Florida Music Director February-March 2025

2025 SUMMER CAMPS

Vocal Camp

June 4 – 7

Clarinet Clinic

June 9 - 14

Double Reed Workshop

June 9 - 14

Flute Workshop

June 16 - 21

Saxophone Workshop

June 23 - 28

Brass and Percussion Camp

July 7 - 12

Young Singers Camp

July 14 - 18

Learn more and register at:

STETSON.EDU/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

Kelly Miller, DMA University of Central Florida 12488 Centaurus Blvd. Orlando, FL 32816-8009 (407) 823-4545 (kelly.miller@ucf.edu)

Editorial Committee

Terice Allen (850) 245-8700, Tallahassee (tallen1962@hotmail.com)

Judy Arthur, PhD Florida State University, KMU 222 (850) 644-3005 (jrarthur@fsu.edu)

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 (jeannewrey@gmail.com)

John K. Southall, PhD Indian River State College, Fort Pierce (772) 462-7810; (johnsouthall@fmea.org)

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

Official FMEA and FMD Photographers

Bob O’Lary Amanda Crawford Art Director & Production Manager Lori Danello Roberts LDR Design Inc. (lori@flmusiced.org)

Circulation & Copy Manager Valeria Anderson, (800) 301-3632

Copy Editor Susan Trainor

CALL FOR APPLICATIONS

June M. Hinckley Music Education Scholarship

The Florida Music Education Association (FMEA) is soliciting scholarship applications for the June M. Hinckley Music Education Scholarship. FMEA will award $1,000 scholarships to selected 2024-2025 graduating high school students who were accepted to a Florida all-state ensemble and who intend to major in music education at a Florida college or university.

How to Apply: Fill out the online application. As part of the online process, you will be asked to upload these files:

w Essay: Answer both of the following questions in a typed response of approximately 1,200 words and save it as a Microsoft Word .docx document:

1. Why do you wish to become a music educator?

2. Why should music be available to all students?

w Three Letters of Recommendation signed and scanned as PDF files.

w High-Quality Headshot Photograph such as your senior photo or similar. This will be published in the Florida Music Director magazine if you are one of the scholarship winners.

2025 Scholarship Online Application

An OFFICIAL COPY of your transcript (must remain sealed) must be sent to the following address:

June M. Hinckley Music Education Scholarship

Attn: Val Anderson

402 Office Plaza Tallahassee, FL 32301

Postmark Deadline: April 19, 2025

Applications will be reviewed by a representative committee of teachers, administrators, and music educators convened by FMEA. Notification will be made by May 30. Monies awarded will be distributed to the appropriate college or university once the student is enrolled.

About June M. Hinckley

As arts education specialist for the Florida Department of Education, June Hinckley led the development of the Sunshine State Standards for the Arts, which are based on the National Arts Standards and were adopted by the Florida State Board of Education in 1996. Hinckley assisted schools and school districts with the implementation of the arts standards and with connecting the arts with the state accountability and testing program, and she served as a liaison among the various K-12 arts education groups, higher education, and community arts organizations. She was a founding organizer of the Arts for a Complete Education project, which has coalesced the various community, industry, and school arts organizations in Florida to work cooperatively and proactively to improve the quality and quantity of arts programs throughout the state.

President’s MESSAGE

What if we fly? Let’s give it a try!

The 2025 FMEA Professional Learning Conference Music Education Begins with ME was everything I hoped it would be and so much more! We once again convened more than 16,000 music educators, students, chaperones, invited performers, speakers, exhibitors, and ticketed concert attendees in downtown Tampa for one of the largest and most comprehensive music education conferences in America!

The joy, excitement, and camaraderie were palpable throughout our conference venues over the course of those few days. We were inspired to persevere and to reach out to thank our musical mentors by keynote speaker Robyn Hilger and to continue the work of making music education more equitable and accessible for students and future colleagues by Dr. Deb Confredo, NAfME national president. We enjoyed the first-class musicianship, artistry, and creativity displayed by performers including Voctave, the first FMEA President’s Concert to feature ensembles exclusively outside of the concert band/chorus/orchestra model, a lineup of fantastic main-stage concerts and mini-concerts, elementary music ensembles during both general sessions, and of course our always outstanding all-state concerts (including the debut of the High School Honors Big Band). Add to that a slate of incredible Pre-Conference presenters on music education in rural and Title I settings, hundreds of interest sessions that received rave reviews, the Student Leadership Workshop, Student & Tri-M Conference Experiences, a packed Exhibition Hall, a long list of 2025 FMEA awardees, the Research Poster Session, the Digital Music Showcase, College Night, the FMEA Advocacy Center, the beautifully tranquil Health & Wellness Quiet Room, and I’m still only scratching the surface of all this year’s conference had to offer!

This amazing event would not be possible without the enormous efforts of the FMEA Executive Committee and Board of Directors, the incredible professionals at the June M. Hinckley Center for Fine Arts Education, Dr. John Southall (our newest Hall of Fame member), the Conference Planning Committee, logistics coordinators, crew members, and an army of dedicated volunteers. My sincere thanks to each and every one of you for contributing selflessly to the lifelong memories made by so many students, parents, and colleagues!

March 2025 is the 40th year that the National Association for Music Education has celebrated Music In Our Schools Month (MIOSM), with the purpose of raising awareness of the

importance of music education for all children and reminding citizens that school is where all children should have access to music. This year’s MIOSM theme is United Through Music, and the fact that March also coincides with the beginning of this year’s Florida Legislative Session makes it an ideal time to focus on music and arts education advocacy efforts. I have always believed that student performances serve as the best advocacy. With the music performance assessment season upon us, many secondary music ensembles are presenting pre-MPA concerts. These events provide a great opportunity to speak to a room full of registered voters (parents and community members) about how the students on stage are part of a caring community “United Through Music.” FMEA will also bring this message to the Florida Capitol, as we meet with legislators during our annual Collegiate Advocacy Day on March 25 in Tallahassee. For more information and to register your attendance at this event, please visit the FMEA website by March 12.

As I close this month’s column, I want to share with you a few lines that resonated with me at this year’s conference. They are from a piece performed by the 2025 All-State Elementary Chorus called Fly! (music by Tracy Wong and text by Bihzhu).

When the world tries to tell us we need to fit into boxes, Let’s just dance our way out of the coloring lines. There’s a me-shaped space, that’s all mine to feel safe, A special place that I deserve to embrace. Step out of your space, there’s a fear of falling. What if we fly? Let’s give it a try!

For me, this text very simply and clearly captures the essence of Music Education Begins with ME that I have tried to articulate over the past two years. Thanks to each of you for providing a “me-shaped space” where your students can feel safe as they learn to dance their way out of the coloring lines. In the same way, I hope you sense that FMEA sees and celebrates the unique contribution of each member and isn’t here to make you fit into someone else’s predetermined boxes. I encourage us all to step out of our spaces and be our authentic selves. What if we fly?

Let’s give it a try!

Advocacy REPORT

Jeanne W. Reynolds Chairperson Advocacy Committee

You spoke. We listened. We are acting.

Some might think the annual FMEA conference represents the major work of the Florida Music Education Association. Wrong. It is only after the conference that the real work begins. We are already seeing and hearing growth in classrooms, on stages, in school board meeting rooms, in legislative offices, and throughout our communities—all thanks to you!

2025 Conference Music Education Begins with Me

What a perfect theme. Indeed, advocacy work begins with each one of us. We owe a debt of gratitude to two of our advocacy committee members, Angela Hartvigsen for her session Advocacy for My Program Begins with Me and Matthew Spindler for his session Students, Parents, Colleagues, Admin, Community, Oh My! Advocating on All Levels Within a Rural School District. Great information was shared by the presenters and audience members. We all walked away with strategies we could use immediately. Dr. Sanz and I also want to thank members who attended our session entitled Advocacy and Looking

Ahead at the 2025 Legislative Session. We learned so much from talking with you and

are putting it to good use as we plan for the Legislative Session beginning in March.

Advocacy Hub and Next Steps

Thank you for stopping by the Advocacy Hub and providing great input. Thanks to Jon Casanas for sharing his considerable time and talent to get this project off the ground. Thanks to Leiland Theriot, Alice-Ann Darrow, Debbie Fahmie, Megan Rodriguez, Bernie Hendricks, Joshua RoblesCrespo, Sondra Collins, Meghan Robichaud, Nathan Lane, Anthony Atkinson, and many others who worked at the hub engaging in rich conversations that are informing our advocacy work.

You spoke and we listened. The graphs below as well as

all other input suggest that our members have differing needs. This is not surprising given our wonderfully diverse membership. FMEA members teach in a wide variety of rural, suburban, and urban settings. While this feedback comes from a small sample of conference attendees, we were still able to glean some interesting information. It is very good to see that many respondents

did not have any specific advocacy concerns. Many members did express concern with state legislators, which help validates our legislative work. The concerns about parents were a bit of a surprise. That’s why listening to you is so important. We can’t assume we know your needs. We are digging into the response about parents and have already created some resources.

It’s also clear that FMEA conference attendees see funding, or the lack thereof, as a significant advocacy issue. While access to actual dollars is a valid concern, it is also important to ensure that decision makers who hold the purse strings understand and “buy in” to the value of your program. This is the crux of strong advocacy and a topic I will be addressing more deeply in the months ahead. In addition to the short survey, we engaged in many conversations with members. One thing we learned was that while many members

may have heard of the Seal of Fine Arts, which passed in the 2024 Legislative Session, they were very uncertain about details.

Growing More Advocates

Thank you to the more than 70 members who indicated they wanted to be more involved with advocacy efforts. That is fantastic! We are ready to put you to work as this Legislative Session begins. Please look for more information coming your way. Make sure to check out the resources below and provide us with feedback.

New Resources

Advocacy REPORT

Thanks to the amazing Chris Burns, president of the Florida Music Supervision Association, we have some new tools. Chris put together draft AI chatbots to address some of your advocacy questions and concerns. There are two we are currently “road testing.”

What’s the Deal With the Seal?

Check out this resource to answer all your questions about the Seal of Fine Arts. The content provided by this chatbot to aid in understanding the Florida Seal of Fine Arts is intended solely for informational purposes and

does not represent an official interpretation, endorsement, or legal advice from any Florida governmental agency. Although the information is believed to be accurate at the time of publication, it may not account for recent changes or official policies. Users are encouraged to verify details with their district arts supervisor or check the FMSA website. The developers and maintainers of this chatbot accept no responsibility for any decisions made based on this information.

FMEA Arts Advocacy Strategist

This resource grew out of the questions about funding. You can ask questions about funding in your area, help with parent support, and any number of questions. We welcome your feedback as we work on this resource to make it more helpful. The information provided by this chatbot regarding local arts advocacy is offered for general informational purposes only and does not constitute legal, advocacy, or professional advice. While every effort is made to ensure accuracy, the content

continued on page 8

Advocacy REPORT

continued from page 7

may not reflect the most current legal standards or local regulatory changes. Users should consult with the local arts supervisor or district advocate to address their specific circumstances. Reliance on this information is at the user’s own risk; the developers and maintainers of this chatbot assume no liability for any actions taken based on its content.

