disenfranchised groups. Rap is often disregarded and

censored at schools based on critiques of

the violence, materialism, and misogyny

present in the lyrical content; however, rap also provides students with cultur-

al resources for political and everyday

Habits of Mind for Rap Education

tened to it or performed it? Be transparent with students; they will be eager to help

In rap education, habits of mind can help

more familiar with rap culture. After all,

to encourage successful social and aca-

you learn about it. Some students will be

most people learn to rap outside of schools (Sealey-Ruiz & Greene, 2011). Rap musical characteristics rely heavily on complex

rhythmic vocal articulation and have an

intrinsic connection with urban poetry.

Its authenticity comes from a process of self and peer-teaching (Rambarran, 2018).

Yolanda Sealey-Ruiz and Perry Greene

decisions, as well as intellectual means

(2011) were part of a large research team

fy family, career, and race relations. As

educators to achieve successful outcomes

of expression. Rap is a way to identimusic educators, we cannot merely avoid political issues. Conceptions of race are a prominent factor in rap (Rambarran,

2018); thus, the lyrical content needs to be carefully analyzed by music educators.

The poetics of rap are an unapologetic discourse; it is a form of social protest

and commentary that draws attention

to inequality and oppression, and gives voice to historically marginalized groups.

20 F l o r i d a

that proposed the use of habits of mind for

when engaged with rap education. Costa (2008) explained that “a Habit of Mind

is a composite of many skills, attitudes,

cues, past experiences, and proclivities”

(p. 17). Applying habits of mind requires sensitivity to the context to be useful and

appropriate. It requires skill to be able to carry them out in a sustainable way. After each experience using them, the goal is to

be able to transfer them across settings.

Music Director

teachers embrace urban students’ culture demic outcomes. The “Habits of Mind do not ask educators to embrace negative elements of any cultural expression,

but rather to embrace the whole person, along with whatever cultural luggage

they bring” (Sealey-Ruiz & Greene, 2011,

p. 355). The following habits of mind for music educators can help students suc-

« Appreciate the culture and the diversity it brings. « Encourage minorities to connect their culture to school. « Understand the detrimental impact of ceed when engaging in rap education:

having bad dispositions toward rap, and foster the exploration of students’

« Help students feel good about theminterests in the classroom.

selves (be a facilitator creating student-centered and youth-oriented organizations).

« Value

communities, cultures, and

families of students in meaningful

« Listen to students become conversant about what they like. « Get involved in mentoring and comways.

munity programs.

Music Technology for Rap Education

As a contemporary style of music, rap’s artistic development goes hand in hand

with the available technology of its time.

In this section, we provide some easy-to-

access resources; for more options consult Oppenheimer (2004, 2005, 2007a, 2007b) and Yelton (2007a, 2007b).

their rapping. If needed, students can

you to translate the acoustic informa-

instructions, google “how to download

digital signal the DAW can understand.

download mp3 files from YouTube. (For YouTube songs.”)

DAW. A digital audio workstation

(DAW) is a type of musical software that allows you to record, edit, and export music. For some, you need a paid license

(e.g., Ableton, Logic, Pro Tools, Sony ACID), but free alternatives can be helpful (e.g., GarageBand, Audacity, REAPER).

If you have never used a DAW before,

don’t worry. Investing a few minutes

going through basic tutorials will give you enough to start experimenting and recording your music.

backing tracks (or “beats”) that accompany

have an Apple device, take into account

that additional adaptors are needed. A more suitable option might be to get an

audio recorder (e.g., Zoom H1n portable

recorder), which costs around $100. The advantage of a specialized portable audio

recorder is that it can be used as a USB interface and a microphone at the same time.

Online Platforms. Once students have

community. That is an essential aspect

built-in microphone, this is probably a

from their favorite rappers and to find

are usually connected via USB, so if you

puters, smartphones, etc.) come with a

dents as one of the primary means to

use YouTube to learn new musical ideas

microphone) can cost over $200. Interfaces

produced their music, they might want to

Recorders. Although most devices (com-

find and consume music. Students can

Unfortunately, a basic bundle (interface +

Microphones, Interfaces, and Audio

YouTube. A rich source of music,

YouTube is used widely by young stu-

tion captured by the microphone to a

“better than nothing” choice. Ideally, you

want students to be set up with an interface and a microphone to record bet-

ter quality audio. The interface allows

export it and share it with their peers and

of rap. Some online outlets are available to help students share their music (e.g.,

SoundCloud, Audiomack, Bandcamp).

These sites allow you to upload music for Continued on page 22 February/March 2021

21

Rap Education Continued from page 21

free and make it public to share with the

expertise and rapping skills can provide

are certain details to keep in mind. First,

facilitate the process, the lack of them

orative learning environment is authentic

write. Encourage them to pick what their

world. Although technological tools can should not discourage you from partici-

pating in rap education. The connection with students is what is most valuable, not

mentorship opportunities. Such a collab-

to the culture and musical style of rap (Rambarran, 2018).

Rap as Awareness. In some commu-

the technology you have.

nities, students may not be familiar with

Teaching Method

the same light as Western classical music.

Authenticity and Collaboration. The authenticity of rap comes from learning in informal spaces. Telling students

precisely what to rap about goes against

what the culture stands for. Instead, students need to directly experience it by using backing tracks of their liking and

creating lyrical content. The teacher’s focus can be on students learning how

to operate recording equipment, produc-

ing beats, and facilitating the resources

necessary to perform. Some students’

22 F l o r i d a

rap. In such cases, rap can be presented in

That is, students can learn about the rappers and producers, the cultural connotations, the emphasis of empowerment and

discrimination, as well as other historical factors (Rambarran, 2018). Another method can be bringing workshops to stu-

dents. Contacting local rappers to come

the theme will dictate what students will theme will be. If students need help, you

can provide ideas to guide them without

confining their creativity. Some ideas you can suggest include school life, family,

hobbies, community issues, and their per-

sonal lives. You can also offer lines from books for some students to engage com-

fortably. It is important to stress these are suggestions. Students have the final say on what they write. Practicing this free-

dom helps students express their realities, feelings, and visions.

Rhyming in rap works much like poet-

to school to do presentations or to teach

ry. You can help students focus on making

learn what rap is all about.

the one before and in pairs of two. When

seminars can be helpful for students to

Lyric Writing. When teaching students

how to write their lyrical content, there

Music Director

sure the end of their lines rhyme with choosing words, we want to be descrip-

tive, as this will help students paint a

better picture of what they are trying to

Depending on the students’ level, dif-

describe how things look, their color, how

Beginning students can create a four- to

convey. For example, teaching students to people act, how the environment sounds,

and the characteristics of their surroundings can help the audience view the world

through the artists’ lenses. These imagery and description techniques will help students tell their stories.

With rap, there are concerns about

appropriate language in school and run-

Joshua Argueta is a

ferent musical layers can be explored.

music teacher at Sweetwater

eight-line verse. More advanced groups

serves as secretary on the

can create a more cohesive work. For instance, they can write a hook (a chorus)

for their rap, and come up with a first verse and a second verse. These challeng-

es will require more intent in developing a cohesive theme.

Elementary

School.

He

Executive Board of the Dade

County Music Educators

Association. He conducts practical research

in music technology as part of the Musical

Learning Community within the Action Research Network of the Americas.

ning into problems with parents and

Conclusion

between rap’s authentic culture and what

rooms is heavily influenced by the re-

Au, W. (2005). Fresh out of school: Rap music’s discursive battle with education. The Journal of Negro Education, 74(3), 210-220.

you can do the same with established rap

Costa, A. (2008). Describing the habits of mind.

In A. Costa & B. Kallick (Eds.), Learning and leading with habits of mind: 16 characteristics for success (pp.15-41). ASCD.

administration. There is a delicate balance might be deemed inappropriate for students. Finding the right balance requires

being open and willing to engage with the music. Discuss this with the school’s

principal, other teachers, parents, and the students themselves. Explore and understand the real meaning of the song that

might be hidden underneath the harsh language. The songs may carry a critical

and empowering message, or they might

Often what happens in the music classcreation of someone else’s music. Although music, you can also use rap as an outlet

to provide students with the opportunity

to create their own music. This music will be personally relevant to their lives, and

it will connect the music classroom with the musical experiences they have outside of school.

Rap can be a vehicle of expression for

be portraying a decadent society. What

students who face emotional and social

mean to you? We need to have supportive

gained by understanding how the style

does it mean to the students? What does it discussions with students to critically

reflect on the values they want to have in their lives, and how those may or may not

be different from yours. Help them learn your stance without coercing them or

persuading them away from their culture.

With that being said, there are rap

songs that have a powerful message but do not use profane language. There are

other ways to convey the message without necessarily hurting the sensibilities of the

difficulties. Sociocultural awareness is emerged, its ramifications, and its con-

often misunderstood and misrepresented

Oppenheimer, S. (2005). Expanding your vision.

Music Education Technology, 3(3), 6.

organic methods are more appropriate,

Oppenheimer, S. (2007a). Teacher’s toolbox.

Music Education Technology, 5(1), 8-9.

educators, we need to question why rap is in school. Remember that to teach rap,

helping students learn independently.

Oppenheimer, S. (2007b). Teacher’s toolbox.

Music Education Technology, 5(2), 8-9.

work, do-it-yourself, and creativity.

Powell, C. (1991). Rap music: An education with a beat from the street. The Journal of Negro Education, 60(3), 245-259. https://doi.org/10.2307/2295480

Rap represents a musical culture of hard

Víctor Manuel Rubio

vocabulary to fit certain lyrics and devel-

eral education and music edu-

not be afraid to engage with a song just because the language makes you uncom-

Johnson, K., Markham, C., & Tortolero, S. (2017). Thematic analysis of mainstream rap music - Considerations for culturally responsive sexual consent education in high-school. Journal of Applied Research in Children: Informing Policy for Children at Risk, 8(1), 1-3.

Oppenheimer, S. (2004). The freedom to experiment. Music Education Technology, 2(4), 6.

Carrillo is a contemporary

op cross-curricular projects; however, do

Gilmore, J. (2018). Chance encounters: Rap music as a relational and pedagogical resource in clinical pastoral education. Journal of Pastoral Care & Counseling, 72(1), 32-36. https://doi. org/10.1177/1542305018754795

temporary impact in society. As music

audience. Perhaps you can partner with

the reading teacher to explore alternative

References

musician with degrees in gencation. He is a PhD student

at the University of Miami

and an instructor of modern and folk tech-

Rambarran, S. (2018). Keepin’ it on da streets?

UK rap and music education. Journal of Popular Music Education, 2(1+2) 165-171. https://doi.org/10.1386/jpme.2.1-2.165_1 Sealey-Ruiz, Y., & Greene, P. (2011). Embracing urban youth culture in the context of education. The Urban Review, 43, 339-357. https://doi.org/10.1007/s11256-010-0156-8

fortable.

niques. He serves as chair of the Musical

Yelton, G. (2007a). Teacher’s toolbox.

Music Education Technology, 5(3), 8-9.

differentiated instruction can be applied.

Research Network of the Americas.

Yelton, G. (2007b). Teacher’s toolbox.

Music Education Technology, 5(4), 8-9.

Structuring Rap. When teaching form,

Learning Community within the Action

February/March 2021

23

Achieving Flow in Musical Experiences Improving Outcomes in Music Rehearsals and Performances

by John A. Lychner, PhD

I

In 1997 I became aware of the work of Mihaly

I began to employ Csikszentmihalyi’s con-

Csikszentmihalyi and his national bestseller

cepts in my work in 1998, particularly as

(1990). This research-based work describes

Western Michigan University, and collected

Flow: The Psychology of Optimal Experience the natural tendency of people to perform at

optimal levels with ease and enjoyment when

the challenge of the task is appropriately bal-

anced with the skills and knowledge of the participant. He calls this outcome flow or opti-

mal experience. Flow, in very simple terms, is

when participants are so focused and comfortable that they lose track of time and place

conductor of the University Concert Band at

information on what worked and what did

not. I also discussed this with colleagues at professional meetings and conferences.

Throughout the years since, I have continued

developing rehearsal approaches and included Csikszentmihalyi’s concepts along with my experiences in my rehearsals and classes.

I have also found support for this con-

while engaged in an activity. According to

ceptual transfer in the work of jazz musi-

tured in a way to achieve flow or optimal

Mastery: Liberating the Master Musician

Csikszentmihalyi, any activity can be strucexperience. Mastery of the task and overall enjoyment, which encourages continued engagement with the task or similar tasks, are

common and important outcomes of achiev-

ing flow. It appeared obvious that attending to preparation and structure of rehearsals in

specific ways could result in better musical outcomes based on Csikszentmihalyi’s findings.

24 F l o r i d a

Music Director

cian Kenny Werner, who wrote Effortless

Within in 1996 and has presented sessions

on his approach at national and international conferences. He explores ways to

overcome barriers to creativity and mastery

of music. A defining phrase in his book

is “Mastery is playing whatever you are capable of playing . . . every time . . .

WITHOUT THINKING” (p. 99). Throughout

the book, he builds on the premise that we

CHALLENGE

Figure 1: Csikszentmihalyi’s Activity Diagram (1990)

SKILL can master anything. To do so, we must eliminate our fears,

and knowledge of the participant, each increasing propor-

and be committed to positive practice at each level. He

of this occurring in our lives. One prime example in our

progress through appropriate levels of achievement,

makes a particularly relevant transfer in describing how effortlessly we use a fork (p. 101), suggesting that we have

reached effortless mastery with many things. It is our

attitude and the successive approximations that we make

each time we use a tool or approach a skill that lead to and result in mastery. There are many similarities to the work of Csikszentmihalyi.

