“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)
Advertising Sales
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
Student Webinar Series. . . . . . . . . . . . . . . .
Official FMEA and FMD Photographers
FCAP: First Time. Last Time.. . . . . . . . . . . .
45
A Virtual 2020 All-National Honor Ensembles (ANHE).. . . . . . . . . . . . .
48
Bob O’Lary Debby Stubing
Art Director & Production Manager Lori Danello Roberts LDR Design Inc. (lori@flmusiced.org)
Circulation & Copy Manager
Valeria Anderson, (800) 301-3632
Copy Editor
Susan Trainor
30
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.
INSPIRE | CREATE | PERFORM
CHANGING LIVES THROUGH THE POWER OF THE ARTS 2020-21 ADMISSION AND SCHOLARSHIP AUDITIONS February 6, 2021 • March 13, 2021 • April 10, 2021 BACHELOR DEGREES OFFERED
Performance • B.A. in Music Music Education • Music Therapy An All Steinway School
10501 FGCU Boulevard South Fort Myers, FL 33965-6565 (239) 590-7851
fgcu.edu/cas/music
GENEROUS SCHOLARSHIPS AND OUT OF STATE TUITION WAIVERS AVAILABLE FOR TALENTED UNDERGRADUATES
4 F l o r i d a
Music Director
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
AMPLIFY YOUR AMBITION. COMPOSE YOUR CAREER.
UNDERGRADUATE DEGREES BACHELOR OF MUSIC Performance Music Composition Music Theory Combination with an Outside Field BACHELOR OF MUSIC in music Education Bachelor of Arts Music Entrepreneurship Event Management Music History and Literature Music History and Literature: Ethnomusicology Music Theory or Composition MINORS Music Performance Music Theory History/Ethnomusicology Jazz Studies
GRADUATE DEGREES MASTER OF MUSIC Performance Music Education (campus/online) Conducting Theory Composition History & Literature Sacred Music PH.D. IN MUSIC EDUCATION PH.D. IN MUSIC Composition Musicology/Ethnomusicology DOCTOR OF MUSICAL ARTS Conducting Composition Performance
CERTIFICATES Music in Medicine Music Performance
Photo by Brianne Lehan / UF Photography
MORE INFO: music@arts.ufl.edu or 352.392.0224
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
EVEN TEACHERS NEED TEACHERS The Yamaha Educator Suite (YES) gives you access to a wealth of professional development opportunities and resources. YES brings you into a network of like-minded colleagues, experts and professionals who want to share their real-world experiences. You’ll also receive valuable tips on advocacy assistance, program health support and much more. Let us help you raise the bar. Go to Yamaha.io/educatorsFMD2
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
Music Director
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
Music Director
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
Music Director
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
Music Director
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
February/March 2021
61
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
February/March 2021
63
SAVE DATE THE