2025 Legislative Session: March 4 – May 2

Make sure you have familiarized yourself with this year’s FMEA legislative platform. See page 9. This year there are two specific music education related “asks.” The first is to allow two seasons of marching band to meet the required PE (HOPE) credit. The second is our request for acceleration points for students who graduate with the Seal of Fine Arts. These acceleration points would count toward the school grade. This acceleration point initiative is included in Polk County Schools’ legislative platform. Please talk with your school administration and school board members about your strong support for these two efforts. Stay informed throughout the session so you can be an effective advocate.

Collegiate Advocacy Day

March 25 is Collegiate Advocacy Day. While this day is focused on our college students coming to the Capitol in Tallahassee to meet with legislators and advocate for our platform, all FMEA members are welcome and encouraged to attend. As a reminder, music teachers would need to take a personal day to attend. Registration for this event and more information can be found HERE

Take Action

You spoke, we listened, and we are acting! We invite you to join us. We need every FMEA member to take action to advocate effectively for music education in Florida.

Jeanne W. Reynolds

Collegiate Advocacy Day

March 25, 2025

The Florida Capitol Tallahassee, Fla.

The Florida Music Education Association and Florida NAfME Collegiate will host their ninth annual Collegiate Music Education Advocacy Event on March 25, 2025. All college and university students are encouraged to join us!

Tentative Agenda:

8am Check-In, Welcome, & Introductions 8:30am Advocacy Briefing Meetings With the FMEA Advocacy Committee 9am Group Collaboration Meetings

9:30am-3pm Legislator Visits With Lunch and Professional Development Between Meetings

REGISTER HERE

Complete and accurate information is essential so appropriate groups can be designated and legislative appointments scheduled. Please honor the registration deadline of March 12, 2025.

Please see this LETTER TO PROFESSORS should you need an excuse for class absence.

2025

LEGISLATIVE PLATFORM

The Legislative Platform is a product of the Center for Fine Arts Education Advocacy Committee

FINE ARTS ACADEMIC ACHIEVEMENT & ALIGNMENT

Allow acceleration points to be included in the high school grades calculation formula for students graduating with the Florida Seal of Fine Arts.

Protect students’ rights to be enrolled in sequential fine arts course work.

Allow participation of two seasons of Marching Band to satisfy the one high school required PE/Health course (HOPE) to align with JROTC.

Allow enrollment in one year of Dance Technique Courses to satisfy the one high school required PE/Health course (HOPE).

Oppose mandates and/or legislation that may cause unintended consequences of limiting students’ access to sequential fine arts course work, including the continued erosion of the Fine Arts Credit.

Support a modest funding request for Florida to participate in the Arts Education Data Project (artseddata.org) to fill the gap that eliminating the Fine Arts Report created.

EDUCATION FUNDING

Adequate, equitable funding is critically important to ensure a world-class education for all Florida students.

Increase base student allocation to address the needs of all students to provide a high-quality and comprehensive education that includes access to high-quality arts programs.

Provide school districts with flexibility and autonomy to best meet the needs of all students.

TEACHER RECRUITMENT & RETENTION

Increase teacher salaries in a meaningful, sustainable manner to attract and retain highly effective teachers.

Eliminate teaching certification being tied to a school district to allow greater opportunities for individuals to retain their teaching certificate.

Incentivize content area professionals to consider career change to the teaching profession.

EDUCATION ACCOUNTABILITY

Provide school districts with the flexibility and autonomy to respond to local needs to create an even playing field with other school choice options.

Require the same accountability for all schools and school options receiving state funding.

FMEA “Immediate Impact” Music Educator Spotlight

Recognizing outstanding accomplishments of early-career music educators

JOEY RIEDL

Director of Bands

Lely High School

Collier County

Meet Joseph “Joey” Riedl IV, director of bands at Lely High School in Naples (Collier County). Mr. Riedl is in his second year as director of bands, and he is a graduate of the University of Florida School of Music (MM) and the University of Louisiana at Lafayette (BME). He is a former drum major for the Cavaliers Drum and Bugle Corps. Under his leadership at Lely, enrollment is on the rise, school and band program culture is flourishing, and students thrive under his direction. A collaborative, kind, inspirational instructional leader is at the helm of this famed program.

Thank you, JOEY, for making an immediate impact on your students, community, and music education in Florida!

JESALIN GONZALEZ

Director of Chorus

Ben Hill Middle School

Hillsborough County

Meet Jesalin Gonzalez, chorus director at Ben Hill Middle School in Tampa. Ms. Gonzalez is entering her third year of teaching at Ben Hill Middle School. During her time at Ben Hill, she has quickly worked to recruit and build her program to the largest it’s ever been, impacting a large percentage of the school. Going above and beyond for the music education profession, Ms. Gonzalez also leads a summer music camp for choral students and serves as the middle school all-county chair for Hillsborough County.

Thank you, JESALIN, for making an immediate impact on your students, community, and music education in Florida!

HANNAH VINNEY

Director of Band, Chorus, and Orchestra

Wedgefield School

Orange County

Meet Hannah Vinney, band, chorus, and orchestra director at Wedgefield School in Orange County. Ms. Vinney is in her fourth year of teaching. During this time, the middle school music department has grown from 78 to more than 160 students. Last year, Wedgefield School received impressive ratings in all three music subjects and attended orchestra MPA for the first time. Ms. Vinney received her bachelor’s in music education and oboe performance from the University of Central Florida where she served as state secretary for CNAfME and various leadership positions for Tau Beta Sigma and Sigma Alpha Iota. In addition to working at Wedgefield School, Ms. Vinney is the woodwind caption head for East River High School. Ms. Vinney’s goal is to create a culture of community while also encouraging students to maintain high expectations for themselves and pride in their program.

Thank you, HANNAH, for making an immediate impact on your students, community, and music education in Florida!

LET US BRAG ABOUT YOU!

GABRIELA SERPA

Director of Chorus

Christa McAuliffe Middle School

Palm Beach County

Meet Gabriela Serpa, chorus director at Christa McAuliffe Middle School in Palm Beach County. Ms. Serpa is in her second year of teaching and consistently provides life-changing opportunities for her students. She has made it her mission to participate in every honor choir, workshop, and evaluation offered in Florida, including, but not limited to, Palm Beach Honor Choir, Tenor/Bass Day, MPAs, ACDA Honor Choir, and All-State. Her dedication does not break for summer. Her first summer as a teacher saw her developing and implementing a summer choir retreat for the young singers in her program. With high expectations for herself as well as her students, Ms. Serpa strives to teach them the skills of music literacy and beautiful, healthy singing. She is extremely proud of her students and has big things planned in her second year of teaching.

Thank you, GABRIELA , for making an immediate impact on your students, community, and music education in Florida! TO NOMINATE A DESERVING CANDIDATE.

Please submit the FMEA “Immediate Impact” Music Educator Spotlight form and materials for yourself or a colleague who exemplifies the criteria for educators making an immediate impact on their schools, communities, and students.

Unlocking the Potential: Empowering Music Educators Through Leadership

The state and district leadership of our component associations (FBA, FOA, and FVA) aims to provide excellent stewarding of existing music programs and to champion better opportunities for aspiring musicians. This requires leaders to be efficient organizers of persons, resources, and projects, in addition to planning paths to fulfill the vision of a better tomorrow for music education in Florida. This professional development opportunity will provide communication training, team-building, scenario-based problem-solving, implications of the latest developments in technology, guidance on laws relating to music education, and other skills identified by participants as a need to find success as a leader in Florida.

The training is designed in partnership with the FSMA component organizations: Florida Bandmasters Association, Florida Orchestra Association, and Florida Vocal Association. Approximately 16 to 20 participants will be selected through an application process. FSMA will cover hotel expenses and meals during the training.

QUICK FACTS

July 13-16, 2025 Marriott Orlando Airport

Application Deadline: April 1, 2025

Julian E. White

INDUCTED INTO

National Band Association Hall of Fame

Congratulations to longtime FMEA member Julian E. White, PhD, on his induction into the National Band Association’s Hall of Fame.

Dr. White’s illustrious career included serving as distinguished professor of music, director of bands, and chairman of the Music Department at Florida A & M University. He also directed the band at William M. Raines High School in Jacksonville for 10 years.

Dr. White served as Florida Bandmasters Association District IV secretary and chairman. He was also the Florida Music Education Association advisor for the College Music Educators National Conference and chairperson of the Florida Music Education Association Black Caucus for five terms.

Dr. White served seven terms as a member of the FMEA Executive Board.

FMEA Steel Band Festival

April 12, 2025

Blankner K-8 School

Orlando, Florida

Registration Deadline: March 1

Thomas Miller

CLINICIAN

Our clinician for the 2025 FMEA Steel Band Festival is Thomas Miller, director of the Lamont Steel Drum Ensemble at the University of Denver where he serves as an adjunct artist-faculty member. Mr. Miller’s vast experience as a performing percussionist, steel drummer, composer, arranger, and educator has made him one of the most respected and sought-after soloists and clinicians today. Mr. Miller is the founder and president of one of the foremost steel drum music publishing companies, Pan Ramajay Productions. Pan Ramajay Productions features Miller’s own compositions and recordings as well as those of other prominent steel drum composers worldwide. He is the director of the annual Pan Ramajay Summer Steel Drum Festival in Denver.

Thepurpose of the FMEA Steel Band Festival is to provide steel band students and directors a positive performance outlet and motivating goal, to share ensemble literature among teachers, and to create an event that allows teachers to become more knowledgeable in their craft through clinician contact time, all ultimately to advance the experience of steel band students throughout the state of Florida.

w Overview: The focus of this event will be on the performance of steelpan ensembles. Every performance will receive a supportive clinic from this year’s clinician.

w Teacher Qualifications: Each director should be a current member of the Florida Music Education Association (FMEA) by March 1.

w Student Qualifications: Steel band members must be a part of an elementary or secondary school curriculum either during school or extracurricular.

w Performance Time: Each entry will have 20 minutes of performance and a 20-minute clinic.

w Performance Subdivision: Each steel band entry can divide the performance time into smaller ensembles if desired. For example, an entry of 20 can play one song utilizing all 20 students, followed by one song for 10 students, followed by the other 10.

w Music Selection Criteria: Due to the variance in curriculum and class structure, directors should select music that is appropriate and challenging to the students in their classroom. If the music being performed is published, the director must bring the original score for the clinician. This is to assist the clinician in providing useful comments and also to discourage unlawful

photocopying. Directors are, of course, able to perform their own unpublished arrangements. Directors are encouraged to program at least one selection that includes a traditional soca or calypso style including typical engine room instruments.

w Equipment: Music stands will be provided for each performing group. Performing groups must provide all instruments and instrument stands used in performance, including drum set and engine room. There will be access to electrical outlets.

Entry Fee: $10 per student. Checks are to be made payable to “FMEA,” 402 Office Plaza, Tallahassee, FL 32301-2757. The entry form, generated by the online entry application, must be printed and signed by the principal and director and mailed along with the check.

Entry Deadline: The online application must be completed by March 1, and the signed paperwork and check for payment should be postmarked by March 1.

FMEA Guitar Ensemble Festival

TheFMEA Guitar Ensemble Festival is a day full of guitar activity, including ensemble performances from elementary, middle, and high school programs. Ensembles of all levels of experience perform for NO RATINGS and receive instant feedback in areas of technique, tone, musicality, and musical interpretation.