Once again, the basic concept of flow is that the chal-

lenge of the task is appropriately balanced with the skills

tionately. As Werner indicates, there are many examples society is the video game. These games are designed on the principles of Werner and Csikszentmihalyi. They present a challenge that is achievable but not “easy” and then increase the challenge as the player achieves “mastery.”

This balance is clearly illustrated in Csikszentmihalyi’s

Activity Diagram (1990, p. 74), which shows that if the challenge is too great, people will experience anxiety, but if it is too low, they will be bored. Elegant and simple!

Continued on page 26

February/March 2021

25

Achieving Flow in Musical Experiences Continued from page 25

Designing Lessons to Achieve Flow

presented. In short, we must know the lit-

efficient but not engaging. In a similar way,

duct it well. We must have a clear concep-

tive but unfolds totally spontaneously like

As teachers we must design our les-

erature beyond what is necessary to con-

ever, before we can design a lesson or a

tualization of the skills and knowledge

sons to achieve balance or flow; howrehearsal strategy, we must have accurate

data on two things—(1) the actual ability level of the participants with regard to

the task we are putting in front of them,

and (2) their tolerance level with regard to challenges, especially new challenges.

The first is a simple matching process,

based on our knowledge of a person, his or her development with regard to a particular skill, and the order in which we

present material, easiest to most difficult.

This is precisely what current assessment

approaches call for, using observation and/or pre-test data to inform our lesson planning. The second can be a little trickier because it has to do with how well we know our students personally.

Some students will grasp a new concept

quickly and need few repetitions to gain

necessary for each performer to success-

fully perform his or her part. We cannot simply depend upon the published grade level of a piece or our experience performing the piece. Both are too shallow, not

providing enough information to make

good lesson planning decisions. Accurate and in-depth analysis of the components of the work and a well-defined hierarchy

of the elements of music are the keys to success here. The conductor/teacher must

match this information with the data collected earlier and choose a set of expe-

riences with a step-by-step approach that is appropriately paced with an appropri-

ate amount of repetition, similar to how video games are designed.

Finally, it’s time for rehearsal!

The rehearsal that results in flow

competence or even mastery. Others will

for most or all of the students does not

pace progressing through those repeti-

derived from the first two steps. The

require many repetitions and a slower

tions to achieve the same result. The most effective planning occurs when the teach-

er has as much information as possible in both of these areas.

With this data, we can then begin

to design a lesson or rehearsal. If the

teacher is working with a method (i.e., Suzuki, Orff, etc.) or method book, the

choice of exercises and relative pace are predetermined and based on the author’s significant experience and knowledge of

child development. When we move into more advanced ensemble performance,

the conductor/teacher must determine the correct order in which to present

material, understanding the variety

of challenges in each piece of music

26 F l o r i d a

involve simply carrying out the plan

best rehearsals begin with a plan, but just like a great road trip, they allow

for spontaneity and stops along the way (i.e., teachable moments). Anyone who

enjoys a road trip knows that sometimes you must pause along the way and take in the sights, whether expected or not.

This adds to the enjoyment of and the

engagement in the road trip. Recall that flow is about engagement at a high level.

We become engaged to the degree that we

lose track of everything else. What fuels that engagement? I have found that hav-

ing and following a plan is the first step, but being flexible when carrying out the plan is the key. Simply following a plan is like working on an assembly line. It is

Music Director

a rehearsal or class that has a stated objecan improvisation can be anxiety or boredom inducing for the participants, to use

Csikszentmihalyi’s terms. Human beings like structure, even though we often say

that we don’t. It provides a sense of stabil-

ity or a foundation. Yet we don’t want to be confined or constrained. This is another example of how Csikszentmihalyi’s

concepts can be applied where we gather

information that helps us to determine the right amount of structure in harmony with the right amount of spontaneity. In

the end, having both a plan and the ability

to be spontaneous provide the setting for the flow experience.

Rehearsals That Flow

This seems so simple, but I find that in our desire to push ourselves and our students to achieve at higher and higher levels of

ability, to reach the high standards that we set, we often push ahead faster than we

should, thus upsetting the necessary bal-

ance for flow to occur. How many times

have you told your students, “practice technical passages slowly and you will be able to play or sing them faster?” This is usually counterintuitive for students, and even conductors can make the mistake of

pushing for speed before mastery. In real-

ity, if we focus on balancing the difficulty of the task with our level of ability, we make better progress with true mastery

and confidence in our ability, which result from practice focused on repeating things correctly, not merely repeating them, as

we practice or rehearse. This requires the ability to honestly analyze both the diffi-

culty of what we want to perform and our personal ability level. Then we must have

the discipline to begin with those two

are doing in the moment, not allowing for

quickly than our continually increasing

We often don’t talk to our students

things balanced and progress no more

distractions.

level of mastery allows.

about the more basic choices that we

tor (note the shift in emphasis from the

cell phones where we can see them and

This means that as the teacher/conduc-

earlier “conductor/teacher”) must have a

great deal of personal discipline or simple self-control in order to design or structure

and implement lessons/rehearsals that result in an experience of flow. If students

are taught through a structured, mastery-oriented process, which can mani-

fest in many ways, they will eventually internalize that process and be able to

personally approach challenges, needing less involvement of the teacher. That inde-

pendence on the part of the students

allows for increasing group challenges.

Anything that we do can become rewarding if it is structured appropriately.

Intrinsic Motivation

The next step in this process is intrinsic

motivation, wherein the rewards of the

activity come from within the activity itself rather than from external sources

and they make, like whether to keep our subsequently be distracted by them, or

how we set up our music stand so we

can have greater communication with the other musicians in the group, or which

thoughts we are going to allow and which we are going to ignore as we work. This is

all part of owning the work we are doing

or the experience we are having. We own it when we choose it over other possibili-

ties that present themselves. This is not to contradict the importance of spontaneity but rather to choose and focus on spontaneity that is related to the primary activ-

ity or task. With every thought we make choices. It is important to engage students

in this thought or choice process and not simply impose it. Focus and the ability to

own our behavior is choosing that behav-

ior over other possibilities, even in the flow of the moment.

In order for everyone in an ensemble

such as grades or even the applause of

or class to reach flow, each person must

this common experience as autotelic (1990,

each choice made with no real options

an audience. Csikszentmihalyi describes p. 67), which means an experience is

rewarding in and of itself. We often refer to these kinds of experiences as “play,”

and it is important to remember that play is intrinsically motivated. We “own”

the behavior when we play, both as children and as adults. There are four attri-

butes of the autotelic self: (1) setting goals, (2) becoming immersed in the activity,

(3) attending to what is happening, and (4) enjoying the immediate experience

(1990, pp. 208-213). It is as simple as being truly present and attending to what you

make choices. We must remember that considered is default (i.e., whatever was/

is in front of us). We have not really cho-

sen because there were no options. To get into flow efficiently and quickly, we must

Human beings like structure, even though we often say that we don’t.

It provides a sense of stability or a foundation.

practice making choices, conscious choic-

es that lead to that objective (a.k.a., setting goals in the autotelic self). When we stum-

ble unexpectedly into a flow experience, we have made those choices by default;

however, when life is full of distractions, we must consciously make those choices

that lead us to flow and then consciously Continued on page 28 February/March 2021

27

Achieving Flow in Musical Experiences Continued from page 27

act on them. Those choices include choos-

must be mindful and attend to this aspect

each level is just noticeably more difficult

focus, choosing to be totally present and

to delving into important subject matter

the flow principle. Players are totally

ing an activity (ownership), choosing to

to ignore distractions, etc., all aspects of the autotelic self. When it doesn’t come

naturally, we can make it happen with

only a little effort because once the flow experience begins, the intrinsic rewards encourage and even cause it to continue.

We see this in rehearsals all the time.

One of the primary things that most

teachers/conductors do as the rehearsal

of the approach to rehearsal or class prior in order to achieve the best outcomes.

What we typically call “warm up” is often not approached with a high level of

engagement, by the teacher/conductor or

the students, causing a delay in achieving flow; however, it should be highly

engaging to set up or begin the flow experience.

begins is to initiate reminders in a variety

Functional Creativity

the performers to focus and become pres-

Cropley (2005, p. 171) use the term func-

of forms, verbal and nonverbal, that help

ent. It is important to remember, however, that each person present must choose and own the behaviors in which they are engaging. This cannot be imposed if flow

is to occur. As a result, the teacher/conductor must know the students/performers well enough to choose appropriate

activities and/or straightforward reminders to assist them in choosing and engag-

ing in behaviors that move them toward a flow experience, preferably reminders

and activities that are intrinsically moti-

vating for the students/performers. For some students, a simple set of scale exercises or the most basic of vocal warm-ups

function toward this end. For others, a strong verbal reminder is needed. For still others, it’s playing or singing substantive

music rather than working on exercises.

Regardless, the teacher/conductor should be monitoring the students and their

level of engagement as demonstrated by

In the field of engineering, Cropley and tional creativity to describe creativity involving useful outcomes as opposed

to traditional creativity that involves aesthetic outcomes. The ultimate result of

28 F l o r i d a

challenge through a variety of rewards that become less and less important than

the intrinsic rewards experienced by the players. People involved in sports,

especially individual sports, have similar experiences as they find ways to

slowly push themselves from one level

of engagement to the next, resulting in longer and more in-depth engagement.

It is important to identify and use the same kinds of approaches in our music experiences.

We have all been in rehearsals where

If everyone is in or at least headed toward

ticipants are “creative” in that they are

taking knowledge and skills that they

have and are using them in creative ways to identify and fix problems, pro-

viding for achievement of next steps or goals. No one is waiting for someone else to tell them how to proceed. They have an inner clarity and a sense of

ecstasy that is also serene and calm with

no sense of anxiety or self-awareness.

A great example is when the bell rings to end the period and no one is ready

for the rehearsal to end because of their high level of engagement.

This is often seen outside of rehearsals

sports, especially individual sports like

This suggests that the teacher/conductor

that entice them and lead them to the next

results in an aesthetic outcome. All par-

functional creativity that subsequently

engaged and is in or moving toward will produce really substantive outcomes.

time while creatively solving problems

a flow experience in music rehearsals is

and classes, especially with young peo-

a flow experience, then the rehearsal

immersed and lose all track of place and

things seem to get better and better sim-

their body language, facial expressions,

and general behavior. Once everyone is

than the one before, perfectly illustrating

ple who are enticed by video games and

running, swimming, etc. Gamers often

quickly find themselves in a flow experience and, if the game is designed well,

Music Director

ply because we have played them again. a flow experience, then this should not be a surprise. When the ensemble is accom-

plishing much more than it would in a typical rehearsal, it is likely that most or

all of those involved, including the teach-

er/conductor, have reached the level of functional creativity with everyone independently problem solving at a high level

at the same time. The sopranos fixing a rhythmic error, the clarinets finding a

better fingering, the trombones marking their music so that they look up for a

cut-off, or a section discussing phrasing,

all without input from the conductor, are just a few examples of what can be

observed in highly effective rehearsals at

all levels. The key is that those involved are engaged and employing their skill

and knowledge base to solve problems,

the conductor at the macro level and the performers at the micro level.

If the environment is structured cor-

rectly, including specific instruction at and appropriate to each grade level to

develop these behaviors, this can happen

at all levels of ability. We simply must teach the desired underlying behaviors,

providing tools and direction that lead to independence. Many music educators do this innately while others have had to

develop a strategic approach, first teach-

ing the students how to play and/or sing and practice independently and then indicating in rehearsal how to employ

those and new approaches in rehearsals at appropriate times. For example, the teacher/conductor might indicate that

“while I’m working with the tenors and

basses on intonation at letter D, I want the sopranos and altos to go over the counting at letter C.” At a later time in the students’ development, the teacher/conductor indicates something like, “whenever

I’m working with another section, you should be quietly fixing something that

you need to work on in your part.” This is the kind of overt signal that tells the

developing performer how to function independently while working in a group.

Conclusion

In the long run, flow experiences or optimal experiences result in a sense of mas-

tery. Most important, when you observe or talk to people who have experienced

all of our rehearsals and classes happy and seeking continued engagement.

Setting the stage for flow experiences can

assist us in our work to achieve this and many other goals.

John A. Lychner, PhD, is

director of music education in

the School of Music at Stetson University and is an active clinician/conductor. Previously,

Dr. Lychner was professor of

music in the School of Music at Western

Michigan University, Kalamazoo. He taught band, choir, and general music in St. Louis, Missouri, and Tallahassee, Florida.

References Cropley, D. H., & Cropley, A. J. (2005).

Engineering creativity: A systems concept of functional creativity. In J. C. Kaufman and J. Baer (Eds.), Faces of the muse: How people think, work and act creatively in diverse domains (pp.

169-185). Lawrence Erlbaum Associates.

they feel happy as a result of the expe-

Csikszentmihalyi, M. (1990). Flow: The psychology of optimal experience. Harper & Row.

rience (Csikszentmihalyi, 1996, p. 123).

Csikszentmihalyi, M. (1996). Creativity: flow and the psychology of discovery and invention.

Harper Collins.

flow, they almost always indicate that rience and want to return to the expeCsikszentmihalyi states that “the happiness that follows flow is of our own mak-

Csikszentmihalyi, M. (1997). Finding flow: The psychology of engagement with everyday life.

Basic Books.

and growth in consciousness” (1997, p. 32).

Werner, K. (1996). Effortless mastery: Liberating the master musician within. Jamey Aebersold Jazz.

ing, and it leads to increasing complexity

It would be wonderful if we could leave

The ultimate result of a flow experience in music rehearsals is functional creativity that subsequently results in an aesthetic outcome.