2025 Festival Sites:

w February 15, 2025: University High School, Orange County, Orlando

w February 27, 2025: Leon High School, Leon County, Tallahassee

w March 8, 2025: West Port High School, Marion County, Ocala

w April 5, 2025: Florida Gulf Coast University, Fort Myers

Performance Options:

w Solo: Perform one piece in a 10-minute timeslot for evaluation. $15 entry fee.

w Small Ensemble: Perform one piece in a 10-minute timeslot for evaluation. $10 per performer, maximum eight performers.

w 30-Minute Ensemble Workshop: Perform two pieces in a 30-minute workshop setting. $150 entry fee.

w 60-Minute Ensemble Workshop: Perform three pieces in a 60-minute workshop setting, $300 entry fee.

Deadline:

Checks and signed entry forms must arrive at the FMEA office 14 days prior to the festival date of the site you choose to attend. Credit card payments are not accepted for the festival entry fees, so please plan accordingly.

2025FMEAPROFESSIONALLEARNINGCONFERENCE

President-Elect’s THEME

ANNOUNCEMENT

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

For the past nine months, I have spent considerable time pondering the many responsibilities of the FMEA presidency and how I may serve our members and our Florida students in this spe-

cial role. It’s truly an honor to work with all of you in this capacity, and I look forward to all that comes with it. The conference theme is a major part of the vision that the president is charged with

casting, and this too, has been front of mind the past few months. Reviewing a comprehensive list of conference themes dating back decades helped me focus my head and heart to develop the theme

The Power in Our Profession: Music Education for Collective Impact.

Coined by Kania and Kramer (2011), the term “collective impact” refers to broad cross-sector coordination toward a mutual cause. Collective impact refers to a network of community members, organizations, and institutions who advance a cause by learning together, aligning, and integrating their actions to achieve systems level change. I can think of no more fitting collective impact effort than that of music education. According to these authors, the five pillars of collective impact are:

1. Common agenda— Participants have a shared vision for change, a common understanding of the “problem,” and a joint approach to solving it through agreed-upon actions.

2. Shared measurement systems—Success is measured and reported using consistent indicators for collecting data and assessing results.

3. Mutually reinforcing activities—Participants’ efforts need not be uniform, but rather focused on a specific set of activities at which each participant excels in

a way that is coordinated and supports the actions of others.

4. Continuous communication—This recognizes the time it takes to develop trust among participants through regular meetings and development of a common vocabulary.

5. Backbone support structure—A separate entity and staff with specific skills (a supporting infrastructure) is required to manage the collective impact process.

Upon reading the list above, you can certainly see the correlation to our FMEA mission and our organizational structure. In my view, FMEA is collective impact realized. This definition helps us frame our work and our goals together, but understanding the power placed in each of us and our roles is a vital part to ensure we have lasting impact in music education for all students. Identifying our roles (whatever they may be) and consciously applying our efforts to fulfill that role in the scope of the organization’s mission is where the true power is in our profession. I hope our thoughtful reflection spurred by President

Jason Locker’s theme

Music Education Begins with ME will help equip our teachers to expand those reflections into some action steps for their communities at large.

It is my hope the conference theme will ignite and empower our members to embrace the true power they have in moving their communities forward— not just musically, but in all ways. No doubt there are far-reaching artistic, cultural, economic, political, cognitive, therapeutic, and social impacts felt in all communities with a healthy music education for students. In my opinion, FMEA can be the “backbone support structure” and the catalyst for collective impact. I am looking forward to making this theme a reality with all of you.

Skip Pardee, EdD,

President-Elect

Florida Music Education Association Reference Kania, J., & Kramer, M. (2011). Collective Impact. Stanford Social Innovation Review, 9(1), 36–41. https://doi. org/10.48558/5900-KN19

or Renew

FMEA Awards

2025 FMEA HALL OF FAME

This prestigious award honors individuals for outstanding contributions over an extended period of time to music and education in Florida, as well as throughout the nation.

Dr. John K. Southall

2025 HALL OF FAME INDUCTEE

John

K. Southall, PhD, currently serves as the chair of the Performing & Visual Arts Department, director of bands, and coordinator of music education at Indian River State College in Fort Pierce, Florida. Dr. Southall is the conference chairperson for the Florida Music Education Association and music director of the Port St. Lucie Community Band. He serves on the advisory board of the Midwest International Band and Orchestra Conference and is also the sponsor of the Treasure Coast Honor Band & Orchestra Festival (Florida).

Dr. Southall has served as president of the Florida Music Education Association, chairperson of the FMEA Finance Committee, an editorial board member for the Research Perspectives in Music Education Journal (Florida), and is a contributing author for the Florida Music Director magazine. He has served as the music curriculum specialist, K-12 for the Broward County School District (Florida), and as president of the Broward County Music Educators Association (Florida). He has also served as the director of bands at Western High School, Piper High School, and Ely High School in Broward County, Florida. He has served on the Southern Division Board of Directors for the National Association for Music Education. He has served as an editorial board member for the Missouri Journal of Research in Music Education. He has served as the chairman of the Affective Response Research Interest Group for the National Association for Music Education. He has served as president of the Broward County Music Educators Association and the Broward County Band Directors Association (Florida). He has served as a board member, district chairman, and district secretary for the Florida Bandmasters Association. He has served on numer-

ous committees for the Florida Bandmasters Association including the All-State Selections Committee, the FBA Ethics Committee, and the FBA Adjudication Committee. He has served as the associate director of the Florida State University Summer Music Camps and as conductor and coordinator of the FSU Honors Chamber Winds Camp.

Dr. Southall has been honored as a Medal of Honor recipient by The Midwest International Band and Orchestra Conference. He has been honored as a Music Education Legend by The Midwest Clinic. He was awarded the Conference Service Award by the Florida Music Education Association. He is a two-time recipient of the Indian River State College Endowed Teaching Chair in Fine Arts Award. He has received the Enshrinement Award for Outstanding Contributions to Education by Florida A & M University and was honored in the Gallery of Distinction at Florida A & M University. Dr. Southall was a recipient of the Florida College Music Educator of the Year award by the Florida Music Education Association. He has received the Citation of Excellence by the National Band Association. He has been selected as Teacher of the Month at Indian River State College. He was selected as the Broward County Arts Teacher of the Year (Florida), the Western High School Teacher of the Year (Florida), and as a finalist for the Broward County Teacher of the Year (Florida). He was also the first recipient of the Broward County Band Director of the Year award (Florida).

Dr. Southall has been an active music education advocate, conductor, clinician, performer, adjudicator, and presenter in the United States for over 39 years. He received the PhD and the MME from Florida State University and the BME from Florida A & M University. He has served

Dr. Southall is a member of the American Bandmasters Association, the Florida Music Education Association, the Florida Bandmasters Association, the College Band Directors National Association, the National Band Association, the National Association for Music Education, the Florida College Music Education Association, Phi Beta Mu, Pi Kappa Lambda, Kappa Kappa Psi, and Tau Beta Sigma.

Dr. Southall is married to his soulmate, keeper, inspiration, and love of his life, Kelly Southall, and has two wonderful daughters, Kathryn and Kimberly, two marvelous sons-in-law, Jacob and David, and six beautiful grandchildren, Neala, Oliver, Juliana, Evelyn, Harley, and David.

AWARDS COMMITTEE

Sondra A. W. Collins Chairperson

CONGRATULATIONS TO ALL OUR 2025 FMEA AWARDEES!

We honor you and thank you for your commitment to quality and comprehensive music education for ALL, in ALL schools.

It is my great honor to introduce our 2025 FMEA award winners! The FMEA Award Program recognizes the efforts and accomplishments of exemplary music educators, school and district administrators, business partners, music programs and projects, and others who have made an outstanding contribution to music education. Their efforts help FMEA attain our mission of promoting a quality, comprehensive music education in all Florida schools. Please applaud these individuals, as well as all the awardees that came before them, as we strive to showcase exemplary music education throughout our state. As you read about our 2025 FMEA award winners, you may have exemplary music educators, administrators, businesses, or programs and projects come to mind. Please remember them when next year’s nomination period begins this spring and nominate them!

ELEMENTARY AND SECONDARY MUSIC EDUCATORS OF THE YEAR

The FMEA Music Educator of the Year designation is awarded to the music educator who has served their students, community, and profession in an exemplary manner. This award recognizes outstanding merit in music teaching. The recipient must have demonstrated notable achievement as a music education professional for 10 or more years, and must have demonstrated continued contributions/commitment to the profession and to FMEA/NAfME.

ELEMENTARY MUSIC EDUCATORS OF THE YEAR

Katie Grace Miller

Elementary Music Educator

Lake George Elementary School

Orange County Public Schools

Nominated by Christina Torrez

Grace Miller is an elementary school music teacher in Orange County in Orlando, Florida. She began teaching in 2005 and currently teaches music at Lake George Elementary School. She received her bachelor’s degree in music education from the University of South Florida and received her master’s degree in teacher leadership with a focus on curriculum devel-

opment from the University of Central Florida. She also holds her Orff-Schulwerk Level 3 certification.

Katie was born in Central Florida. She is a product of Orange County Public Schools, starting her music education at Dover Shores Elementary School in Orlando. Since she was little, Katie wanted to be a music teacher. Her inspiration was her Aunt Artie Almeida, and Katie grew up in the arts. She joined the chorus at Howard Middle School and continued singing at Boone High School.

After college, Katie became the music educator at Bonneville Elementary School in Orlando, Florida, where she developed the music program for 10 years. While at Bonneville, Katie started her performing ensemble, the Bonneville Bravo. Bravo continued to grow and included students in the third, fourth, and fifth grades. The ensemble was split to include Beginning Bravo and Advanced Bravo to encourage a range of music selection and literature based on the students. Students were performing not only by singing, but with body percussion pieces, unpitched percussion pieces, Orff arrangements, dances, and recorder.

Katie is currently music educator at Lake George Elementary School in Orlando, where she teaches two Lake George Jammers before and after school music programs, each twice a week, along with being the music director of her school’s annual musical and music educator of all the students at Lake George Elementary. Mrs. Miller secured the Disney Musical Program to produce musicals at Lake George Elementary School, and over her tenure at Lake George Elementary, students in the second, third, fourth, and fifth grades have performed versions of Willy Wonka the Musical, Jungle Book the Musical, Frozen the Musical, and Aladdin the Musical, and this year students will be working toward performing Lion King the Musical. Katie additionally has two performing groups called Lake George Jammers that sing, play recorder, play drums, and play Orff instruments. Beginning Jammers consists of third, fourth, and fifth graders that have only been in the program for one year, and then students are encouraged to continue into an advanced group as fourth and fifth graders. Her groups have consistently performed in the community at local nursing homes, Orlando Magic games, Orlando Solar Bears games, Chick-fil-A, Downtown Disney, and Embassy Suites. Jammers has a winter and a spring concert every year for the parents at the school. Her kindergarten, first graders, and second graders put on a separate performance for parents each year called “Night with the Arts,”

which pulls the school’s parents into the school for invaluable information and encourages their participation in their children’s music education. Her ensemble Lake George Advanced Jammers was the only elementary school ensemble selected to perform a mini-concert at the 2023 Florida Music Education Association Professional Development Conference.