February/March 2021

29

STUDENT WEBINAR SERIES MUSIC OPPORTUNITIES IN COLLEGE FOR EVERYONE! 3/15/21 6:30 PM EDT

Participants will learn about musical opportunities beyond high school for music majors as well as non-music majors.

Presented by Chandler Wilson, PhD, Florida State University Kelly Miller, DMA, University of Central Florida Scan or click the QR code to register!

30

Florida Music Director

Congratulations to the 2021 FMEA Award Winners I

t is a great honor to introduce our 2021 FMEA award winners. Each awardee is being

recognized for the exemplary job they do to serve FMEA’s mission. This has indeed been

a unique and challenging year for music education, but you will read about some extraordi-

nary heroes.

In the midst of a pandemic, with music educators having to find time to reinvent their

teaching delivery, it was impressive to receive applications in every single category. This

AWARDS shows the importance that folks place on reassuring that quality music lives on and the COMMITTEE determination out there to recognize those who are models for us all.

Debbie Fahmie,

The decision was made to put a pause on the Middle/High Music Enrollment Award this Chairwoman

year due to the fact that schools were in varying stages of face-to-face instruction throughout our state. This had a tremendous impact on the criteria for this particular award.

This and the following pages spotlight the honored individuals from the 2021 awards ceremony.

Nominations for the 2022 awards program will begin in April. Consider who you think deserves recognition for their contributions to FMEA and music education at large.

2021 Music Education Service Awards Carla P. Maxwell

Rhonda C. Gauger

Audrey W. Carballo

Lakeville Elementary School

Hickory Creek Elementary School

Bob Graham Education Center

25 years

29 years

38 years

Orange County

Melinda Fradley

St. John’s County

Eric W. Mendez

West Orange High School

Maitland Middle School

26 years

32 years

Orange County

Miami-Dade County

Orange County

February/March 2021

31

Congratulations to the 2021 FMEA Award Winners Elementary Music Educator of the Year ROSEMARY M. PILONERO Villages Elementary of Lady Lakes School Nominated by Joani Slawson on behalf of FEMEA Rosemary M. Pilonero has been an elementary music

teacher for 26 years and has spent her last six years

teaching at Villages Elementary of Lady Lakes School in Lady Lake. She taught in New Jersey before moving to Florida in 2006. The Villages Elementary of Lady

Lakes School selected Rosemary as its 2018 Teacher of the Year.

Rosemary truly believes in music for ALL. As part

of the Executive Committee for the Florida Elementary Music Educators Association (FEMEA), she steered the

organization through substantial transformations that would cast a wider net to reach more students, particularly those in underserved areas. Under her leadership,

the FEMEA Regional Honor Ensembles came to fruition and now provide a space and place for wonderfully

talented and devoted elementary musicians through-

and is on the FMEA Conference Planning Committee.

As much as she is a master teacher, Rosemary is

Orff Association. She has served as a guest conductor

out the state.

a servant leader paving pathways for colleagues as

well as students. She has moved from local leadership, which included serving as FEMEA district chairwom-

Rosemary remains very active in the Central Florida for Orff ensembles and honor choirs throughout the state of Florida.

Rosemary earned her undergraduate degree from

an, to state leadership serving as president of FEMEA.

the University of Massachusetts at Amherst and went

national level serving as a regional representative

College. Additionally, she has certification in Orff

Rosemary has now extended her leadership to the (Region IV) on the National Board of Trustees for the

American Orff-Schulwerk Association. She has also chaired that board’s advocacy subcommittee. Currently

she serves FEMEA as past president of the board of

directors and as the conference event coordinator,

32 F l o r i d a

Music Director

on to earn a master’s degree from Montclair State

Schulwerk Level III and Master Class and in world drumming.

Ms. Pilonero is dedicated to enthusiastic teaching

as a means of creating and nurturing a lifelong love of music in children.

Congratulations to the 2021 FMEA Award Winners Secondary Music Educator of the Year LAURA PINFIELD Brevard Public Schools String Specialist Nominated by Amy Davis Laura Pinfield has served as a string specialist with Brevard Public Schools’ orchestras at both the ele-

mentary and secondary levels since

1988, developing program excellence

through collaboration with teachers, students, parents, and administrators

at 21 elementary schools, six middle

schools, and five high schools. A life-

long violinist, Laura began lessons

at age 4 with the Suzuki method through the University of Wisconsin,

Madison, and attended the Stevens Point Summer Institute where Sinichi

Suzuki was guest clinician. Ms. Pinfield holds a bache-

facilitating communication among stakeholders, dis-

of South Florida, and the MME from the University

and improve music achievement. Ms. Pinfield has

lor’s degree in violin performance from the University

of Central Florida. The Brevard Symphony Youth

Orchestra invited Ms. Pinfield to launch its string

cussing policies, and exploring ways to strengthen played with the Brevard Symphony Orchestra since

1988 and was awarded the Director’s Choice Musician

ensemble in 2000, which she conducted and developed

of the Year in the orchestra’s 2003-04 season.

curriculum writing are of particular interest to Ms.

settings and is adept at improvisation and using

the county and state levels. The study of foundational

Summer Workshop in 2018 for students to learn

for three years. Best practices in music education and Pinfield, and she has authored numerous resources at technique and its essence to achievement have been a focal point of her instruction, leading many of her stu-

dents to become all-county and all-state performers, as well as music teachers and professional musicians.

Laura served as district chairwoman for the Florida

Orchestra Association (FOA) District 10 from 1993 to 1995 and is an FOA board-approved adjudicator.

She served on the Brevard Music Leadership Team from 2003 to 2019 developing music in-services,

Laura enjoys playing the electric violin in various

special effects pedals. She held an Electric Strings improvisation through electric string instruments, which featured guest artists, music vendors, and

teachers from the community. Workshop proceeds went to the Light of Day Foundation, an organization that harnesses the power of music to support a cure for Parkinson’s disease.

Ms. Laura Pinfield has had a tremendous impact

on students as well as teachers in Brevard County and beyond.

February/March 2021

33

Congratulations to the 2021 FMEA Award Winners College Music Educator of the Year DON COFFMAN, PhD Frost School of Music, University of Miami Nominated by Dr. Carlos Abril Dr. Don Coffman, professor and chair, Department of Music Education & Music

Therapy, Frost School of Music, University of Miami, teaches courses in instrumental conducting, instrumental music methods,

and community music. He holds an under-

graduate and doctoral degree from the

University of Kansas and a master’s degree from Wichita State University.

Dr. Coffman has over 40 years of teach-

ing experience spanning K-12, university, and community band settings. He is an

internationally known scholar with more

than 100 publications and 100 presentations in 13 countries around the globe. His

vitae is extensive, citing research, publications, journals, books, chapters, presentations, panels, lectures, and symposiums,

both nationally and internationally, he has

participated in. His influence is deep and widespread.

walk away with a renewed vision of music educa-

band performances and clinics. In Iowa City, he

was asked to chair the Commission for Community

Dr. Coffman has conducted more than 300 wind

founded the Iowa New Horizons Band in 1995 and led it for 16 years. When he moved to Miami, he

became the director of Frost’s New Horizons Band.

tion that lasts into adulthood. It is no wonder he

Music Activity for the International Society for Music Education.

Dr. Coffman was honored as the first recipient of

This band serves as a laboratory for music educa-

the NAfME Adult and Community SRIG Award for

community ties and recruiting young students to

as chairman of the FMEA Research Committee and

tion majors while simultaneously strengthening

work with older musicians. Dr. Coffman’s students

34 F l o r i d a

Music Director

“Outstanding Scholarship and Service.” He serves edits Research Perspectives in Music Education.

Congratulations to the 2021 FMEA Award Winners Leadership Award KRISTY PAGAN Miami-Dade County Public Schools Nominated by Pauline Latorre and David Cruz on behalf of FEMEA Kristy Pagan is the district elementary

music support specialist for Miami-Dade

County Public Schools and the music

teacher at Amelia Earhart Elementary in Hialeah.

Kristy is an exceptional music edu-

cator who has served the Miami-Dade

County Public Schools for the past 17

years. She received both her bachelor’s in

music therapy and master’s in music edu-

cation from Florida State University. She teaches at Amelia Earhart Elementary, where she directs the chorus, modern band, and general music. In addition

to her responsibilities as a teacher, she

serves the district as a visual and per-

forming arts curriculum support specialist. Her role

Note Foundation 2020 Music Education Innovator

taking since she essentially provides guidance and

Music Educator Award, Young Patronesses of the

as a district support specialist is a significant under-

assistance throughout Miami-Dade County Public

Schools, the fourth largest district in the nation.

Her responsibilities include supporting teachers, evaluating the integration of STEAM with other

disciplines, analyzing data, and coordinating sev-

eral district programs. She takes on leadership roles

in the Dade County Music Educators Association, is a clinical supervising cooperating teacher, and a MINT mentor for beginning teachers.

Kristy’s extraordinary commitment to music

education has led her to receive several nominations

and recognitions including a Finalist for the Give a

Award, Quarter Finalist for the 2020 Grammy

Opera Educator of Note Award, and North Region Teacher of the Year Finalist. Kristy goes beyond for the music education community, and everyone

that has the opportunity to interact with her can attest to her passion, charisma, and energy that

she instills in others. Ms. Pagan holds certifications

in American Orff Schulwerk Levels 1 & 2, Little Kids Rock 101 & 102, Circle of the Square Theater

School, and is a board-certified music therapist.

Ms. Pagan’s impact reaches the entire South Florida

area as well. She is a board member of the South Florida Orff Chapter where she serves as treasurer.

February/March 2021

35

Congratulations to the 2021 FMEA Award Winners Administrator of the Year KELLY PADUANO, EdD Timber Creek High School Nominated by Paul (Wesley) Roy on behalf of FVA Dr. Kelly Paduano serves as the principal of Timber Creek

High School where she oversees 230 employees and 3,350

students who participate in a broad range of academic and extracurricular programs. Prior to her time as prin-

cipal, she served as assistant principal of instruction at Timber Creek High School and assistant principal of instruction at Union Park Middle School. During her time

at Timber Creek, she increased the graduation rate from 90.3% to 99%, the highest rate in the district, and expanded the Performing Arts Department to include 13 highly

qualified certified arts educators. She has increased the school grades at both Timber Creek and Union Park, and

played an integral role in helping Timber Creek to become the top-ranked high school in the district and 49th high

school in the state of Florida. She was named the 201617 Principal of the Year for the Florida Association of

Student Councils, the 2013-14 OCSCA Administrator of the Year, and the Timber Creek High School Female

School under Dr. Paduano’s administration. Dr. Paduano

Dr. Paduano is an ardent supporter and advocate for

Timber Creek. Through her support, the music program

Administrator of the Year in 2007 and 2009.

the music programs at her school and is well loved by

has taken music education to unprecedented levels at is 550 students strong. These performing groups get reg-

her entire visual and performing arts department. As

ular invitations to perform at Disney, are omnipresent in

School offers a comprehensive arts education program

all-county and FMEA all-state groups, and attain superi-

a result of Dr. Paduano’s support, Timber Creek High

for all students including band, chorus, orchestra, AP

Music Theory, honors music theory, theatre, dance, and the visual arts.

Whether you are at Friday Night Lights and witness the

Regiment with its 300-plus band members, or you attend

a concert in the community or at a local place of worship and are riveted by incredible vocal groups, or you are at

a school event where you are entertained by a first-class orchestra ensemble, it is always clear that the vitality of music flows through the veins of Timber Creek High

36 F l o r i d a

Music Director

the Avalon Park Community, have a large acceptance to or ratings at music performance assessments. The music faculty at Timber Creek is often tapped to mentor new

teachers, and there are continual collaborations with local universities and colleges. None of this would be possible without the unending support of Principal Paduano. She

is highly committed to ensuring all students have access to the arts programs at her school.

Dr. Kelly Paduano holds the BS degree in social science

education and a master’s and a doctoral degree in educational leadership from the University of Central Florida.

Congratulations to the 2021 FMEA Award Winners Superintendent of the Year ALBERTO M. CARVALHO Miami-Dade Public Schools Nominated by Pauline Latorre on behalf of FEMEA Alberto M. Carvalho has served as superintendent of Miami-Dade County Public Schools (M-DCPS), the

nation’s fourth largest school system, since September

2008. He is a nationally recognized expert on education transformation, finance, and leadership development. During his tenure, M-DCPS has become one of

the nation’s highest-performing urban school systems,

receiving systemwide accreditation from AdvancEd. The district was recognized with the 2012 Broad Prize

for Urban Education, 2014 College Board Advanced Placement Equity and Excellence District of the Year, and 2019 Cambridge District of the Year. As a staunch

believer in school choice, he has expanded choice

Directors. Mr. Carvalho holds the BS degree in biol-

offerings including programs in fine and performing

MA in educational leadership from Nova Southeastern

options in Miami-Dade to include more than 1,000

arts, biotechnology, engineering, robotics, aviation, forensic sciences, and many others. An instructional leader at heart, Mr. Carvalho is also the proud founder of the award-winning iPrep Academy, a model of robust 21st century learning in the age of innovation and technology.

Recognized by his peers as a leader, he has been

named Florida’s 2014 Superintendent of the Year, 2016 winner of the Harold W. McGraw Prize in Education,

ogy/biomedical sciences from Barry University, the

University, and has been awarded many honorary degrees including Doctor of Public Service by Florida

International University, Doctor of Humane Letters by both Barry University and Florida Memorial University,

and Doctor of Pedagogy, Honoris Causa from Nova Southeastern University. He has been honored by the president of Portugal with the Ordem de Mérito Civil and by Mexico with the Othli Award.