Katie Grace Miller is an esteemed music educator with many accolades. Each year Katie has been at Lake George, she has had many students represented at the district all-county elementary ensembles of choir, recorder, and Orff. Additionally, Katie has had students selected to perform in the FMEA AllState Elementary Chorus and FMEA All-State Elementary Orff Ensemble. Katie has presented clinics to music teachers in many states and has conducted various all-county choirs and Orff groups in the state of Florida, and she was also the clinician for the 2022 Florida Elementary Music Educators Association Regional Honor Music Festival for the Central Chorus Ensemble. Mrs. Miller was named Teacher of the Year in 2008 and 2020, and she was also named an Alumni of Note from her alma mater, the University of South Florida, in 2022.

Not only is Katie a well-established music educator, she is also a published author, sought-after clinician, and successful supervising internship teacher. Katie has written multiple elementary music resource books full of lessons to share with educators from around the world. She first started submitting lessons to Activate! Magazine and then teamed up with Artie Almeida to publish Get to the Point. She also has five published teacher resources of her own. Katie has been an all-county conductor of choirs and Orff ensembles in eight Florida counties. She has been the featured clinician at numerous Orff chapters, which bring music teachers together for Saturday workshops. She has been a presenter of various clinic topics at state conferences including Florida, Georgia, Iowa, and Texas. Additionally, Mrs. Miller has multiple student teachers year after year who take what they have learned from her and apply it to their own classrooms upon graduation, so even more students get to experience the same passionate energy that Katie has instilled in her student teachers.

As Dr. Christopher Burns, fine and performing arts resource specialist in Osceola County School District and president of the Florida Music Supervision Association, states, “Katie’s breadth of knowledge in music education is truly awe-inspiring. Her strong background allows her to adopt a multifaceted teaching approach that engages all students, regardless of their prior experience or knowledge. What sets Katie apart from others is her infectious enthusiasm for sharing her extensive wisdom, not just with her students but also with her colleagues and the

broader music education community. Her commitment to the advancement of music education goes beyond the confines of her classroom or even [a] school district.”

Katie Grace Miller’s nominator, Christina Torrez, music educator at Southwood Elementary School in Orange County Public Schools, expounds, “Katie is most deserving of this honor and will continue to share her gifts and talents not only with her students, but with her colleagues for years to come. We are very blessed to have her in Orange County with us. We are fortunate that she is a fantastic educator from Florida going around and showcasing all the great musical adventures she is able to accomplish. I am not only happy to call her my mentor, but more importantly, I get the privilege to call her my friend. I know I would not be the educator or person I am today without the influence and guidance of Katie Grace Miller. Katie is truly deserving of this honor to be named FMEA Elementary Music Educator of the Year.”

And finally, Scott T. Evans, former senior director of visual and performing arts in Orange County Public Schools and former president-elect of the Florida Music Education Association, says, “Katie Grace Miller’s commitment to excellence and unwavering passion for music education is awe-inspiring. She has touched the lives of so many students, colleagues, and families, leaving a lasting impact that will continue to resonate for years.”

Katie enjoys singing and spending time with her husband, Jesse, her two children, Jackson and Emily, and basset hounds, Calvin and Hobbes.

SECONDARY MUSIC EDUCATOR OF THE YEAR

Mara Rose Bruce

Retired Secondary Music Educator

Fleming Island High School

Clay County District Schools

Nominated by Alexander Buck

Mara

Rose Bruce received the BME from the Florida State University College of Music in 1994. She has 30 years of experience teaching music education in Florida public schools, including concert band, marching band, jazz band, AP Music Theory, advanced percussion, and leadership development classes. Mara most recently served as director of bands at Fleming Island High School in Clay County District Schools from 2008 to 2024.

While she was music educator at Fleming Island High School, ensembles under her direction consistently received superior ratings at the district and state FBA music performance

assessments. Her concert program at Fleming Island performed for the FBA President’s Concert, the Symphonic Series at Carnegie Hall in New York City, and St. John’s Smith Square Hall in London, England. The marching program was a 10-time FMBC state finalist, a state runner-up, and a state champion. The marching band also performed in the London and Rome New Year’s Day Parades. Under Mara’s leadership, the FIHS winter guard earned five state championships and a WGI World Championship.

Mara Rose Bruce has received many accolades over her esteemed career in music education. Mara is a recipient of the Florida Bandmasters Association’s Oliver Hobbs Award, was named a quarterfinalist for the GRAMMY® Music Educator of the Year, and has received the Andrew J. Crew Award. In addition, she is a six-time recipient of the Otto J. Kraushaar Award, a recipient of the F. Lewis Jones Award, has been inducted into the Florida Marching Band Championships Hall of Fame, was presented the Certificate of Merit for Marching Excellence from the National Band Association, and has been inducted into the Phi Beta Mu International Bandmasters Fraternity.

Mara’s service to the music education profession over the years includes serving as a Florida Bandmasters Association adjudicator and clinician, FMBC adjudicator, USSBA adjudicator, conductor of high school all-county honor bands for Leon, Pinellas, and Bradford counties, conductor for university music camps including Florida State University and the University of North Florida, and guest conductor of the First Coast Wind Symphony in Jacksonville. She has also served the Florida Bandmasters Association as district chairman, district secretary, committee chairman, and committee member. She has also served as a supervising teacher, having trained 13 student intern teachers from Florida State University, the University of Florida,

and the University of North Florida.

As her nominator, Alexander Buck, director of bands at Fleming Island High School, states, “Mara Rose is more than deserving of the FMEA Music Educator of the Year award. Her dedication, consistency, and inspirational teaching methods have made a profound and lasting impact on her students, fellow educators, and the broader musical community. I wholeheartedly endorse her for this prestigious award, confident that she represents the very best that music education has to offer.”

Dr. Kenneth Williams, past president of the Florida Music Education Association, expounds, “I have known Mara for what seems my entire career, as she has always been present as a superb musician, teacher, and role model. When we assess what she has provided to the profession in leadership roles that span decades, we truly begin to appreciate her enormous contribution. She has worn so many leadership hats through the years that one must read her vita to be in awe of the scope of the investment that one person can make. Her service to her students and community exemplifies what a master teacher and mentor should be. Her constant service to the growth and nourishment of music education, serving students and teachers, is commendable.”

And Keith Griffis, director of bands at Sickles High School, says, “For me personally, Mara has served as a beacon of guidance, encouragement, and inspiration throughout my career. For me as a first-year teacher, Mara made it very clear that she was available to help in any way possible; all I needed to do was call. I was astounded by Mara’s selflessness when she one day made the three-hour-plus drive from Fleming Island to my school in Tampa in the middle of the week to work with my students and provide invaluable feedback for me to improve as a young educator. Mara refused compensation for this incredible act of kindness; she simply conveyed how important it was that young teachers in Florida feel supported, encouraged, and empowered by veteran educators. Needless to say, this experience had a profound effect on me as an aspiring educator, and I have never forgotten the sentiment of helping to uplift young teachers in our profession. I truly cannot imagine a more deserving candidate for the FMEA Music Educator of the Year award. Mara’s exemplary career as a music educator embodies the values to which all music educators should aspire.”

Mara holds several professional memberships, including the Florida Bandmasters Association, the American School Band Directors Association, Phi Beta Mu, the National Association for Music Education, and the Florida Music Education Association. continued

COLLEGE MUSIC EDUCATOR OF THE YEAR

The FMEA College Music Educator of the Year designation is awarded to the college music educator who has served their students, community, and profession in an exemplary manner. This award recognizes outstanding merit in college-level music teaching or music administration. The recipient must have demonstrated notable achievement as a music education professional for 10 or more years, and must have demonstrated continued contributions/commitment to the profession and to FMEA/NAfME.

Sandra Sanchez Adorno, PhD

Assistant Professor of Music Education and Area Coordinator of the Music Education Department Florida International University

President, Florida College Music Education Association Nominated by Jessica Gronberg on behalf of FEMEA

Dr.Sandra Sanchez Adorno is an assistant professor of music education and area coordinator of the music education department at Florida International University. She teaches courses in elementary general music, assessment, modern band, and music psychology, supervises student teaching interns, and advises graduate research. As a native of Florida, Sandra has been invested in music education in Florida and FMEA for her entire musical career. A product of Pinellas County Schools, Dr.

Adorno studied music education at the University of Florida (BS) and the University of Miami (MM, PhD). Prior to her current appointment, she was a visiting professor at Stetson University, adjunct professor at Florida International University, graduate teaching and research assistant at the University of Miami, and general music teacher in Palm Beach County Schools, Frost Music Reach, and the Stetson University Community School of Music.

Dr. Adorno’s research aims to understand children’s musical cultures and identity development, highlight the voices of minoritized populations in music education, and enhance professional learning in music teacher education. Sandra has presented her research internationally and nationally, including the International Society for Music Education World Conference (ISME), the National Association for Music Education Biennial Music Research Conference (NAfME), the Society for Music Teacher Education National Conference (SMTE), the Mountain Lake Colloquium, and the Desert Skies Research Symposium. She has been published in the Journal for Research in Music Education, Music Educators Journal, and Bulletin for the Council of Research in Music Education and has written chapters in Music, Words, and Nationalism and The Modern Band Handbook. Dr. Adorno previously served on the editorial board of The Orff Echo (2019–2023) and the evaluation team for the Early Childhood Music Education Pilot Program Grant supported by Florida Senate Bill 156, which has since become an established incentive program in the state. Currently, she serves on the board of directors for the Association for Popular Music Education (APME) and the Florida Music Education Association. She is president of the Florida College Music Educators Association (FCMEA) and is a member of FMEA’s Research Committee and editorial board of Research Perspectives in Music Education

Dr. Adorno is also recognized for her teaching at the collegiate level. In 2023, she was nominated and selected as one of the FIU Rewarding Excellence in Teaching Incentive Award recipients, which recognizes faculty who employ student-centered, inclusive, evidence-based teaching in their courses. Sandra teaches fully online, hybrid, and face-to-face courses and has designed and implemented new undergraduate courses in assessment and modern band techniques. Further, she created a new certification track for FIU’s music education graduate program to provide an avenue for musicians without a music education degree who wish to become certified music teachers in the state. Dr. Adorno also co-advises FIU’s NAfME Collegiate chapter, a student organization focused on preparing future music educators. Since joining FIU’s faculty, Sandra has worked closely

with the university’s accreditation office to ensure the music education programs remain accredited through the Council for the Accreditation of Educator Preparation (CAEP) and recognized by the Florida Department of Education as state-approved educator preparation programs at both the undergraduate and graduate levels. The music education program at FIU has nearly a 100% job placement rate and is currently one of the largest and highest-performing teacher preparation programs in the university.

Sandra is certified in Orff-Schulwerk, World Music Pedagogy, and Modern Band and has presented teaching workshops nationally, regionally, and locally at the American Orff-Schulwerk Association National Conference (AOSA), Association for Popular Music Education National Conference (APME), Mountain Lake Colloquium, Modern Band Summit, Florida Music Education State Conference, Orff chapter workshops around the state, and in-service district workshops in the South Florida tri-county area. She has organized, presented, and facilitated numerous music teaching workshops for Arts@FIU Day, a university-sponsored countywide professional development day for all arts and performing arts teachers in Miami-Dade. Sandra was a visiting scholar at Converse University in October 2023 and a faculty member of the Tennessee Arts Academy in 2017. She also directed the Florida Elementary Music Educators Association (FEMEA) Southern Regional Orff Ensemble and the Miami-Dade Superintendent’s Honors Orff Ensembles in 2019 and will direct Volusia and Broward counties’ Orff honors ensembles in spring 2025. In 2018, Adorno was awarded a Modern Band Fellowship in Higher Education, which has led to over $10,000 in funding to support her efforts to advance popular music education and modern band in music teacher training in Miami, Florida, through creating a university Modern Band Techniques course,

Sing, Write, Play! a modern band university outreach program for fourth and fifth graders, and a teaching pipeline between university and K-12 programs in Miami-Dade County.