Mr. Carvalho has proven his belief in arts education

2018 Urban Superintendent of the Year, 2019 NABE

throughout the years. He has allocated $54 million for

Superintendent of the Year; and he is one of Scholastic

local cultural arts center to develop a Cultural Passport

Superintendent of the Year, and AASA’s 2014 National

Administrator’s “The Fantastic Five” educators making a difference in America. He serves on the National

Assessment Governing Board, is a member of the National Board of Directors for Common Threads,

as well as serves on the Posse Foundation Board of

music and arts programs, and has partnered with the initiative that ensures every child in the district has

equal access to field trip performances during the

school day. He hosts the Superintendent’s Honors

Festival and the Superintendent’s Artist in Residence Program.

February/March 2021

37

Congratulations to the 2021 FMEA Award Winners School Board Member of the Year CAROL J. COOK, CHAIRPERSON

Services Committee, vice chairman

Pinellas County School Board

forces for the Florida Department

Nominated by Meghan

Alfaro on behalf of FEMEA Carol J. Cook, chairperson of the Pinellas County School Board,

of advocacy, and on several task of Education. As the representative of FSBA, Mrs. Cook served on the

Florida School Music Association (FSMA) Board of Directors.

Florida

School

Boards

was elected to the school board

Association has awarded Mrs.

County Schools for 20 years. A

recognition and the Advanced

in 2000 and has served Pinellas graduate of the University of

South Florida, she taught elemen-

tary school in Pinellas County

for 10 years. Mrs. Cook under-

stands how music education fits within the district’s bigger pic-

Cook the Certified Board Member Boardsmanship The

Advanced

Certification.

Boardmanship

Certification is a distinction currently held by five other board

members in the state. In addition

to her board responsibilities, she

ture initiatives and plans. During her tenure, and

has served on the Partnerships for a Healthier Pinellas

passed a referendum to support music and arts edu-

Directors. Mrs. Cook has also held several leadership

partly because of her strong support, Pinellas County cation. She has served on the board of the Florida

School Music Association, and arts are included in

Board of Directors and Clothes to Kids Board of positions in her church.

Under Board Chair Carol Cook, over $1.5 million a

the Pinellas County School’s District Strategic Plan.

year goes to support music programs funded by the

Directors for nine years and is a former president

wonder that Pinellas County was designated a NAMM

Mrs. Cook served on the Florida PTA Board of

of the Pinellas County Council of PTAs. Mrs. Cook

serves on the Florida School Boards Association

passage of the Pinellas County tax referendum. It is no 2020 Best Community for Music Education.

Mrs. Cook and her husband Ed have lived in

(FSBA) Board of Directors in her role as chair-

Clearwater for more than 35 years and are the proud

has also served as chairman of the Functions and

graduates of Pinellas County Schools.

man of the Board Development Committee. She

38 F l o r i d a

Music Director

parents of two children and a daughter-in-law, all

Congratulations to the 2021 FMEA Award Winners Distinguished Service Award DENISE GAGNE MUSICPLAY Nominated by Jenny Chambless on behalf of FEMEA Denise Gagne is a music specialist with 40-plus years of experience

teaching

band,

choir, and classroom music

from preschool to college. Her

choirs and bands won many awards at music festivals and

performed for local and national sporting events, on national radio, and even for the Queen of England. Denise has a bachelor

of music from the University of Victoria, a bachelor of edu-

cation from the University of Saskatchewan, a

& Variations, a preschool music teacher, and a fre-

diploma in music from the University of Auckland

quent visitor to Red Deer elementary school music

(Kodàly Level 3) from the University of Calgary

every Canadian province and territory and in all

(pending), and a post graduate diploma in fine arts

with Lois Choksy. She has completed Orff Level 3

and additional Orff training with Cindy Hall, Jay

Broeker, Jos Wuytack, and Donna Otto. Denise has

served on the boards of the Saskatchewan Music Educators Association and the Saskatchewan Band

classrooms. She has been a workshop presenter in 50 U.S. states. She presents regularly for Orff and Kodály workshops and for preschool and kindergarten conferences in Canada, the United States, Asia, and Australia.

When the pandemic hit and schools were forced

Association, and served for eight years on the board

to close last March, Denise Gagne jumped into action

Denise is the owner of Musicplay and author

ers throughout the world in order to keep high-quali-

of the Kodàly Society of Canada.

or editor of more than 100 publications for K-6

music teachers. She is managing editor of Themes

full force by sharing her resources with music teach-

ty, engaging music instruction alive through distance learning.

February/March 2021

39

Congratulations to the 2021 FMEA Award Winners Exemplary Model Program WEST PORT ROCK PACK DEAN MARINO WEST PORT HIGH SCHOOL Nominated by Joanne Crowder Dean Marino is the piano and rock band/studio music teacher at West Port High School in Ocala. Mr. Marino’s Rock Pack class was created to teach the real-world appli-

cation of musical skills, and his students attain both the musical and business acumen in order for them to participate in a music career at a professional level.

When Mr. Marino retired from the professional music

business and moved to Marion County, he taught elemen-

tary music, and during that time, he owned and ran his

own “rock school.” When he moved to the high school, he brought that type of rock ensemble environment to the

established arts magnet to draw a population that might not have been naturally attracted to the traditional music curriculum. Through the study of the music and the business of rock, he established a group of musicians who soon began to supplement their love of rock with choral and

orchestral music. So many times in the arts world, there is a judgment about what is “real” art. Mr. Marino breaks

and study of contemporary artists and genres (rock,

taking them right where they are and helping them grow

record, and produce original compositions, both in a

all of those established norms and motivates students by into well-rounded musicians with a truly diverse sound and an appreciation for all forms of musical arts.

The Rock Pack program has grown into one of the most

popular music courses in a school that has more than 800 dedicated artists enrolled in the magnet program. The

West Port Rock Pack consists of rhythm section ensembles

focused on commercial music performance genres, record-

ing techniques, and business skills related to the music

jazz, blues, R&B, etc.), students are required to perform, band and in small groups. Students are also required to

create the business elements of a professional musician/ band such as press releases, cover letters, contact lists, set

lists, promotional photography/mailings, and individual and band biographies. Students develop the practical

skills necessary to work as a professional musician and are exposed to a variety of commercial music genres.

Mr. Marino’s education includes the BM degree in

industry. Students learn how to read chord charts, tradi-

music composition from California State University,

They are expected to sing backing vocals and learn a

Grove School of Music: composing and arranging; key-

tional musical notation, and the Nashville number system. secondary instrument. The Rock Pack develops a student’s instrumental, vocal, and professional skills within a real-

world ensemble setting. Along with regular performances

40 F l o r i d a

Music Director

Northridge. He also has three certifications from the

board performance; and film scoring. Mr. Marino has

inspired numerous students to pursue music business and music production degrees in college.

Congratulations to the 2021 FMEA Award Winners Exemplary Model Program “SONGBIRD” EVAN POWERS, AVALON MIDDLE SCHOOL Nominated by Paul (Wesley) Roy on behalf of FVA

Evan Powers is the choral director at Avalon Middle School in Orlando. SONGBIRD is a program in which

seventh- and eighth-grade students share music and

establish relationships with elders living with dementia.

Following a four- to five-week training period, students are partnered with memory care residents at Encore

at Avalon Park (an assisted living facility). When the students first meet with the residents, they get to know

them through a game of “music detective” using a ques-

tionnaire and the internet. The students learn about what kind of music the residents love and connect to, and then they research and share that music with them. Students

bring recorded music to the residents each week and work to share music (through recordings or singing),

listen to stories, and build relationships. At the end of each of these sessions, the students and facilitators meet

This project allows middle school students to learn

as a group to share stories, troubleshoot, and develop

and experience how music is a vehicle for service, as

The results are breathtaking—people whose disease

empathy can have on themselves and others. As a result,

solutions to any issues that may have arisen.

has taken away their ability to fully and authentically

express themselves are gifted with moments of clarity

and joy. Their reactions range from a simple smile, to engaging conversation, to memory sharing, to dancing and playing instruments. These moments bring incredi-

ble joy to the residents and leave a very important mark on the students. Goals of the program include chang-

ing students’ attitudes toward the elderly, connecting

students and elders through shared music experiences, brightening the days of elders living with dementia,

well as the power that genuine human connection and many students feel an urgency to continue volunteering.

Furthermore, it creates awareness among and support from the school’s administrators as they see the community impact and school representation through the

choral program. Finally, it helps students experience a stage of life with which they may not be familiar, and

therefore allows for the opportunity to build the kind of

humans we want taking care of us should we one day be in assisted living.

Evan has developed materials and a “how to” guide to

inspiring students to continue in community service, and

get a project like this started in other schools and com-

feel a sense of purpose and helping them to better under-

teachers around the state to learn about and work toward

giving the students greater confidence, allowing them to stand themselves.

munities. As a result, he has inspired many other music starting their own version of SONGBIRD.

February/March 2021

41

FLORIDA MUSIC EDUCATION ASSOCIATION 2020-2021 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, 2020, through February 5, 2021.

MAESTRO’S CIRCLE $10,000 and up

No current donors at this time.

ARTIST’S CIRCLE $1,000 – $9,999

Artie Almeida In Honor of June Audrey Holcombe Grace & Katie Grace Miller Frank Howes In Memory of Tom McDonald & In Honor of Anne Howes & Lou Hyatt Clifford Madsen Russell Robinson

SUSTAINERS $100 – $999

Ann Adams-Valle In Dedication of Bobby L. Adams Andre Arrouet Lucinda Balistreri In Honor of June M. Hinckley Anthony Chiarito Dayna Cole In Memory of Linda Mann Alice-Ann Darrow In Honor of Mr. & Mrs. O. B. Darrow Virginia Densmore In Memory of Jeff Bradford, Byron & Bobbie Smith Jason Dobson Florida Bandmasters Association In Memory of Bobbie & Byron Smith; In Memory of Larry Wasserwerfer on behalf of D. Tracey Ryan, Claire Allyn Ryan, & Mary D. Young 42 F l o r i d a

Music Director

Patricia Flowers Stanley Hoch Dennis Holt Alexander Jimenez Marsha Juday Steven Kelly Carlton Kilpatrick Sheila King In Memory of John W. King Frances Lilly In Memory of Byron & Bobbie Smith Jason Locker In Memory of June M. Hinckley Natalie Mallis Angel Marchese Carolyn Minear

SUSTAINERS continued Ree Nathan John Nista Kimberly Oppermann On Behalf of the Board of Directors of HCEMEC, Inc. David Pletincks In Honor of Alexis & Jonathan Pletincks Jeanne Reynolds In Honor of Pinellas County Performing & Visual Arts Educators Mary Catherine Salo In Memory of Gary Rivenbark & Wes Rainer Steven Salo In Honor of John “Buck” Jamison & Dr. Bill Prince Kathleen Sanz In Honor of June M. Hinckley & In Memory of A. Byron Smith J. Mark Scott In Honor of Dr. Judy Arthur & Dr. Judy Bowers; In Memory of Byron & Bobbie Smith on behalf of the Florida Vocal Association

Frederick Schiff Kathy Shepler D. Gregory Springer Harry Spyker In Honor of Fred & Marlene Miller Gregory St. Jacques In Honor of Bobbie & Byron Smith Jeannine Stemmer In Memory of Barbara Kingman & Lauren Alonso Valerie Terry Leiland Theriot In Memory of Clayton Krehbiel Robert Todd In Memory of Gary Rivenbark Richard Uhler David Williams Kenneth Williams

PATRONS $25 – $99 Carlos Abril David Bayardelle In Memory of Matthew Jensen Mark Belfast In Memory of Dr. Mark A. Belfast, Sr. Karen Bradley In Memory of Harold Bradley Gordon Brock James Bruce Jamie Bryan In Honor of J. Mark Scott Katarzyna (Kasia) Bugaj Alexander Busby Stanley Butts Tara Callahan In Memory of Kristin Y. Clark Audrey Carballo In Memory of Irwin Bernard Patrick Carney In Memory of Stephen & Sally Carney Greg Carswell Renee Cartee Carol Casey Shelby Chipman Dale Choate

Zachary Chowning Blair Clawson

In Honor of Ginny Densmore & Cliff Madsen

Debbie Cleveland Don Coffman David Cruz Matthew Davis In Memory of Robert Morrison Marc Decker Virginia Dickert

In Memory of Lindsay Keller & Deborah Liles

Monica DuQuette In Memory of Robert F. Ruddy, my dad who supported my dreams Patrick Dunnigan Judith Evans Scott Evans Debbie Fahmie Melanie Faulkner Margaret Flood In Memory of Dr. Karen Kennedy Bradley Franks In Memory of Gary W. Rivenbark Tina Gill In Memory of Gary W. Rivenbark

Cheryce Harris Julie Hebert John Henderson John Jarvis Michael Johnson Mary Keyloun Cruz In Memory of George & Laurice Keyloun Pauline Latorre Lu Anne Leone Joseph Luechauer Kevin Lusk Robert McCormick Jeneve Medford Jarvis Katie Grace Miller In Honor of My Aunt Artie Ronald Miranda Amy Nickerson In Memory of Carola F. Nickerson Mary Palmer Galen Peters Edward Prasse Marie Radloff In Memory of Charles F. Ulrey February/March 2021

43

PATRONS continued Kyle Spence Missy Tanton Dobson In Memory of Bobbie & Byron Smith Valerie Terry Howard Weinstein In Memory of Barry Weinstein Julian White In Dedication of Kenneth Tolbert Marguerite Wilder In Memory of Bobbie & Byron Smith

C. William Renfroe In Memory of Herbert Beam, past FVA President & my high school choral director Alicia Romero-Sardinas In Honor of John Rose Melissa Salek Ted Shistle John Sinclair Danielle Singer On Behalf of Judi Soto

Billy B. Williamson In Memory of Bob Maguire Richard Yaklich Anonymous (7)

FRIENDS

up to $24

Shirley Andrews Gloria Berkowitz In Memory of Judy Berger Crystal Berner Antonio Borges Dan Brockman Nicholas DeCarbo Beth Ann Delmar Dennis Demaree Jodie Donahoo Christopher Dorsey Wanda Drozdovitch Ashley Espinal Ninabeth Frank Anna Marie Friars In Memory of Matthew McLaughlin Jimmy Gillis Walter Halil Harold Hankerson Jaida Hawkins Bernie Hendricks

Jason Jerald Emily Langerholc Patricia Losada Kathleen Mannion Deborah Mar In Memory of Barbara Kingman W. Everett McConn Mackenzie Meiers Christopher Miller Kristy Pagan Hank Phillips Edgar Rubio Jack Salley James Sammons Ian Schwindt John Southall Timothy Stafford Thomas Stancampiano Phil Tempkins Michelle Tredway Gary Ulrich

Sondra Wenninger Collins La Toya Wilson Lisa Wilson Anonymous (10) In Memory of Rosemary Collins

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.

44

Florida Music Director

F CA P

First Time. Last Time.

by Fred Schiff, Chairman FMEA Corporate & Academic Partners

At a time when our vendors and partners could have reasonably stepped away

from the 2021 FMEA Virtual Professional Development Conference, a sizable contingent of organizations stepped up and continued to invest in the teachers and students of Florida. Mind you, these were not easy decisions for any

institution or corporation to make, which proves their investment was for the long-term sustainability of FMEA.

As expected, without the flurry and scurry of our members on the exhibit

floor, the traffic to the virtual booths was down considerably. The success of

these businesses is dependent on committed music educators creating vibrant school music programs, and as I have stated before, the success of music edu-

cators is also dependent on these organizations that support teachers with information, goods, and services. Fortunately for Florida, we have both.

Partners Make It Possible The Florida Corporate and Academic Partners help strengthen music education in Florida through their tireless work to support teachers. FMEA expresses its greatest thanks to each of our Partners, Corporate and Academic, for their partnership over the past year.

We hope that FMEA members from across the state support our partners as they support FMEA and Florida music educators.

of Music; and the University of South Florida-College of the Arts. Their align-

The Academic Partner memberships are for colleges, universities, and military organizations, and the Corporate Partner memberships are for businesses and organizations.

Additionally, there were 36 other companies and institutions whose align-

Please choose the appropriate button for more information.

Leading the charge of commitment for FMEA during the conference were

our nine Title Sponsors: Conn-Selmer, Inc.; Hal Leonard; LungTrainers, LLC; Wenger Corporation; Florida Gulf Coast University-Bower School of Music

& the Arts; Florida State University-College of Music; University of Florida-

Online Master of Music in Music Education; University of Miami-Frost School ment with FMEA’s mission is deeply appreciated.

ment with FMEA’s mission is equally appreciated by sponsoring a virtual booth.

The good news is you can still visit the virtual exhibit hall and view their

videos and products by clicking HERE.

Formatting, implementing, and presenting what should be our first and

only virtual conference was no small task. The coordination amongst your FMEA Executive Board, Board of Directors, Conference Planning Committee,

and FMEA staff members was stellar. Each of these women and men dedicated countless hours to provide the best possible outcome and delivered, according

to one of our vendor partners, “The finest virtual music educator event in the country.”

Thank you to our Corporate and Academic Sponsors and Partners who

continue to recognize the Florida Music Education Association as a vital entity, worthy of their resources.

FMEA.org/partners

Corporate Partners Academic Partners FMEA is a not-for-profit professional education association that serves and supports music education across Florida. FMEA promotes and publishes the Florida Music Director and music education research, organizes professional development programs, and broadens teachers’ knowledge and interest in their profession through affiliation with colleagues. Membership in FMEA is open to music instructors from pre-kindergarten level through college, including music supervisors, and component organization membership is available for your specific music education focus.

February/March 2021

45

Please take time to thank and support our 2020-2021 Academic Partners.

GOLD PARTNERS

SILVER PARTNERS Jacksonville University

BRONZE PARTNERS Florida College Florida Gulf Coast University Rollins College Department of Music

Partners as of February 5, 2021.

University of Florida University of Tampa

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

46 F l o r i d a

Music Director

Please take time to thank and support our 2020-2021 Corporate Partners.

GOLD PARTNERS

SILVER PARTNERS

Music Man, Inc. The Horn Section, Inc. Cadence Music Excelcia Music Publishing Head’s House of Music

BRONZE PARTNERS

J. W. Pepper & Son, Inc. National Concerts Neil A. Kjos Music Company

Partners as of February 5, 2021.

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

February/March 2021

47

Virtual 2020 All-National Honor Ensembles Congratulations to the students who participated in the virtual All-National Honor Ensembles program on Thursday, January 7, through Saturday, January 9, 2021.

CONCERT BAND

Student

Instrument

School

School City

Teacher

Dylan Addonizio*

Clarinet 1

DeLand High School

DeLand

Monica Leimer

Nathan Foo

Oboe 2

West Shore Junior/Senior High School

Melbourne

Christopher Houze

Aidan Fuller

Trombone 1

Satellite High School

Satellite Beach

Christopher Simons

Logan Hopper

Trombone 3/Bass

Harrison School for the Arts

Lakeland

Rob Lambert

Michael Jagiello

Trumpet 2

Forest High School

Ocala

David Jones

Isabella Lolus*

Flute 2

American Heritage School

Plantation

Kimberly Imerbsin

Trevor Meyer

Contrabass Clarinet

Edgewood Junior/Senior High School

Merritt Island

Bryan Fenzl

Skye Sisco*

Bassoon 1

Douglas Anderson School of the Arts

Jacksonville

Theodore Shistle

SYMPHONY ORCHESTRA

Student

Instrument

School

School City

Teacher

Emma Barrett*

Trumpet 2

T. R. Robinson High School

Tampa

Christopher Revett

Grace Barrett

French Horn 2

T. R. Robinson High School

Tampa

Christopher Revett

Payton Brown

Oboe 1

Satellite High School

Satellite Beach

Christopher Simons

Mateo Buitrago*

Trombone 3

Sickles High School

Tampa

Keith Griffis

Gisel Dominguez*

Double Bass

Coral Reef Senior High School

Miami

Lee Stone

Brian Fadel*

Bassoon 1

American Heritage School

Plantation

Kimberly Imerbsin

Jay Gopal*

Violin 1

North Broward Preparatory School

Coconut Creek

Lynne MacDonald

Samantha Kopec*

Clarinet 1

Tarpon Springs High School

Tarpon Springs

Christopher De León

Elizabeth Milan

Violin 1

Hillsborough High School

Tampa

Jonathan Sims

Baily Palmer*

Double Bass

Osceola County School for the Arts

Kissimmee

Rueff Frazao

Amilyah Robinson

Percussion

Lake Brantley High School

Altamonte Springs

Bradley Wharton

Ian Woodrich

Viola

Edgewood Junior/Senior High School

Cocoa

Joseph Franco

48 F l o r i d a

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MIXED CHOIR

Student

Part

School

School City

Teacher

Jeremy Berkun*

Bass 1

Pine Crest School

Fort Lauderdale

Michael Testa

Rachel Castillo

Soprano 1

Westminster Academy

Fort Lauderdale

Lisa Wilson

Lleyton Elliott*

Bass 1

Olympia High School

Orlando

Janet Christine Le

Devin Embrich*

Tenor 1

William T. Dwyer High School

Palm Beach Gardens

Pamela Varnadore

Katie Fletcher*

Alto 1

Berkeley Preparatory School

Tampa

Helen Westerfield

Vicki Freedman*

Soprano 1

Berkeley Preparatory School

Tampa

Helen Westerfield

Tajah Garrett*

Alto 2

Dr. Phillips High School

Orlando

Isiah Maxey

Francisco Gomez*

Tenor 1

Saint Thomas Aquinas High School

Fort Lauderdale

Wanda Drozdovitch

Charlotte Greggs*

Soprano 2

North Broward Preparatory School

Coconut Creek

Elizabeth Korkosz

Madison King*

Alto 1

Olympia High School

Orlando

Janet Christine Le

Natalie Mastali

Soprano 1

Dr. Phillips High School

Orlando

Isiah Maxey

Delaney Ocock

Alto 2

Olympia High School

Orlando

Janet Christine Le

Jazzmyne Roberson

Alto 2

Howard W. Blake High School

Tampa

Joseph Galeczka

Aditi Shukla

Soprano 2

Buchholz High School

Gainesville

Lindsay Tran

Lanee Turner

Alto 1

Calvary Academy

Lakeland

Breeze Kennedy

Aidan Veghte*

Bass 1

Pine Crest School

Fort Lauderdale

Michael Testa

Student

Instrument

School

School City

Teacher

Christopher Goldwire

Trumpet

Dillard Center for the Arts

Fort Lauderdale

Connor Munroe

Tenor Saxophone

Ransom Everglades School

Coconut Grove

Anya Owens

Guitar

Dillard Center for the Arts

Fort Lauderdale

Student

Instrument

School

School City

Teacher

Haylee Coogle

Guitar

Lawton Chiles High School

Tallahassee

Christopher Miller

Student

Instrument/Part

School

School City

Teacher

Jade Klacko*

Vocals/Rap

Pine Crest School

Fort Lauderdale

Michael Testa

JAZZ ENSEMBLE

Jon Hamm

GUITAR ENSEMBLE

MODERN BAND

* Student is a member of the Tri-M Music Honor Society.

February/March 2021

49

ComponentNews A

FLORIDA MUSIC SUPERVISION ASSOCIATION

Harry “Skip” Pardee, President

round this time one calendar year

I have every confidence that music edu-

Undoubtedly, you are reading this mes-

mendous impact COVID-19 would have on

still are a part of that serving group—not

your early days, a music educator’s efforts

ago, our world began to see the tre-

our lives. As news of the virus spread like the virus itself, a great deal of uncertainty spread with it. During February and early

March 2020, the thought of a total physical and economic shutdown might have

cators across the country were then and only ensuring that students continued with the curriculum they were charged

with imparting, but also being there as a support system for those in need.

Our subject matter does so much more

seemed far-fetched and unlikely, though

than teach our students individual and

later that not only was it likely, but it

theory (albeit important). It provides stu-

we would learn only a few short weeks

would be long lasting. During periods of time where foundations are tested, there are always those who seem to rise to the

occasion and contribute to the common good. I cannot help but think of America’s beloved Mr. Fred Rogers, who quoted his mother saying, “Look for the helpers; you will always find people who are helping.”

ensemble performance skills, literacy, and

dents with a path for personal and group expression, an outlet for difficult social

sage in Florida Music Director because in had a resounding impact on you. So,

whether it comes in the form of a greeting at the door at the beginning of class, or a quick pass through the cafeteria during

lunch, or a few extra minutes in the car line, make an effort today to connect with

your students even outside the curriculum. Those little moments could lead to long-lasting positive influences.

The

Florida

Music

Supervision

conversations, and an awareness of the

Association is dedicated to continuing

months of what has been one of the most

arts education in all school and political

power of the collective. In the remaining challenging teaching years on record, let us continue to be reminded of the power of music education in all Florida schools.

the conversation about the importance of

environments. If the organization can be of any assistance to you in your districts, please do not hesitate to contact us.

The Florida Music Education Association values the broad human diversity in the state of Florida. We are distraught and frustrated by the continued injustice and violence toward Black people in our

Your source for ukuleles, accessories, and teaching materials for your virtual, in-person, and physically distant classroom!

country. Social inequality and violence, in any form, must not be tolerated in our nation. FMEA sees, hears, and supports the struggles of our teachers and students in the Black community.

We are with you, and together we can and will do better to end discrimination while advocating for equality.

Introducing

westmusic.com

50 F l o r i d a

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MusicConstructED.com

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Ernesta Chicklowski, President

Log On and Learn!

Ready, Set … Zoom!

T

David Frego of Penn State University

he elementary music component of the 2021 FMEA Virtual Professional Development Conference definitely was one for

presented “Meaningful Movement:

to be a memorable and meaningful professional development

Music Classroom.” Dr. Frego’s session

Dalcroze Eurhythmics in the General

the books. This interactive digital conference experience proved opportunity for our elementary music educators.

FEMEA kicked off our elementary conference

expe-

rience with mas-

ter educator Susan

activities, pulse and beat, duration, meter, and phrasing.

“Being Present With Peers,” led by

(spon-

BethAnn Hepburn, was very informative,

Elementary) present-

lenged and enlightened our educators with

Brumfield

sored by Music Is

ing “First, We Sing!”

Brumfield

engaged every participant in brain to

body connections through purposeful Frego movement that explored the elements of music, including focus

This session featured

a collection of favorite songs collected from

around the world that focus on students singing, listening, and

learning. This session left every teacher singing lullabies, play

inspiring, and engaging. This training chalvarious ways to connect with our peers

and our students in the various formats we

must navigate during these days of virtual education.

James

Mader’s

“Building

a

party songs, and folk songs to share with their students right

Classroom Community” (sponsored

We connected for another eventful eve-

to complete our 2021 FEMEA confer-

away.

ning of educational Orff connections with Thomas Pierre of Washington, D.C., and his session entitled “Read Me a Story.” This powerful session of literature connections and the direct correlation to culturally

responsive teaching captivated the educaPierre

tors on the screen as Mr. Pierre led a session of master teaching from a student perspec-

tive (sponsored by Peripole Music).