As Dr. Christopher Burns, fine and performing arts resource specialist in Osceola County School District and president of the Florida Music Supervision Association, states, “I wholeheartedly endorse Dr. Sandra Sanchez Adorno for the FMEA’s College Music Educator of the Year award. Her passion, dedication, and unwavering commitment to music education make her an exemplary role model for students and colleagues alike. Sandra embodies the very best of our profession, and I am confident that she will continue to make a lasting impact on the lives of countless music educators and students for years to come.”

Dr. Alicia Romero-Sardiñas, adjunct professor of music education at Florida International University, adds, “In addition to her outstanding teaching and research, Dr. Adorno’s service to the field of music education is exemplary. She consistently answers the call when asked to share her expertise at workshops, serve as a board member for professional associations, or coordinate events. Her commitment to advancing music education extends across all areas of the field, making her a role model for educators everywhere.”

And finally, Dr. Carlos Abril, professor and associate dean of research at Frost School of Music in the University of Miami and the FMEA 2024 College Music Educator of the Year, expounds, “Dr. Adorno exemplifies the qualities of a collegiate music educator who is committed to the success of her students as well as the betterment of music education statewide. Her passion, leadership, and dedication make her an ideal candidate for the Florida College Music Educator of the Year award, and I wholeheartedly endorse her for this honor.”

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ELEMENTARY AND SECONDARY ADMINISTRATORS OF THE YEAR

The FMEA Administrator of the Year designation is awarded to a school administrator who is not a professional music educator, but who displays ardent support of school music programs. This award recognizes excellence in leadership, encouragement, and promotion of music education in Florida schools. The recipient must have demonstrated significant efforts in support of music education resulting in awareness or enhancement of the school’s music program, allocation of resources, and/or growth of music programs, as well as serving as an active administrator for a minimum of five or more years and employed in their current position for three years.

ELEMENTARY ADMINISTRATOR OF THE YEAR

Ricardo (Ricky) Grimaldo

Elementary Principal

Stephen Foster Elementary School

Broward County Public Schools

Nominated by Pauline Latorre on behalf of FEMEA

Ricardo (Ricky) Grimaldo is the principal at Stephen Foster Elementary School in Fort Lauderdale, Florida, within Broward County Public Schools. He was born and raised in Miami, Florida. In 1995, he obtained his BS degree in math education at Florida State University and is a proud Seminole alumnus.

He began his teaching career as a math teacher in the ESOL Department at Apollo Middle School. In 2001 he earned his MEd in educational leadership from Florida Atlantic University and

became an assistant principal at Millennium Middle School, where he served for eight years before serving as the interim principal at Larkdale Elementary for two years. In 2012, Ricky Grimaldo became principal at Stephen Foster Elementary, where he continues to lead the school to excellence, as an “A” grade school this year!

As a school principal, he is committed to ensuring his children have access to the very best educational experience. With nearly 30 years’ experience serving children at Title I schools, his focus has always been on providing his students with the same opportunities as all students, both in and out of the classroom. The music program at Stephen Foster is symbolic of this focus, as after many years of trying, in 2022 he finally realized his goal of getting his kids on stage at Christmas on Las Olas, an annual celebration in one of the city of Fort Lauderdale’s premier holiday events.

As Joseph Luechauer, music and performing arts curriculum supervisor K-12 for Broward County Public Schools, states, “Stephen Foster Elementary is a small school in the middle of a quiet little neighborhood, but through Mr. Grimaldo’s leadership has established a reputation of being one of the strongest, most forward-thinking music programs in Broward County.”

Pauline Latorre, Mr. Grimaldo’s nominator, music educator at Stephen Foster Elementary, and president of the Broward Music Educators Association, explains, “When Mr. Ricky Grimaldo became principal at our school, music was only part-time. As the music teacher, I spent my first seven years commuting between two schools, which was not the ideal situation. At the end of his first year as principal, I approached him and asked him if he ever considered having music full-time. The following year he hired me as a full-time music educator at Stephen Foster! Ricky Grimaldo has always believed the students at our Title I school should be treated equitably and have the same opportunities that some schools that are more affluent have. This was evident when he shared at a staff meeting how his adult daughter (who attended schools in more affluent areas) had great music opportunities to participate in. He shared how when he began at Stephen Foster Elementary, he had the same vision for our school. Because of his vision and his support of my music program, we have had students participate in FMEA All-State, FEMEA Regionals, county honor choir, and community events such as Christmas on Las Olas (which he personally pursued), the Winter Festival of Music at the Fort Lauderdale/Hollywood Airport, and other performances. He truly believes that the arts and specifically music is part of developing the whole child.

Because of Mr. Grimaldo’s support of my music program,

I have gone from having only rhythm sticks to a room full of instruments, including Orff instruments, keyboards, and the Music and the Brain Curriculum. When our school first started acquiring Promethean boards, he included me in these purchases because he knew I would use it. He has approved a three-year partnership with the Seraphic Fire Youth Initiative, the Young Patronesses of the Opera, as well as allowed me to have South Florida Workshops at our school and Broward Music Educators Association board meetings at our school. We have also hosted Broward County Elementary Music Teachers Association professional developments at our school. He has happily supported my endeavors as the music teacher. I always feel valued and appreciated for the work I do at Stephen Foster Elementary and am truly grateful to work at a school and with an administrator that believes in the value of what I do. His vision for our school academically is reflected in every aspect of our school, including the arts. I am proud to be part of an environment that Mr. Ricky Grimaldo has created for the students, the staff, and for me, the music educator.”

And Joseph Balchunas, director of teaching and learning in Broward County Public Schools, expounds, “As we witness the unfortunate budget cuts to the arts in Florida, as educational priorities are constantly shifting, Mr. Grimaldo believes that music and the arts are essential to a school, community, and student body. He is a tireless advocate and supporter of his school’s music program. He is outstanding in so many ways and is truly a champion for his students. By naming him the Florida Music Education Association’s Elementary Administrator of the Year, you honor an amazing principal and you send a strong message to school leaders that music education should always take center stage.”

In addition to being a school leader, Ricky Grimaldo believes in the importance of balancing school and family life. Whether as a coach on the sideline or a fan in the stands, he could be found at his kids’ sporting events, school plays, award assemblies, chaperoning field trips, and more. As a school principal, he has modeled this belief and insists that his staff do the same.

His wife, Mildred, shares his love for education as a lifelong educator and literacy leader. They have four children, Jorge, Alex, Monica, and Vanessa, and recently celebrated their son’s wedding and welcomed a new member to their family, their daughter-in-law, Merna. He has an American cocker spaniel, Hershey, a certified therapy dog who joins him at school on most days. Ricky shares his love of music with his children, introducing them to his childhood favorites, such as Billy Joel and Alanis Morissette and is a full-fledged “Swiftie.” On the weekends, he

plays in a basketball league, and despite waiting nearly four decades for a return trip to the Super Bowl, he is an avid Miami Dolphins fan.

SECONDARY ADMINISTRATOR OF THE YEAR

Dennis Mayo

Secondary Principal

Marshall Middle Magnet IB World School

Hillsborough County Public Schools

Nominated by Dr. Jeffrey Cayer on behalf of FBA

Dennis Mayo is the principal of Marshall Middle Magnet, IB World School in Hillsborough County Public Schools. Dennis Mayo’s professional journey in education began in 1991 as an agriscience teacher at Horace Mann Jr. High School, then at Brandon High School. He was one of the first career and technical teachers in Hillsborough County to become national board certified. Additionally, he served as an officer in the Florida Vocational Agriculture Teachers Association. Dennis coached a state-winning horticulture team that competed at the national level, and he served as the county FFA advisor for six years.

Dennis’s career took a significant turn when he served as an assistant principal at Brandon High School. In this role, he played a crucial part in overseeing a $10 million school renovation project. His next appointment was as principal of Turkey Creek Middle School in 2006. Under his leadership, the school earned its first “A” grade, reflecting his commitment to fostering a culture of learning for all students.

As a nationally certified instruction coach, Dennis created and led numerous professional learning sessions and district continued

initiatives. His expertise has also been recognized at the national level, where he has had the opportunity to train other educators. Dennis further enhanced his skills by collaborating with national leaders through multiple opportunities with the Aspen Institute.

Most recently, Dennis has led the work of Marshall Middle Magnet School in Plant City. Under his energizing leadership, administrative staff and teachers have worked together to turn the school in a new, positive direction. Marshall has been rebranded and achieved the designation of International Baccalaureate World School in 2022. The school has gained recognition as a Community School, and statewide test scores continue to rise under his leadership. Marshall Middle Magnet School has been recognized with a Magnet Schools of Distinction Merit Award for continued commitment to excellence in learning opportunities and providing an innovative educational environment.

A key component of International Baccalaureate Schools is a strong fine arts curriculum. Mr. Mayo’s plan to enrich the arts education at Marshall Middle Magnet School started with the rejuvenation of its band program. His background in leadership and program development provided integral skills for this mission. He hired a highly motivated band director with extensive experience in building strong music programs at Title I schools. He saw the potential impact on student success and put his full support behind growing the program. Mr. Mayo’s unwavering support in growing the band’s enrollment and success was exemplified by his active, engaged participation and support of the band program and its activities. That looks different on any given day, ranging from individual conversations with students needing a reminder of his high expectations, cheering along with the band at Marshall basketball games, or even instructing the student body in correct concert etiquette for a jazz band performance.

His joy and enthusiasm are a model of full administrative support, from marching parades with the students and echoing the encouragement and instructions of the band director, to volunteering to help with concert setup, transporting equipment and uniforms, acting as emcee and “hype man” for performances, and working tirelessly with community stakeholders to acquire the needed equipment and funds to support a rapidly growing band. His belief in the value that music holds for his students and their families is evident in his commitment to providing access to quality equipment, travel, and performance opportunities.

During this time of growth and rejuvenation, the Marshall band programs received multiple recognitions including their

first-ever superior award at district music performance assessments. The Marshall Dragon Band performed for the Plant City Commission and for the Hillsborough County School Board. The Marshall Dragon Band also participated in community events, including Bealsville Jazz Under the Trees at Glover School, parades for Dr. Martin Luther King Jr. Day, the Plant City Christmas Parade, and the Strawberry Festival Parade.

The band program, like the school, has grown dramatically in numbers. To meet the vision of a fully equipped program supporting more than 300 students, Dennis has worked with his contacts in the community to acquire the needed materials and support for the program. He partnered with the county music supervisor, the band director, and the parent booster organization to provide resources that have allowed students to travel annually to Ruth Eckerd Hall and the Dali Museum and to purchase new uniforms, classroom equipment, and supplies.