Hepburn

by West Music) was an excellent way

ence sessions. Mr. Mader’s knowl-

edge of the world music drumming curriculum and his tried and true

techniques and process of establish-

ing an environment of trust and

Mader

connection rounded out our platter of learning for this year’s conference experiences.

As we optimistically forge ahead in 2021, we continue to

provide meaning musical experiences for our educators and stu-

We rounded out the evening with our Statewide Social Hour.

dents with the introduction of our 2021 FEMEA All-Star Virtual

ter, and good old-fashioned fun! We are all hungry for lightness

experience will provide our students with an online perfor-

This event was a wildly successful evening of connections, laugh-

and laughter these days, and boy did we have a great time with Virtual Happy Hour Bingo and Lighting Round Scavenger

Performance Ensembles in March. This innovative ensemble mance experience and is a member benefit.

The 2021 FMEA conference was well executed, well attended,

Hunts that included e-gift cards and small gifts provided by

and well received by all of our member participants. Thank you

our elementary music educators on the screen having so much

Rosemary Pilonero, for your dedication and organization in

some of our sponsors. It was so exciting to see more than 90 of

fun together. We also welcomed our new district chairpersons and voted on our president-elect candidate, Ashley Peek.

We wrapped up our FEMEA conference sessions with three

more incredible presenters.

to our FEMEA Conference Planning Committee participant, preparation of this incredible conference. It has been my plea-

sure to serve as your FEMEA president during such challenging

times in our nation and in our schools. Thank you for all of your support during a season of many changes.

February/March 2021

51

ComponentNews C

FLORIDA NAfME COLLEGIATE

Mark A. Belfast, Jr., PhD, Advisor

an you believe it’s already March?!

resources and timely articles for your

issue. Remember, you can always access

by. I hope you’ve enjoyed this issue of

you to read it, cover to cover, and share

on a screen as you discuss it so your chap-

your chapter. Perhaps you can dedicate 10

images and design features employed by

This semester seems to be flying

Florida Music Director. Dr. Greg Springer and the entire FMEA Board of Directors

and staff have once again designed an outstanding publication full of relevant

professional development. I encourage

what you learn with other members of minutes of your chapter meeting agenda

to discuss one of the articles from each

the FMD at fmea.org.

Project the article

ter members can benefit from the great our amazing FMEA staff!

Let’s Reflect

A heartfelt thank you and best wishes FLORIDA NAfME COLLEGIATE

Alexis Hobbs, President

Collegiate executive board members:

hank you to our 2020 Florida NAfME Collegiate executive

(FGCU), Alexis Hobbs (SEU), David Lugo

T

board members for their hard work and dedication to our

component. Your service has made an impact on hundreds of

collegiate students across the state. As we step into this new year, I would like to introduce our 2021 Florida NAfME Collegiate Executive Board.

Alexis Hobbs, president, is a junior music education major at Southeastern

University in Lakeland. She is actively involved in Southeastern’s NAfME Collegiate chapter, where she serves as president. She is a multi-instrumentalist and plays in the Southeastern String Orchestra, Symphony Orchestra, and Jazz

Ensemble and sings in Concert Choir. Alexis will graduate in 2022 and plans to

teach for a few years before returning to obtain her MME and a doctoral degree in music education.

President-Elect

Allison Yopp, Southeastern University

Secretary

Kenysha Johnson, University of South Florida

Treasurer

David Lugo, Southeastern University

Parliamentarian

Samuel Estes, Florida Gulf Coast University

Advocacy Committee

Megan Wright, Florida State University

Your new Florida NAfME Collegiate Executive Board has been working hard

to provide exciting, informational opportunities for preservice teachers. During FMEA’s evening chat hours, I had the opportunity to speak directly with the collegiate membership about their ideas and concerns, with reference to their

individual chapters and input on how our component can better serve their needs.

As a result of these discussions, Florida NAfME Collegiate would like to intro-

duce Family Nights, which will be held via Zoom on the first and third Tuesdays

of the month at 8 p.m. Family nights are an informal, virtual gathering to discuss music education, our communities, and just life itself. Be on the lookout for more information!

My goals for this new season are to continue improving our communication,

providing resources for chapters, offering opportunities for professional devel-

opment, and continuing our advocacy efforts. If you are reading this and are not receiving emails from us, please let us know. You can reach us via email at flnafmecollegiate@gmail.com

52

are in order for our 2020 Florida NAfME

or on our website, flnafmecollegiate.com.

Florida Music Director

Adaline Burwell (USF), Julian Grubb

(SEU), Brandon Pasquence (SEU), and Anthony Ruffin (FSU). These fine preser-

vice music educators were charged with fulfilling the missions of NAfME and

FMEA to advance music education by

promoting the understanding and mak-

ing of music by all, as well as promoting quality, comprehensive music education

in all Florida schools. Unfortunately, soon after moving into their leadership posi-

tions, they were faced with the daunting task of meeting their charge amidst a global pandemic. Thankfully, they never

flinched! Instead, they persevered and doubled down on their commitment to

support Florida music education and to

provide Florida college music education students with exceptional networking and professional development opportunities.

Indeed, their efforts were quite fruit-

ful! Although Florida NAfME Collegiate registrations

for

the

virtual

Fall

Conference and January’s FMEA Virtual

Professional Development Conference

were lower than in a typical year, those who were able to attend were treated with a number of truly exceptional and diverse professional development

opportunities. The evening chat hours

during the January conference were also a fantastic way to get to know a little more about what had been happening

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

Marc Decker, DMA, President

in the various chapters around the state.

The demonstrated collegiality and camaraderie were fantastic.

Looking Ahead

Congratulations to our new state executive board members: Sam Estes (FGCU), Alexis Hobbs (SEU), Kenysha Johnson

(USF), David Lugo (SEU), Megan Wright

(FSU), and Allison Yopp (SEU). They

are already hard at work planning a

Collegiate Advocacy Week as well as

the Florida NAfME Collegiate Fall Conference, and I am excited to see all they will accomplish this year.

After the January conference, it was

clear that component members across

the state desired additional opportunities

for inter-chapter collaboration. Congrats to Amelia Lohman and the FSU NAfME

Collegiate chapter for wasting no time and opening their virtual doors to other

chapters around the state. The FSU chapter meeting held on January 29 included

nearly 50 collegiate members representing nine Florida colleges and universities.

It was fantastic, and I challenge all chap-

ter executive boards to consider following suit! Why not invite your colleagues from

around the state to attend your local chapter meetings (in person or virtually), especially if you have a special guest or

professional development activity on the

agenda? You will all be colleagues in the

field soon enough, and as iron sharpens

iron, so too can you contribute to the growth and development of your peers. I

know I would enjoy sharing in a time of learning and fellowship with you, and I look forward to celebrating your collaborative spirit as we navigate 2021 together.

See you soon and often!

P.S. Is your chapter doing anything

special for Music In Our Schools Month®?

I would love to hear about it at mabelfast@seu.edu.

T

he 2021 FMEA Virtual Professional Development Conference was a great

success. A special thanks to the members of the Conference Planning

Committee for putting together informative sessions, a bustling virtual exhibitor hall, and an overall positive experience for attendees. Bravo!

I love attending music conferences because it is an opportunity to learn and

be inspired. There is always a sense of excitement the weeks leading in, learning who is presenting and reading their teaser session titles. I map out my days,

sometimes struggling to pick between activities offered at the same time. During the third day of a good conference, I become eager to implement the

new tips and tricks I’ve learned, and long to return to the classroom. That feeling of urgency grows throughout the week as I draft lesson plans

and prepare to return. One of my

fondest memories was coming back after a conference in my first year of

teaching. I attended a very powerful presentation about sight-reading techniques and left the conference determined to teach my students

how to sight read in a new way.

I copied the detailed procedures,

purchased a full set of rhythm cards, and unveiled it all to my ensembles. The

students were initially stunned by my sudden and intense newfound passion for sight reading. Some quietly chuckled and a few others rolled their eyes, but

ultimately the class came to enjoy trying something new and seeing their teacher perhaps a bit overly excited to sight read with them.

As important as it is to grow as professionals, it isn’t the only reason to attend

a music conference. These events allow us to connect with others and fuel our musical soul. I attended college before social media and haven’t been able

to stay in touch with many from my youth. Bumping into someone I haven’t

seen in many years is a regular conference occurrence. Each time I freeze for a moment, straining my memory and trying not to noticeably look at their name

tag before we break eye contact for a friendly exchange. Many other professions speak to the importance of networking, but in music these exchanges have a

deeper meaning because music is inherently an interactive and social activity. A

musician’s soul needs connection now more than ever as our country struggles during a pandemic.

Although the conference is now past, our need as a profession to stay connect-

ed is more important than ever. Surround yourself in this virtual environment with as many positive and like-minded people as you can. Use technology to share your successes and make every effort to stay connected.

Stay safe and teach well!

February/March 2021

53

ComponentNews M

FLORIDA VOCAL ASSOCIATION

Jason Locker, President

oments. Life is made up of millions

ished memories. It was during this time

I did so, I was confronted with the difficult

ers are anything but. Some are fleeting

Page, and Dan Britton’s very short and

about the prolonged illness and loss of a

of them. Some are joyous, and oth-

while others endure. Where I am, and

what I am doing today, is the product of all of the moments that have preceded this moment. So, what do I do with that knowledge?

Every morning, I try to spend an hour

of quiet time mentally preparing for the

day ahead. This time is spent reading, meditating, and reflecting. I think about

my goals and dreams, as well as cher-

that I recently read Jon Gordon, Jimmy simple book One Word That

memories of the past few years. I thought parent, and the impacts of the

Will Change Your Life. In it, they

COVID-19 pandemic on my personal and professional life.

discuss the power of discov-

But then I looked deeper and

ering a single word as a focal

was reminded of the joyful

point of your personal growth

moments that came before. I

for the entire year: “One Word creates clarity, power, passion,

remembered my dad’s excite-

and life-change.”

ment that I chose to play the saxophone

word for the year is looking inward. When

beaming with pride as he sat in the audi-

Part of the process of discovering your

(which was also his instrument), his face

ence for my countless performances over the years (both as a student and as a

FLORIDA ORCHESTRA ASSOCIATION

Matthew Davis, President

I

t was great to see all of you at our wonderful FMEA Virtual

Professional Development Conference! I hope you were inspired

by the sessions, guest speakers, and featured performers. As I

reflect on the conference, I am inspired by the sessions sponsored not only by

FOA, but by the many other component organizations. I was particularly touched by a session sponsored by FBA featuring the GRAMMY Music Educator Mickey

Smith, Jr. If you haven’t already, make sure to watch his incredibly moving session

“Keep on Going: Overcoming Roadblocks to Resilience.” You will be able to watch this session on-demand, along with all the other professional development and all-state sessions, until June 1.

Again, I would like to thank all the session presenters and coordinators as

well as our all-state students and conductors. On behalf of the FOA Executive Committee, we would like to thank our all-state coordinators, Andrea Szarowicz,

Steven Bossert, Tosha Knibb, Jarrod Koskoski, 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 Michelle Eggen and the Melbourne High School Chamber Orchestra and Vincent Conrod and the Lake

Nona High School Symphonic Orchestra for their outstanding performances at the conference.

It’s hard to believe we are already planning for the 2021 FOA Fall Conference

and the 2022 FMEA Professional Development Conference! If you have any sug-

gestions, please email FOA President-Elect Carol Griffin at cgriffin@myfoa.org.

Thank you for your support.

As we head into MPA season, please be mindful of the changes that our virtual

platforms bring. Make sure to contact your district chairperson and review the information he or she is providing about events in your area.

As always, please feel free to contact any of us on the board with your questions

or concerns.

54

Florida Music Director

teacher), and the sentimentality that often led to a crack in his voice and a tear in his

eye (a trait I seem to have inherited, much to my chagrin). I remembered the many years of rewarding classroom experienc-

es with my students, the expressions on

their faces when they “got it” or at the conclusion of a successful performance, and the light in their eyes when we traveled to a destination exciting and new.

As I reflected on the past, and consid-

ered the present, my One Word revealed itself to me.

Gratitude.

I am grateful for the moments I have

had with my family and with my students. I am grateful for the many musical

and life mentors who have poured their time and talents into me over the years,

which I now strive to do for others. And I am grateful that the present difficulties

in which we find ourselves are temporary.

I encourage you to take time to reflect

on the moments that have made up your life, and give thanks for all of the ways they make you uniquely you. When you

are having a particularly difficult day, let the memory of those moments bring

you renewed energy and purpose to keep going, and pay it forward by helping your

students to rediscover their sources of joy as well!

FLORIDA BANDMASTERS ASSOCIATION

Ian Schwindt, President

W

hile this year is unprecedented in

every way possible, I hope that

by this time you are navigating these uncharted waters with a modicum of

success and have found a way to settle into somewhat of a routine. And as we all begin to settle into that routine, it may be beneficial for us to take time to reflect on

what has happened and what could hap-

pen going forward.

As I think back over this school year,

there are so many things that I NEVER

want to experience again. EVER! But then again, there are some true silver linings.

Google Classroom is my new best friend, and we will never part. The recording

technology I have been forced to use will actually be helpful for years to come.

While Zoom is an evil word to many of us right now, the truth is I really appreciate the opportunity it has given me to connect with all of you, as I was able to visit

spending more time teaching fundamen-

Nope. “If I just keep doing the same thing

well as friends and family from across the

individual growth? Are there tech things

my admin, my students’ parents, my com-

district meetings, committee meetings, as country without ever leaving the comfort

of my home. Puppy training pads may

stay after the pandemic. The carpet in the band room has never looked so clean

tals to individuals and creating greater

that are going to become part of your daily routine? Are you becoming a more efficient teacher?

This list could go on forever, but the

nor been so devoid of “funky” smell.

problem is unless we start thinking about

myself at home more than I have in the

a list that never actually comes to fruition.

Did I mention sax bell covers? I also find past. And this is not a bad thing! It turns out other people live at my house, and they are pretty cool!

So, what about you? When you look

back across this year, what are your silver linings? Are you a middle school

director who suddenly found a way to

do instrument fittings in a more hygienic and healthy way? Are you finding yourself and your students under less stress

applying these things now, it will only be We have to decide what we want to keep

with closed teeth and no air, it will still

produce a bad sound. The only way the

sound improves is if players change what they are doing!

As you plan for a return to band as you

make it different? Here is your chance!

is that they are easy to fall back into. They

almost have their own gravitational pull.

We have to fight to keep from ending up

doing the same things we always have in the same way we always have.

Someone once said the definition of

The more I thought about that quote, the

notes and rhythms constantly? Are you

many times the trumpet player practices

run so deep. And the problem with ruts

Do you find yourself at home more? Do

dents more because you are not chasing

will still be the same. No matter how

remember it, do you really want it exactly

forward. Ruts happen so easily and can

insanity is doing the same thing over and

you find yourself connecting with stu-

munity) will change!” Nope. The results

and what we want to change as we move

because you have been forced to cut back

on how much your program is doing?

over and over, other people (my students,

over again and expecting different results. more I realized I personified it much more

than I was willing to admit. “If I just keep doing the same thing more, it will change.”

as you remember it? Or do you want to You now have the opportunity to change

and reimagine your program. What have you learned that you want to keep? What have you always wanted to change but just never had the time or never felt like

you could? Plan for it now! No one really remembers what normal is anyway after this year. You can do it and you will do

it once you make your plan and decide how to execute that plan. If you get stuck,

ask for help. You are a music teacher for crying out loud! You can do anything!

February/March 2021

55

RESEARCH COMMITTEE CHAIRMAN

ResearchPuzzles FOR MUSIC TEACHERS

Don D. Coffman, PhD University of Miami

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

Humility or Arrogance?

Which trait do students prefer?

T

his month I am summarizing a recent study by William J. Coppola (2021), who wondered whether band

students view humility to be a positive social quality or a weakness among band directors. His questions

were:

1. How much likability do band students ascribe to a humble director relative to an arrogant director?

2. How much knowledgeability do band students ascribe to a humble director relative to an arrogant director?

3. Which director would band students hypothetically prefer to serve as their band director?

Video recordings of fictional interviews of two White males following a fictitious performance were viewed

by middle school, high school, and undergraduate band students (N = 117). Coppola used White men “as actors

to control for problematic judgments of humility toward marginalized groups, particularly women … and people of color.” The humble director “demonstrated nonsuperiority and other-orientedness and acknowledged

his room for growth in his interview, while the arrogant [director] spoke with a degree of self-importance, an inflated self-view, and a desire for credit and prestige in his interview.” Students then rated the likability, knowledgeability, and preference for each director.

Coppola varied the order presentation of the recordings—half of the students viewed the humble director

first while remaining students saw the arrogant director first. This procedure revealed that “likability toward

the humble target was augmented if they heard the arrogant target first, particularly among middle and high schoolers.” This order effect is common in psychological studies of preference, by the way.

His results revealed that “participants expressed greater likability toward the humble director and over-

whelmingly preferred him to the arrogant director (82.76%) but did not ascribe greater knowledgeability to

either target.” Now, it’s not particularly remarkable that students preferred the humble director. The reason I share this study, aside from the interesting approach, is to note that students preferred the director who was other-directed and that this more self-effacing social portrayal did not diminish students’ impressions of the director’s competence.

This finding resonates with a saying I have heard, “Humility is not thinking less of yourself, it’s thinking

of yourself less.” As we continue to navigate through this pandemic, my hope for all of us is that we find moments of joy in others, joy that sustains us through the difficulties.

References Coppola, W. J. (2021). Students’ social perceptions of humility and arrogance among band directors. Journal of Research in Music Education. https://doi.org/10.1177/0022429420981675

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

56

Florida Music Director

Research Puzzles.

CommitteeReports M

usic teachers are CHAMPIONS! Each day you win by making the power of music “real” in the lives of your

students and their families. Our art form has influenced and

uplifted people for centuries and with YOU, our champion music

teachers, it will continue enriching lives for centuries to come.

What an exhilarating opportunity!

Over a decade ago, FMEA established the Emerging Leaders

program to support the development of leaders for music educa-

tion. Are you or someone you know ready to be a leader into the

future of music education in our schools and communities? The FMEA Emerging Leaders program might be just the boost you

need. We’re seeking teachers who have completed at least one year, preferably two years, of teaching.

Nominations are now open! It’s time to identify our 2021

FMEA Emerging Leader candidates. Do you know someone who

has the potential to be a leader and champion for music educa-

EMERGING LEADERS COMMITTEE

Mary Palmer, EdD, Chairwoman

« Meet other enthusiastic people who are destined for leaderWhy become a part of the FMEA Emerging Leaders?

ship in music education … share the excitement and possi-

« Meet and interact with FMEA and NAfME leaders. « Serve FMEA in various ways at the 2022 Professional Development Conference. « Be a 2022 conference presenter as part of the Emerging bilities together!

Leaders program. (Check out the 2021 Pecha Kucha session. ) Be inspired and informed at the Summer 2021 Emerging

« Expand your horizons as you expand your professional network. « Check out the FMEA Emerging Leaders Facebook page Leaders Conference (offered virtually in 2020).

for some further information.

We look forward to welcoming another great group of

tion at his or her school, community, region, state, nationally, or

Emerging Leaders in June. Nominations and applications are

nations (self-nominations are accepted) to the FMEA Emerging

Stay strong and know that YOU and the work that you do

beyond? You might be that person yourself! It’s time for nomiLeaders program. More information is included here.

due on April 30, 2021.

each day matters … both for NOW and for the FUTURE!

MULTICULTURAL NETWORK Bruce J. Green, Chairman

“Time spent in self-reflection is never wasted—it is an intimate date with yourself.” – Paul T. P. Wong

W

hen was the last time you had an opportunity to be by yourself to reflect on your life, career, family, and

friends? In times like these, the ability to reflect on our cur-

rent and past experiences can be invaluable.

Just the other day as I was checking my Facebook page,

The ability to reflect allows us to learn more about who we

are as educators. It also allows us to consider what has been

learned from the past to help us manage potential planning.

As we reflect, we gain a new viewpoint of our experiences.

As I reminisced on great moments, I was able to become

I was met with memories of past performances our music

more strategic in my thoughts and intentional in moving

reflect on the great times we have had over the years. Photos

what went well, which techniques and strategies helped me

program participated in. So many memories allowed me to of prism concerts, students making fun of one another, silly faces, Pro Bowl performance videos, all-county rehearsals, and audiences enjoying the show all brought back a sense of nostalgia, pride, and laughter.

forward with my program. I asked myself questions about and which did not, what challenged me and what we could do differently next time. The next time you can sit and reflect,

asking yourself such questions can foster a growth mindset, thus making reflection an opportunity to learn.

February/March 2021

57

CommitteeReports

DIVERSE LEARNERS COMMITTEE Alice-Ann Darrow, PhD, Chairwoman

Challenges for Neurodiverse Music Students During COVID-19

F

irst, a hearty congratulations to the

ber of participants and the ease of con-

us, our subject matter, music, has also

presenters, and our members for making

to all who helped plan a very successful

months.

FMEA Executive Board, FMEA staff,

the first-ever FMEA Virtual Professional Development Conference a huge success.

versing with presenters. Thanks again conference!

still have a way to go before we are back

to see former students and colleagues,

what form the “new normal” will take.

for an outstanding conference, I do hope

and make a virtual conference possible.

meet friends for dinner, and attend live

I am also proud of all the music educators, many of whom had taught all day

online, and still managed to spend their evenings with us in conference sessions.

I missed seeing friends and former stu-

dents, but I was pleasantly surprised to

find I was able to participate in many more presentations than I have ever been able to attend at past conferences.

The presentations were not diminished

by the webinar or Zoom formats, and some were enhanced by a greater num-

58 F l o r i d a

According to the medical experts, we

In spite of well-deserved accolades

I am proud to be a part of an organiza-

tion that worked so hard to shift gears

helped carry us through these past 12

concerts and sessions next January. This

last year has been challenging for all of us. Our students have missed playing in

front of crowded stands at football games, playing with the orchestra for friends and family, singing maskless with classmates,

and of course, attending parties, proms, and graduations. I am proud of how our

music educators and music students have rallied together, helped and encouraged each other, and made the best of many

difficult situations. Fortunately for all of

Music Director

to normal, and with no assurances of

Many teachers and students will not

get their vaccines until the spring or summer. Even with vaccines, it is likely we will be wearing masks and social

distancing into the fall. Because we still

have some months to go, I would like to highlight some of the specific difficulties neurodiverse students are experiencing during this time. The anxiety caused by

COVID-19, physical distancing, and disruptions to daily routines have all result-

ed in new challenges for the neurodiverse community (Stanford Medicine, 2021).

Dyscalculia • Verbal skills • Innovative thinking DCD/Dyspraxia • Verbal skills • Empathy Neurodiversity • Intuition

Neurodiversity Evolution has created specialist thinkers, Evolution has created specialist thinkers, to bring a variety of expertisetotobring a variety of expertise to ASChumanity humanity Autism Spectrum Condition • Concentration • Fine detail processing • Memory

dictability and familiar behaviors.

Dyslexia • Visual thinking • Creativity • 3D mechanical skills ADHD Attention Deficit Hyperactivity Disorder • Creativity • Hyper-focus • Energy and passion

Tourette Syndrome • Observational skills • Cognitive control • Creativity

Based on the highly original work of Mary Colley, DANDA Source: Recruiting Daily (https://recruitingdaily.com)

What is neurodiversity?

The term neurodiversity was coined by

sociologist Judy Singer in 1998 and refers to variations in the human brain regarding sociability, learning, attention, mood,

and other cognitive functions. A neurodiverse perspective considers these vari-

ations to be just another characteristic of the human population; consequently, the

term is a concept rather than a disability to be defined. Core tenets of the neurodi-

« Differences, regardless how profound, do not diminish personhood. « Neurological variations are a vital part of humanity. « Autism spectrum disorder and other

versity concept are (Armstrong, 2011):

neurological variations (learning disabilities, ADHD, Tourette’s syndrome,

etc.) are not considered personal defects but rather characteristics.

Who are our neurodiverse music students?

One in eight students is considered neurodiverse; consequently, neurodiverse learn-

ers are in every class and music ensemble (Armstrong, 2012). These students may have learning differences, attention deficit

hyperactivity disorder (ADHD), autism

spectrum disorder (ASD), dyslexia, or other neurodiverse ways of learning. As many of these students progress through school, they learn to use effective man-

agement or coping strategies that make

their neuro-differences nearly imperceptible. Others have neuro-differences that

are obvious, that make learning difficult, or that interfere with their ability to make

friends. Many neurodiverse learners have

remarkable strengths, such as musical, mathematical, or technological talents, but may find group work or making

friends difficult. Some students require

no accommodations, and others require numerous accommodations.

Challenges for Neurodiverse Music

« Many neurodiverse students do best

Students During COVID-19

when they know what to expect and have set schedules. Structure is helpful in organizing their day and their

world. Schooling over the past year

has been anything but predictable or routine. One of the diagnostic cri-

teria for ASD is repetitive patterns of behavior. Routines allow for pre-

When routines are disrupted, many

neurodiverse students are unsure of

how to respond and thus may exhibit inappropriate behaviors or experience

anxiety and apprehension (Adamek &

« While all students, and even their Darrow, 2018).

teachers, are likely experiencing high-

er levels of anxiety during this time of COVID, for neurodiverse music students, especially those with ASD,

anxiety is already a common comor-

bid condition. About 20% to 30% of

male students with ASD have anxiety disorder. Female students with ASD have even higher rates of anxiety. For

both dyslexia and ADHD, the preva-

lence of anxiety is about 20% (Stanford

« Many neurodiverse students already Medicine, 2021).

find social interactions to be challenging, and social distancing makes

such interactions even more difficult.

Neurodiverse students often learn

how to interact with their classmates by imitating the social behaviors of

their peers (Adamek & Darrow, 2018).

With fewer opportunities to socialize

during COVID, neurodiverse music students are more isolated and in

need of peer models. Zoom classes require attending to the camera to simulate eye contact instead of look-

ing at one’s face. In addition, Zoom classes provide fewer opportunities for one-on-one interactions. There are some neurodiverse students, however,

who prefer the less personal nature of

« Mask wearing can be both a chalonline classes.

lenge and an asset for neurodiverse

students. Some students may be more sensitive than other students to touch and texture, and thus find the feel-

ing of having their nose and mouth covered by fabric intolerable. Other Continued on page 60

February/March 2021

59

CommitteeReports Diverse Learners continued from 59

students may prefer wearing a mask

stress for their teachers and parents.

tion and treatment strategies being

facial expressions during interperson-

ly less patient, quicker to anger, and

the world. The Washington Post has a

Overly stressed caregivers are typical-

because it reduces the demand for

more prone to depression and anxiety.

al interactions and allows some level

of anonymity. Nonverbal communication, such as encoding and decod-

Coping Strategies for Teachers—

solitude are frequently cited as chal-

These strategies may be useful for teach-

ing facial affect, and preference for lenges for many students with ASD

(Adamek & Darrow, 2018; Autism

« A number of myths and controversies Speaks, 2020).

have emerged about the relationship

between ASD and vaccines. Studies have shown there is no link between

receiving vaccines and developing ASD (Institute of Medicine, 2004).