Justin Daniels, assistant principal and former Hillsborough County Music Teacher of the Year, shares his insight: “Mr. Mayo is a passionate supporter of electives, having been an elective teacher himself at the middle and high school levels. He understands that a strong and robust elective program is imperative to the success of a school and to making systemic change for a positive student culture.”

Ted Hope, retired supervisor of music of Hillsborough County Public Schools, says that Mayo “is a visionary man who can deal with the realities of music education and all the attendant pressures that we all face. At the same time, he finds ways to make the music department grow at Marshall Middle School while maintaining a high academic standard.”

Johan von Ancken, region superintendent of middle schools, recognized Mr. Mayo’s leadership style as he states, “He is a true servant leader who is cognizant of his actions, thoughtful in his words, and deliberate in his leadership. He genuinely cares for every student and every staff member, making Marshall feel like a home for so many individuals. This past year, Marshall experienced some of the highest academic learning gains in all HCPS’s middle schools, most directly due to his unwavering commitment to excellence, but balancing his appreciation for human capital.”

Superintendent Van Ayres of Hillsborough County Public Schools continues these thoughts: “Mr. Mayo leads with quiet strength, supporting his teachers and providing them with the opportunities to excel. Dennis Mayo is an outstanding educator that leads through support, trust, and a focus on big-picture results. Because of these reasons, I highly recommend Dennis

Mayo for the Florida Music Education Association Administrator of the Year award.”

And Hillsborough County School Board Member Patricia Rendon recognizes Dennis Mayo’s contribution: “Principal Mayo’s exceptional leadership, unwavering support for the arts, and dedication to fostering a vibrant music education program make him an outstanding candidate for this prestigious recognition.”

Beyond his professional achievements, Dennis is a proud father of two wonderful children. His wife, who works in the district as a migrant supervisor, shares his dedication to education. In his free time, Dennis enjoys working on projects around the house, volunteering where he can, and taking trips with his family. His commitment to both his family and his profession exemplifies his dedication to making a positive impact in all areas of his life.

LEADERSHIP AWARD FOR MUSIC EDUCATION

The FMEA Leadership Award is presented to an individual who demonstrates outstanding and sustained skill in a leadership or an administrative capacity and who carries the mission of the FMEA forward throughout the state and/or the nation. The recipient must have served a minimum of five years in a leadership or administrative capacity and employed in their current position for three years, as well as must have demonstrated notable achievements as a leader in the promotion of music education and continued contributions/commitment to the profession and to FMEA/NAfME.

Benny L. Bolden, Jr., EdD

President, Florida School Music Association

Director for Interdivisional Support Services and Secondary Schools

Leon County Schools

Past Principal, R. Frank Nims Middle School

Leon County Schools

Nominated by Andrew Thompson

Dr. Benny L. Bolden, Jr.. is the president of the Florida School Music Association and the director for interdivisional support services and secondary schools in Leon County Schools. Dr. Bolden is a native of Miami, Florida, where he first received his musical inspiration during his earlier years of education.

Dr. Bolden later graduated from Miami Norland Senior High School, where he was a student of Mr. Kenneth R. Tolbert and Mr. Anthony E. Simons III. He majored in music after being

encouraged by Mr. Tolbert and Mr. Simons to cultivate the gift that God has given him to touch the lives of others.

He received his BME from Florida A & M University, where he was a conducting student of Dr. Julian E. White and Dr. Shelby R. Chipman. Dr. Bolden later received his master’s degree in educational leadership from Capella University and his EdD in higher education from Aspen University. Dr. Bolden has performed with the world renowned Marching 100, symphonic bands across Florida, and various brass ensembles. While at FAMU, he was very active and achieved legendary status as a musician and student leader.

Dr. Bolden has held the positions of director of bands at Belle Vue Middle School in Tallahassee, Florida, director of bands and PAVAC department chair at Miami Northwestern in Miami, Florida, and director of bands at Barron Collier High School in Naples, Florida, where he transformed the band program into one of the best in the country. At all levels of evaluations, the bands he leads routinely receive superior ratings. Bolden became the only director in the history of Collier County Public Schools to have consecutive superiors at the Florida Bandmasters Association state concert MPA in 2014, in addition to receiving superior ratings on the state concert band assessment and consecutive Otto Kraushaar Awards. Under his direction, bands have performed for President Barack Obama, the Latin Billboard Awards, Governor Rick Scott’s Inaugural Parade, the NFL Super Bowl, Carnegie Hall in New York, the continued

Grand National Adjudicators Invitational, and was invited to perform as a featured band at the prestigious Music for All festival (Bands of America).

Dr. Bolden has worked as an administrator in Lee County, Jefferson County, and now Leon County. Dr. Bolden is the celebrated leader credited for leading the academic and cultural turnaround at R. Frank Nims Middle School, receiving its first academic school grade of “B” in the 66-year school history. Today, he serves as the director for interdivisional support services and secondary schools for Leon County Schools. Dr. Bolden has extensive administrative expertise in the establishment and administration of academic programs, policies, and initiatives that support student growth and accomplishment. With expertise in the development, implementation, assessment, and continual improvement of difficult and exciting curriculum, senior leadership experience serving students across numerous schools is a plus. Dr. Bolden is a passionate education champion who has a track record of driving regulatory and standards compliance, coordinating instructional programs to address student needs, and assembling high-performing teams dedicated to each student’s academic achievement.

Dr. Bolden has received countless awards for his musicianship, leadership, and commitment to service. Dr. Bolden was named in Who’s Who amongst teachers and received a proclamation from the City of Miami’s mayor for his excellence in service, among many other honors. Recently, Dr. Bolden was awarded the Tallahassee Community College Cherry Hall Alexander African American History Award and the 2022 Florida State University/ VyStar Credit Union Arts Advocate Award. Dr. Bolden is also a frequent adjudicator as well as a clinician, conference speaker, and guest conductor, as he is a fierce advocate of the arts.

Dr. Bolden is an adjunct professor at Florida State University and the president of the Florida School Music Association. Dr. Bolden is a member of Leadership Tallahassee (class 38), Leadership Florida (class 7), Delta Epsilon Tau National Honor Society, National Association of Secondary School Principals, Florida Bandmasters Association, Florida Music Education Association, Florida Association of School Administrators, Florida Education Association, and the National Education Association.

Dr. Bolden’s nominator and the chorus director at R. Frank Nims Middle School, Andrew Thompson, explains, “A trailblazer in music education and champion for Title I schools, Dr. Benny L. Bolden, Jr., is one of one in every way. When leading as dynamic principal of R. Frank Nims Middle School in Tallahassee, Florida, he led his team, staff, and students to achieve a school

grade of “B” for the first time in the 66-year school history. One of the driving forces for the success of the school’s improvement was his aggressive implementation of the arts in the school culture and curriculum. Nims Middle school has eight performing arts programs, which include dance, orchestra, band, percussion, chorus, theatre, art, and music technology, and over 87% of the school’s 600-plus students are enrolled in these programs. He was present for every musical event as well as sporting event and was there front and center to celebrate students’ academic achievement and staff’s accomplishments. His commitment to excellence is in the fruit of what he produces, from campus, to staff, to student. There is no one more deserving of this honor.”

Rocky Hanna, superintendent of Leon County Schools, adds, “Dr. Bolden exhibits a ‘can do attitude,’ and he displays a high level of enthusiasm in any task he undertakes. An excellent communicator coupled with a professional demeanor and a strong work ethic make Dr. Bolden a strong asset to Leon County Schools. Given Dr. Bolden’s strong commitment to creating exceptional learning environments in our public schools and his mission of ensuring the success of every student, he is the perfect candidate for this prestigious honor.”

Stephen K. Rivero, band director at Miami Arts Studio 6-12 @ Zelda Glazer, expounds, “As the past director of bands at Marjory Stoneman Douglas High School and the retired commander of the 13th Army Band, I have had the privilege of working with many talented individuals. Dr. Bolden stands out as a remarkable leader whose passion for music education and dedication to his students are truly inspiring. His recognition with the Florida Music Education Association Leadership Award would not only honor his many achievements but also serve as a testament to the positive impact he has made on the field of music education.”

And finally, Dr. Steven Kelly, professor of music education at Florida State University and past president of FMEA, finishes with these thoughts: “In all my 40 years of teaching, I have never met an individual who has made so much positive impact on so many, in so many ways. He is known across the country for his passion and immense care for others to succeed. Through Benny’s initiatives, he has revolutionized how students think about themselves, how faculty believes in themselves, and how the community can connect to schools to believe in the power of education to improve lives. He has accomplished this work through an incredibly strong emphasis on the arts to help students see what is possible. The impact of his efforts has simply been stunning! Dr. Benny Bolden is the most deserving person ever for this award. He is a life-changer!”

EXEMPLARY MODEL MUSIC PROGRAM

The FMEA Exemplary Model Music Program/Project designation is awarded to an individual or group for a meritorious, exemplary music education programs or exemplary projects completed in the field of music education. Exemplary music programs or projects may include exemplary or innovative music education that provides or continues to provide a significant, positive impact on students, music educators, and/ or schools. These types of programs might include, but are not limited to, those that resulted or are resulting in: elevated music/arts education advocacy or awareness, beneficial workshop opportunities for students or educators, effective music education and the innovative implementation of programs that provide high student engagement and opportunities for students, improved music educator effectiveness, relevant research, effective community programs/projects impacting schools, school improvement as related to music education, effective multicultural or interdisciplinary programs/projects, or comprehensive music education programs that may include nontraditional music offerings.

Vocal Youth Miami (formerly The Children’s Voice Chorus)

Jamie Sutta, Executive Artistic Director

In Partnership With Miami-Dade County Public Schools

Nominated by Alicia Romero-Sardiñas

Entering its 13th season, Vocal Youth Miami (formerly known as The Children’s Voice Chorus) empowers young people across Miami-Dade County with invaluable artistic and life skills through vocal music. At its heart, Vocal Youth Miami aims to enrich the lives of young people through the transformative power of music, fostering creativity, self-expression, empathy, and community engagement. The vision behind this nonprofit

organization is clear: to cultivate a generation of young people who will make the world a more beautiful place by growing in their gifts, knowing the value of their voices, and practicing empathy and understanding toward others.

Bringing together diverse students aged 5-18, Vocal Youth offers intergenerational singing opportunities and unforgettable experiences that teach students to express themselves and appreciate the uniqueness of every voice. With a mission to make choral music accessible to youth from all backgrounds and abilities, Vocal Youth serves more than 400 students annually through year-round after-school choral programs, an inclusive summer camp, and Kindermusik early childhood classes. Students learn vocal technique, music theory, and ear training, growing as artists while developing essential life skills like teamwork, leadership, and responsibility. Founded by Jamie Perez Sutta, Vocal Youth grew from humble beginnings, starting with just 21 singers, a donated church space, and $10,000 in community support. By 2027, Vocal Youth aims to serve more than 1,000 students. This expansion exemplifies Vocal Youth’s commitment to creating accessible, inclusive, high-quality music experiences for Miami’s youth.

Vocal Youth Miami was awarded the Knight Arts Challenge grant, enabling a two-year transportation initiative for children in underserved areas, which led to the organization’s first satellite program, in Florida City. Students have performed on international platforms, including Univision’s Despierta America, national anthem performances for the Miami Dolphins and Miami Heat, and at Carnegie Hall. In an exciting highlight, they performed “America the Beautiful” at Super Bowl LIV with Yolanda Adams. Students also create original music, collaborating with GRAMMY® -winning artists like Enrique Iglesias and Julian Marley.

Vocal Youth Miami’s commitment to music education extends beyond traditional choral instruction. Through collaborative songwriting projects, students can write, film, and produce original songs and music videos alongside local artists. This hands-on experience immerses them in the creative process from start to finish, nurturing both their artistic talents and their understanding of media production. Additionally, their students perform culturally relevant music, often outside the scope of typical choral settings, thus broadening their musical perspectives. These enriching experiences empower students to find their voices, express their identities, and connect with their communities meaningfully.

Vocal Youth Miami fills a vital gap in a world where creative opportunities are often limited, especially for under-resourced communities. In Vocal Youth Miami, 85% of students receive need-based scholarships to attend, 80% of students come from low-income neighborhoods, and 30% of students have a documented disability. Many young people in Miami lack access to consistent, high-quality arts that nurture their creativity and self-expression. Vocal Youth’s mission is to bridge this divide, creating opportunities for students to express themselves, collaborate, and connect with others. Vocal Youth Miami plants the seeds for lifelong empowerment and artistic expression by doing so. Beyond their performances, Vocal Youth Miami uses music as a tool for community engagement and social change. Students regularly volunteer, performing for organizations like Chapman Partnership and the WOW Center, and partnering with organizations like Genesis Hopeful Haven. These community service activities instill a deep sense of responsibility and compassion in students, underscoring Vocal Youth’s commitment to nurturing talented musicians, as well as empathetic and engaged citizens.

Jamie Sutta, founder and artistic director of Vocal Youth Miami, has dedicated her career to empowering young people through the transformative power of music education. She earned her bachelor’s degree in choral music education from Florida State University and her master’s degree in jazz vocal performance from the University of Miami.

With a strong background in both areas, Jamie founded The Children’s Voice Chorus, now Vocal Youth Miami, in 2011 to provide high-quality choral education to students of all cultural and socioeconomic backgrounds. Under her leadership, the chorus has grown significantly from 21 singers to 400 annually, offering programs that focus on both musical growth and personal development. Jamie is committed to ensuring that any student with a passion for singing—no matter their background—has access to transformative opportunities, helping them build confidence, community, and essential life skills through music.

As alumnus and founding student member of Vocal Youth Miami Gitanjali Deen explains, “Although I was not fully aware of the impact choir had on me as a young child, I can see now that VYM helped foster skills in me that I may not have devel-

oped otherwise. Vocal Youth Miami gave me a home away from home and a lifelong passion that has translated into my current aspirations to serve others through the intersection of mental health and music. Coming into a choir room every week, where one feels accepted for their authentic self and loved for who they are, helps create young adults, like me, who are secure in their being and ready to help others, just as Vocal Youth Miami has helped us.”

Helida Dodd, parent of Vocal Youth Miami students, expounds, “Nothing beats the joy of a parent when seeing transformation through the eyes of a child. As parents we do our best to find activities for our children and create wonderful experiences, but I don’t believe we can ever gauge the profound impact that any given activity will have on a child. From the myriad of activities [one of my children] has been able to experience, I can honestly say I have never seen her enjoy anything more than Vocal Youth. Beyond her growth as a musician, I have seen her anchor in a community of friends and teachers that have helped her grow by leaps and bounds in her musical talent as well as her confidence level. To see the trajectory of this incredible organization for so many years has been a blessing. Jamie Sutta’s love of music and incredible talent has taken her to notable accomplishments. Her aim is simple—to pay forward what was given to her as a young child and make music available to anyone regardless of background or ability to pay. My wish is for every child to be able to experience a community like this. Vocal Youth is deserving of the highest accolades.”

And finally, Mayor Karyn Cunningham, Village of Palmetto Bay, offers words of support and testimony: “Their involvement in our community has been a beacon of light during challenging times. By sharing their own diversity and passion through original songs that inspire and light the way, they have helped our community unite and have hope. This award is to recognize the heroes among us who have been ‘the light’ this past year, I can think of no better music program to receive this award. Given the opportunity, Vocal Youth Miami will represent and uplift the Florida Music Education Association in a way we can all be proud of.”

DISTINGUISHED SERVICE AWARD OF AN INDIVIDUAL IN MUSIC EDUCATION

The FMEA Distinguished Service Award is presented to persons or organizations inside or outside the field of professional music education. This award recognizes exceptional service to or support of music education. The recipient(s) must have demonstrated noteworthy contributions to music education, with statewide impact preferred.

Valeria Anderson

FMEA Director of Operations

Center for Fine Arts Director of Operations

FAEA Director of Operations

Nominated by Jeanne Reynolds

ValAnderson, IOM, serves as director of operations for the Florida Music Education Association, the Center for Fine Arts, and the Florida Art Education Association. She is a native of Baltimore, Maryland, and a proud graduate of the Baltimore County Public Schools. From childhood, Val developed a passion for education and a love of the arts. Always diligent and serious in her studies, Val was a model student and a high achiever both at Northwestern High School and during her attendance at Morgan State College.

In Baltimore, Val evolved her criminal justice career working for Miles & Stockbridge, Attorneys at Law, with responsibilities

that included supervising junior staff and supporting five attorneys in the Commercial Real Estate Department. Some of Val’s responsibilities included drafting/revising documents, facilitating real estate search requests, legal/real estate file management, real estate closing documentation preparation and reviews, maintaining accounting reports for billable and non-billable hours, and case status details report preparation for managing partners. Val also participated in collaborative functions with managing law partners to analyze firm productivity to streamline and enhance firm revenue functions.

In July 1991, she moved to Tallahassee, Florida, and attended Florida A & M University where she majored in criminology and social work. She is also a Villanova University graduate with a certificate in organizational management through the Institute for Organizational Management (a program of the U.S. Chamber of Commerce). For 12-plus years, she worked with the State of Florida Attorney General’s Office, Department of Corrections, and Department of Transportation, and in 2003 Val began working with the Florida Music Education Association.

As FMEA director of operations, she is responsible for contract management and numerous other duties. Drawing from her 20-plus years of FMEA internal institutional knowledge, Val’s responsibilities have evolved and expanded as FMEA developed into an umbrella organization overseeing events for five component associations each with individual boards and memberships for which she coordinates all levels of communications.

As the annual FMEA conference coordinator for approximately 10,000 attendees and more than 400 exhibitors, Val facilitates guest room needs, FMEA program agenda development, publications development and oversight, all phases of hotel communication, banquet and menu coordination, audio-visual vendor communications, review of all hotel internal documents directing multiple hotel staff divisions and functions, training hotel staff for FMEA requirement compliance, projected budget and expense implementation, coordinating speakers and presenters, and facilitating all expense and reimbursement activities, as well as assisting the FMEA Board with annual CPA auditing functions for annual audits, coordination of board activities, and preparation of required briefing materials, including such documents as board minutes.

As director of operations, Val’s priority is and always has been going the extra mile to support everyone associated with FMEA. Val has an unwavering commitment to music, art, and the inclusivity of all socioeconomic student group experiences, not to mention also including exceptional fiscal accountability continued

management and many other distinguished services to the field of music education. Her dedication and selfless efforts have significantly impacted music education across the state and have set high standards for others to follow.

As Sondra Collins, FMEA Awards Committee chairperson and music educator at Shady Hill Elementary in MCPS, explains, “When this nomination was presented to the Awards Committee, the very first thing I thought was that Val certainly must have been awarded already in the past, with her amazing commitment to FMEA and the work that she constantly embodies. I was astonished to find out that the FMEA has never awarded her for the extra mile she continually puts in for our organization. In my eyes, Val Anderson embodies the words Distinguished Service, not just to her own profession and the music education world, but to FMEA as a whole. Every FMEA member has been affected for the better by the selfless and tireless work of Val Anderson.”

As Dr. Shelby Chipman, FMEA immediate past president and director of bands at Florida A & M University, states, “Val is truly an asset to the FMEA office staff and our association. As a current member of the FMEA Board and Executive Committee, I’ve witnessed her overwhelming love to our profession in ways unimaginable. Most people admire her extreme passion and love for music and the arts, but more importantly, she is concerned about helping others in the various communities throughout our state of Florida and beyond. Val is certainly a role model and leader, and both aspects are her primary goal in life. Her care and level of responsibility result in the membership’s and stakeholders’ positive outcomes. Her energy and positivity influence the lives of countless members. I can attest that Val’s leadership is second to none, and she is most deserving of the Florida Music Education Association Distinguished Service Award.”

Debbie Fahmie, FMEA Hall of Fame member, past FMEA Awards chairperson, and current Awards Committee member, expounds, “What can I say about Val Anderson, except that she is the grease that keeps the gigantic FMEA machine going?! Her hands are on every aspect of all that FMEA does for the entire membership and all the students that are served. Val makes sure that nothing skips a beat, no matter the extra effort that it puts on her. I often wonder just how one person can juggle as many things as she does. If Val is not the epitome of distinguished service to our noble profession, I don’t know who is.”

Dr. Kathy Sanz, FMEA Hall of Fame member, FMEA executive director, and president and CEO of the Center for Fine Arts Education, goes on to say, “Val’s dedication to FMEA has been tireless, and her efforts to improve systems for efficiency have

greatly impacted FMEA’s success as a national leader in music education.”

Dr. Alice-Ann Darrow, FMEA Hall of Fame member, past FMEA Diverse Learners chairperson, and current Awards Committee member, adds, “Val is indeed exceptional! She seemingly carries out her responsibilities effortlessly and without the need for multiple reminders. I am sure she is stressed at times, but I have not seen it. She is always the consummate professional.”

Jeanne Reynolds, FMEA Hall of Fame member, FMEA Advocacy chairperson, FMEA past president, and current Awards Committee member, continues, “Val is committed to FMEA 365 days a year. It is her calling. Since Val does not have a background in music education, it is even more remarkable to consider the service she provides. Suffice it to say, from the moment Val arrived, she has been an amazing, positive, transformative force ‘for good,’ as the iconic song from the musical ‘Wicked’ states. Indeed, we have all been changed ‘for good’ because of Val. Simply put, Val Anderson is committed to the success of FMEA and the mission of FMEA. I would venture to say she is probably as committed as any FMEA member or leader to our mission of promoting quality, comprehensive music education in all Florida schools. Thousands of students have been positively impacted by her work. Indeed, music education in Florida has been changed ‘for good’ because of Val Anderson. There is no one more deserving of the FMEA Distinguished Service Award.”

And finally, Ajori Spencer, FMEA Professional Learning chairperson and Pinellas County Schools PK-12 performing arts specialist, sums it all up, saying, “Val recently shared a story with the FMEA Board about her grandfather, who imparted wisdom that has clearly shaped the course of her career. He told her to surround herself with people who are doing the things she hoped to do in the future. He encouraged her to learn from their journey, the pitfalls, and successes. The company you keep matters. The way you treat people matters. This advice has clearly been at the heart of Ms. Anderson’s approach to work. She treats everyone she encounters with respect; she works hard (and often), all to the service of our profession’s highest priority—kids.”