Nevertheless, there are some parents who will be reluctant to have their

children vaccinated, thus making

them more vulnerable to contracting the coronavirus or its mutations and making their return to school riskier

« Many neurodiverse students receive than if they were vaccinated.

specialized therapies or services in school and at home. Due to COVID,

some social service agencies are experiencing cuts to their budgets and per-

sonnel. In addition, service providers or therapists may be hesitant to visit

students in their homes as they have

done in the past. Finally, some parents may be unable to pay for the therapies

« Psychologists

and services due to lost jobs.

have reported high-

er levels of sadness and depression

among many of our youth in gener-

al (Stanford Medicine, 2021). Coupled with the uncertainty of when we will

return to “normal,” and the inability to express complex feelings such as sadness and despondency, some neuro-

diverse students are at even greater

Outside and Inside the Classroom

ers who are stressed or anxious, and for students who are neurodiverse or experiencing anxiety and other challenges.

« You can’t pour from an empty cup.

Outside the classroom:

Attend to your own needs first. You are in a much greater position to help

your students when you do not feel

developed. Discuss positive events in newsletter called The Optimist with good news accessible to students.

Refer to credible sources and discuss

« Have a dedicated listening time in what makes a source credible.

class. Allow students to share what they are experiencing and feeling

during this time of the pandemic, but also use listening time to listen to music. Encourage students to talk about the music. Share a favorite piece of music (or an excerpt) and talk about

it. Ask students to do the same. End listening time on a positive note (pun

« Listen to music you enjoy on the way « Make learning active. Make sure you depleted or used up.

intended).

to and from work. Sing in the car …

move in every class. Any piece of

safe environments and using proper

melodic line, and tempo can be inter-

loudly. Make music with friends in

music, as well as form, dynamics,

« Get outside everyday where you will « Make learning fun. Make sure you protocols.

preted through movement.

see nature and people but do not nec-

laugh in every class, even if you have

a lake, a park, a nature trail, or down-

make you laugh. Assign a student to

essarily need to interact. Walk around

« Spend time with friends virtually or town.

during walks. Facilitate conversations that are positive, fun, and interesting.

Make friends a part of your weekly

« Cook or watch TV with family or with schedule.

friends using apps that allow for vir-

« Do your best to leave work at school, figuratively and literally. « Maintain routines as much as possible. « Stay informed about the world around tual watch parties.

you but be mindful of how the news affects your mood.

to tell an old joke that never fails to tell a joke each day. Laugh heartily at

their jokes. Act yourself into a positive

« Maintain classroom routines as much as possible. « Observe students who are neurodimood and students will likely follow.

verse for signs of distress or anxiety.

« If permissible, take music class outside at times. « Encourage students to support each Do your best to determine the cause.

other, especially students they may

sense are experiencing special challenges. Discuss behaviors that exemplify support (listening to others,

including others in activities, calling on the phone, sharing music, compli-

« Increased challenges for neurodiverse « Discuss fact-based information relat- « Express gratitude every day, outside risk for depression than their peers.

Inside the classroom:

students generally result in additional

60 F l o r i d a

Music Director

ed to the pandemic as well as preven-

menting others).

the classroom and with students.

STUDENT DEVELOPMENT COMMITTEE

Michael Antmann, EdD, Chairman

D

o you ever think back to your high school experience?

What motivated you to study music in college and to

pursue a career as a music educator? For some it may have

been great musical experiences or a dynamic music teach-

artists virtually and use guided listening to expose students

to great music. Focus on solos and small ensembles as a way to give students the opportunity to perform.

er. For others, it was the leadership experiences you had

Be positive about your job!

had playing in an ensemble with other students. Research

ative. They could easily be discouraged by a teacher who

being a part of the music program or maybe just the joy you informs us that these experiences are commonly cited by

college students as their motivations for pursuing a career in music education.

As I reflect on what has been a challenging year, I realize

that many of these experiences may not be possible for students during the pandemic. In addition, it is possible that post-pandemic enrollment in music programs may be lower,

which could result in fewer potential music majors and

Kids hear everything we say, both the positive and the negcomplains about his or her job. Yes, teaching can be difficult,

but it is also incredibly rewarding. Take opportunities to tell

them why you like your job. Let them know you like being their teacher. There are plenty of kids who hear more negative comments than they should (now more than ever). Tell

them you are glad you get to be their teacher. It will make their day and could create a lasting impact.

ultimately fewer future music educators. This, paired with a

Give leadership opportunities.

fessional community.

education, college students can cite experiences they had

teacher shortage, should be a reason for concern in our proThe most effective educators have the ability to inspire

others. What should we be doing to inspire and motivate the next generation of music teachers?

Provide high-quality musical experiences.

There are so many amazing experiences students get when

participating in a music program! These include trips, activ-

Oftentimes when asked about the decision to major in music as a leader in their high school programs. Consider giving

students opportunities to teach in small group settings.

Sectionals are an excellent opportunity, as is coaching

younger students. Give them (supervised) autonomy with encouragement and feedback. These experiences may help them develop an interest they never knew they had.

ities, and social events, but most important, music. The non-

Diversity Is Key

are great, but they should be rooted in music. Students won’t

education in college. Recently she told me she always loved

musical benefits and activities associated with our programs choose to study music beyond high school if they don’t love

it. Focus on programming diverse programs of high-quality literature. Invite inspiring guest conductors, clinicians, and

artists. Take your students to see quality performances and

to perform in good venues. Much of this is difficult, but not impossible, during the pandemic. Consider bringing in guest

Encourage students to share something they are grateful for in their lives. Even during a pandemic, there is

something to be grateful for, certainly friends, family, and music.

Let me know if any of these classroom

strategies work for you and feel free to share others that you have found to be

successful. I will include them in my next column.

One of my current students is planning to study music

music, but what really inspired her was seeing a female

high school band director. (We have two directors at our

school.) It’s important to give students experiences with

diverse, representative groups of conductors and clinicians.

This may help our students better see themselves as a music teacher.

References Adamek, M. A. & Darrow, A. A. (2018). Music in special education. Silver Spring, MD: American Music Therapy Association.

Armstrong, T. (2012). Neurodiversity in the classroom: Strength-based strategies to help students with special needs succeed in school and life. Alexandria, VA: ASCD. Armstrong, T. (2011). The power of neurodiversity: Unleashing the advantages of your differently wired brain. Cambridge, MA: DaCapo/ Perseus.

Autism Speaks (2020). Autism Speaks’ position on mask-wearing within the autism community. Retrieved from https://www.autismspeaks.org/news/ autism-speaks-position-mask-wearingwithin-autism-community Institute of Medicine (2004). Immunization safety review: Vaccines and autism.

Washington, DC: National Academies Press.

Stanford Medicine (2021). COVID-19 Q&A: Dr. Lawrence Fung on impacts on the neurodiverse community. Retrieved from https://med.stanford.edu/psychiatry/about/ covid19/neurodiverse.html

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ExecutiveDirector’sNotes

Reflecting on an Incredible Conference Experience FMEA Executive Director Kathleen D. Sanz, PhD

The mission

of the Florida

Music Education Association is to promote quality,

comprehensive music education in all

Florida schools.

T

oday I am reflecting on the many wonderful sessions that our presenters shared with us during the 2021 FMEA Virtual Professional Development Conference. It was an incredible experience, and we thank all of you who took the opportunity to attend.

Remember that the sessions were recorded. If you were registered for the conference, you can revisit sessions of particular interest and view sessions you might have missed until June 1, 2021. If you did not register for the conference, members can still register until June 1 to gain access to the recorded sessions.

More than 1,600 attendees logged in to the conference, and more than 1,800 students participated in the All-State Experience. Congratulations to all of our components who came together to make this virtual conference successful. When you receive the survey, please complete it so we can continue to improve music education in Florida.

There were so many outstanding sessions. Take time to view the incredible awards presentation recording and listen to the awardees talk about their experiences. Debbie Fahmie and Sondra Collins did an outstanding job of honoring this year’s awardees.

Mickey Smith, Jr., winner of the 2020 GRAMMY Music Educator Award, conducted a session entitled “Overcoming Roadblocks to Resilience” where he spoke to us about engagement with our students. He emphasized SOUND: See yourself beyond yourself.

Operate in optimism and excellence daily.

Utilize all available resources.

Nourish relationships.

Don’t stop! Keep on going.

His message to us: Be resilient. Take care of your personal health and well-being.

Mickey’s session was presented on Thursday at 8 p.m. Check it out along with all of the other fantastic sessions that will be posted until June 1, 2021.

Many thanks to our sponsors, including our Title Sponsors: Conn-Selmer, Inc.; Hal Leonard; LungTrainers, LLC; Wenger Corporation; Florida Gulf Coast University-Bower School of Music & the Arts; Florida State University-College of Music; University of Florida-Online Master of Music in Music Education; University of Miami-Frost School

62 F l o r i d a

Music Director

of Music; and the University of South Florida-College of the Arts.

2022 FMEA Professional Development Conference and All-State Concerts Yes, we just completed our 2021 virtual conference, and we are on to planning and developing the 2022 conference. Dr. Shelby Chipman, FMEA president-elect, has announced the conference theme, Unity in Music Education: Building Communities One Note at a Time. The portal for session proposals is open. I look forward to seeing the excellent session proposals for 2022.

Professional Development The FMEA Professional Development Conference was a success, and we want you to be aware of the many other professional development experiences that have been scheduled throughout the year

by FMEA and our component associations. See page 17 for the announcement of “Diversity, Equity, Inclusion, & Access in the Music Classroom.” This is a four-part series you will not want to miss. Thank you to the Professional Development Committee.

2021 Legislative Session The 2021 Legislative Session is scheduled to begin on March 2 and will end on April 30. The committees and committee chairs have been appointed.

The FMEA leadership, along with the leadership of FSMA and FAEA, met with lobbyists in January to determine strategies for this year’s session.

We will be reaching out to everyone to continue sharing our message: The Arts Are Essential in all Florida schools.

We continue to provide periodic updates from the COVID-19 aerosol study. Please see the FMEA for current information on the prelimwebsite inary results of this study by the University of Colorado Boulder and the University of Maryland.

Please review the study and prepare accordingly for yourself and your students.

Stay safe and healthy!

Kathleen D. Sanz, PhD

�

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

Ian Schwindt

Titusville High School 150 Terrier Trail S.; Titusville, FL 32780-4735 (321) 264-3108; schwindt.ian@brevardschools.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

Alexis Hobbs

Southeastern University aphobbs@seu.ed Florida NAfME Collegiate Advisor

Mark A. Belfast, Jr., PhD

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

Harry “Skip” Pardee

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

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

�

EX-OFFICIO MEMBERS

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

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

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

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

President...................................................................................Alexis Hobbs Southeastern University; aphobbs@seu.edu

FSMA President ........................................................................Valerie Terry vterrymusic@gmail.com

FMEA COMMITTEE CHAIRPERSONS

FLORIDA NAfME COLLEGIATE Past President...........................................................................Julian Grubb Florida Gulf Coast University, grubb.julians@outlook.com

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Awards.................................................................................... 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

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

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

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

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

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

FLORIDA MUSIC SUPERVISION ASSOCIATION

Contemporary Media................................................... David Williams, PhD University of South Florida; 4202 E. Fowler Ave., MUS 101 Tampa, FL 33620; (813) 974-9166; davidw@usf.edu 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 Emerging Leaders............................................................ Mary Palmer, EdD 11410 Swift Water Cir.; Orlando, FL 32817 (407) 382-1661; mpalmerassoc@aol.com

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

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

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

Past President...........................................................................Jason Jerald jason.jerald@sdhc.k12.fl.us

Multicultural Network...........................................................Bruce J. Green (407) 927-3141; bruce.green@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 Secondary General Music.............................................................Ed Prasse Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net Student Development.............................................. Michael Antmann, EdD Freedom High School; 2500 W. Taft-Vineland Rd.; Orlando, FL 32837 (407) 816-5600; michael.antmann@ocps.net

PROFESSIONAL DEVELOPMENT CONFERENCE Exhibits Managers fmeaexhibits@fmea.org Local Chairperson Ted Hope—(813) 272-4861; ted.hope@sdhc.k12.fl.us

FLORIDA BANDMASTERS ASSOCIATION President...................................................................................Ian Schwindt Titusville High School; 150 Terrier Trail S.; Titusville, FL 32780-4735 (321) 264-3108; schwindt.ian@brevardschools.org Past President..................................................................... Cathi Leibinger Ransom Everglades School; 2045 Bayshore Dr.; Miami, FL 33133 (305) 250-6868; pastpresident@fba.flmusiced.org Executive Director......................................................................Neil Jenkins Florida Bandmasters Association P.O. Box 840135; Pembroke Pines, FL 33084 (954) 432-4111; Fax: (954) 432-4909; exec@fba.flmusiced.org

Executive Director............................................................. Donald Langland 220 Parsons Woods Dr.; Seffner, FL 33594 (813) 502-5233; Fax: (813) 502-6832; exdirfoa@yahoo.com

FLORIDA VOCAL ASSOCIATION President.................................................................................. Jason Locker Orange County Public Schools; 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jason@fva.net Past President.....................................................................Tommy Jomisko tommy@fva.net 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 President..................................... Kathleen D. Sanz, PhD (kdsanz@fmea.org) Director of Operations........................Valeria Anderson, IOM (val@fmea.org) Technology Director......................................Josh Bula, PhD (josh@fmea.org) Public Affairs & Communications Coordinator..................................... Jenny Abdelnour, CAE (jenny@fmea.org) Marketing & Membership Coordinator................................. Jasmine Van Weelden (jasmine@fmea.org)

AFFILIATIONS

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

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