As a member of both the American Society of Association Executives and the Florida Society of Association Executives, Val also volunteers and serves on the FSAE Education Committee and is the co-chairperson of the FSAE Diversity, Equity, and Inclusion Committee.

2025 FMEA MUSIC EDUCATION SERVICE AWARDS

The Music Education Service designation is awarded to music educators who have been active in music education for 25 years or more. This award recognizes the outstanding service of our members who have committed themselves to this profession for most of their adult lives.

Palmetto Elementary School

Miami-Dade County Public Schools

Riverview

Somerset College Preparatory Academy St. Lucie County

Music Educator

Rochelle School of the Arts Polk County Public Schools

Florida Christian School Miami-Dade County

Oliver Diez

Eileen Walentin

Jesse Bryant II

Tamara Lewis

NeSmith

Jeannine Stemmer

Dr. John W. Wilkerson

26 years

Music Educator

Lakewood Ranch High School

School District of Manatee County

Jon Sever

28 years

Music Supervisor of Secondary Schools

Hillsborough County Public Schools

Jamie Roth

29 years

Music Educator

Atlantic Community High School

The School District of Palm Beach County

Carol Carstensen

26.5 years

Music Educator

Safety Harbor Elementary School Pinellas County Schools

Christopher Shultz

28 years

Music Educator

Rodgers Middle School

Hillsborough County Public Schools

Donald A. West

30 years

Senior Coordinator of Secondary Music Polk County Public Schools

Travis Henry

27.5 years

Music Educator

River Ridge Middle School Pasco County Schools

Amy Beres

29 years

Music Educator

Howard W. Bishop Middle School Alachua County Public Schools

Dr. Jeffrey Cayer

30 years

Music Educator

Marshall Middle Magnet IB World School

Hillsborough County Public Schools

30 years

Music Educator

Steinbrenner High School

Hillsborough County Public Schools

Jason Duckett

35 years

Music Educator

Bartram Trail High School

St. Johns County School District

Jay Parales

40 years

Music Educator

Lehigh Senior High School

The School District of Lee County

Eric F.

31 years

Music Educator

Benito Middle School

Hillsborough County Public Schools

Marcy N. Sharman

37 years

Music Educator

Saint Edward’s Lower School

Indian River County

A.

57 years

Music Educator

Congress Middle School

The School District of Palm Beach County

Steven Bossert

35 years

Music Educator

H. B. Plant High School

Hillsborough County Public Schools

Carrie Lee Fuoco

37.5 years

Director of Fine Arts

Skycrest Christian School

Pinellas County

Dr. Shaylor L. James

60 years

Professor of Percussion and Assistant Director of Bands

Florida A & M University

Leon County

Daniel S. (Chip) Wood IV

Scharf

Harry

Spyker III

2025 FMEA MUSIC ENROLLMENT AWARDS

The Middle and High School Music Enrollment Award is presented to music programs demonstrating high enrollment in music courses. This award recognizes the effectiveness of programs that offer attractive music curricula as well as those that excel in the recruitment and retention of students. Schools hold the award for three years. They may be looked to as models of quality programming, scheduling, and recruitment and retention of students. In order to qualify for this award, at least 30% at the high school level and 45% at the middle school level of the entire student body must be enrolled in a music course.

MIDDLE SCHOOLS

BELL MIDDLE SCHOOL – 45%

Gilchrist County School District

Principal: Scott LeMasters

Music Educators: Christopher Dunn

JIM C. BAILEY MIDDLE SCHOOL – 46%

Escambia County Public Schools

Principal: Tara Palaciano

Music Educators: Stephanie Daley, Xochilt Linza, Phillip Nguyen, Chelsea Smith

JOSEPH L. CARWISE MIDDLE SCHOOL – 47%

Pinellas County Schools

Principal: Chad Eiben

Music Educators: David Fortuna, Kelly Moss, Melissa Wight

WEDGEFIELD SCHOOL – 47%

Orange County Public Schools

Principal: Matthew Pritts

Music Educators: Hannah Vinney

RAMPELLO K-8 MAGNET SCHOOL – 48%

Hillsborough County Public Schools

Principal: Justin Youmans

Music Educators: Jae Xiong, Shannon Waggoner

SEMINOLE MIDDLE SCHOOL – 49%

Pinellas County Schools

Principal: Dr. Robert Ovalle

Music Educators: Amelia Gee, Jordan Harris, Amy Lybarger

DUNEDIN HIGHLAND MIDDLE SCHOOL – 50%

Pinellas County Schools

Principal: Brandon Glenn

Music Educators: Shawna Grimes, Anna Horldt

TIMBER SPRINGS MIDDLE SCHOOL

– 50%

Orange County Public Schools

Principal: Steven Soubasis

Music Educators: Brianna Martin, Angela Polito, Erin Solomon

ANDREW JACKSON MIDDLE SCHOOL – 51%

Brevard Public Schools

Principal: Jennifer Shockley

Music Educators: Laura Garcia, Adam Grim, Alexandria Reetz, Marcey Sperr

GRACE LUTHERAN CHURCH & SCHOOL – 51%

Pinellas County

Principal: Nicole Clifton

Music Educators: Ellen Prohl, Jennifer Tippett

HOWARD MIDDLE SCHOOL – 53%

Marion County Public Schools

Principal: Suzette Parker

Music Educators: Hayley Christie, Brittany Schofield

ROWLETT MIDDLE ACADEMY – 55%

Manatee County

Principal: Chuck Fradley

Music Educators: Victoria Helton, Celia Ruetz, Brandon Weiss

WOODLAND MIDDLE SCHOOL – 56%

Sarasota County Schools

Principal: Mark Grossenbacher

Music Educators: Thomas Dubbert, Jimmy Gillis, Jace Schmidt

WESTRIDGE MIDDLE SCHOOL – 57%

Orange County Public Schools

Principal: Nicole Jefferson

Music Educators: Justin Adams, Chavellee Almonte, Angel Santiago

DAVENPORT SCHOOL OF THE ARTS – 58%

Polk County Public Schools

Principal: Cynthia Braaten

Music Educators: Joe Barone, Sarah Guarrine, Kayla Kelsay

MIAMI ARTS STUDIO 6-12

@ ZELDA GLAZER – 59%

Miami-Dade County Public Schools

Principal: Dr. Miguel Balsera

Music Educators: Cindy Ellis, Ryan Ellis, Vivian Gonzalez, Erich Rivero, Stephen Rivero, Daniel Yucra

KESWICK CHRISTIAN MIDDLE SCHOOL – 61%

Pinellas County

Principal: Lee Mortimer

Music Educators: Aaron Trill, Maribeth Trill

JEWETT MIDDLE ACADEMY MAGNET – 65%

Polk County Public Schools

Principal: Dana Burns

Music Educators: Andrew Beckner, Tenisha Picinich, Andrew Shaheen

ODYSSEY MIDDLE SCHOOL – 70%

Orange County Public Schools

Principal: Charisse Ninah

Music Educators: Marianne Flanagan, Angelica Flores, Jennifer Haber

CENTRAL MIDDLE SCHOOL – 75%

Brevard Public Schools

Principal: Heather Smith

Music Educators: Natalie Janas, Daniel Lee, Robin Morris, Robert Washington

TARPON SPRINGS MIDDLE SCHOOL – 77%

Pinellas County Schools

Principal: Ronald Mason

Music Educators: Sarah Cody, Christopher Touchton, Amber Turcott

SKYCREST CHRISTIAN SCHOOL – 88%

Pinellas County

Principal: Steven Clagg

Music Educators: Carrie Fuoco, Christiana Link

SAINT MARK’S EPISCOPAL SCHOOL – 100%

Broward County

Principal: Daniel Bassett

Music Educators: Tara Callahan, Marie Cowley, Marisa Fernandez

ROCHELLE SCHOOL OF THE ARTS – 110%

Polk County Public Schools

Principal: Carol Griffin

Music Educators: Jesse Bryant, Laura Miranda, Freeda Phifer, Zachary Shambo, Marc Smith

HIGH SCHOOLS

TITUSVILLE HIGH SCHOOL – 33%

Brevard Public Schools

Principal: Jennifer Gonzalez

Music Educators: Brian Rorer, Ian Schwindt, Jennifer Zahn

CLASSICAL PREPARATORY SCHOOL – 34%

Pasco County

Principal: Jasmine Brightman

Music Educators: Brent Lamkin, Trevor Lloyd

ESCAMBIA HIGH SCHOOL – 34%

Escambia County Public Schools

Principal: Dr. Dana Boddy

Music Educators: Christina Frierdich, Dustin Hicklen, Skyler McLeod, Elizabeth Phillips

PINEAPPLE COVE CLASSICAL ACADEMY, WEST MELBOURNE – 34%

Brevard County

Principal: Michelle Melian

Music Educator: Jana Burton

KESWICK CHRISTIAN HIGH SCHOOL – 39%

Pinellas County

Principal: Lee Mortimer

Music Educators: Aaron Trill, Maribeth Trill

MIAMI ARTS STUDIO 6-12 @ ZELDA GLAZER – 69%

Miami-Dade County Public Schools

Principal: Dr. Miguel Balsera

Music Educators: Cindy Ellis, Ryan Ellis, Vivian Gonzalez, Erich Rivero, Daniel Yucra

FLORIDA MUSIC EDUCATION ASSOCIATION

2024-2025 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, 2024, through February 11, 2025.

MAESTRO’S CIRCLE

$10,000 and up

ARTIST’S CIRCLE

$1,000 – $9,999

No current donors at this time. All County Music

Frank Howes

In Memory of Vashti Jordan Howes

Clifford Madsen

SUSTAINERS

$100 – $999

Carlos Abril

In Honor of Dr. Alice-Ann Darrow

Artie Almeida

Lucinda Balistreri

In Honor of Sarasota County Music Educators

Trent Brown

In Honor of J. Mark Scott

Dale Choate

In Honor of R. Wayne Bailey

Alice-Ann Darrow

In Memory of Mr. & Mrs. O.B. Darrow

Virginia Dickert

In Memory of Debbie Liles & Lindsay Keller

William Fredrickson

Shelby Fullerton

In Memory of Dan Fullerton

Marsha Juday

Aaron Kass

Steve & Beth Kelly

Sheila King

Jason Locker

In Memory of June M. Hinckley

Joseph Luechauer

Deborah Mar

In Memory of Barbara Kingman

Russell Robinson

Fred Schiff

In Memory of Mom & Dad

Louis Schiff

Kelly Miller

Carolyn Minear

In Memory of Alice Fague

John Nista

In Memory of Stanley Dmitrenko

Mary Palmer

Douglas Phillips

In Memory of Dr. Bobby Adams

David Pletincks

In Honor of My Children

Clinton Randles

Jeanne Reynolds

In Honor of Pinellas County Performing Arts Teachers

Mary Catherine Salo

In Memory of Gary Rivenbark & Wes Rainer

Steven Salo

In Honor of Dr. Bill Prince & In Memory of John "Buck" Jamison

Kathleen Sanz

In Memory of June M. Hinckley

J. Mark Scott

In Honor of Jason Locker, Dr. André Thomas, Dr. Judy Bowers, & Dr. Judy Arthur

John Sinclair

D. Gregory Springer

Harry Spyker

In Honor of Fred & Marlene Miller

Jeannine Stemmer

In Memory of Barbara Kingman & Lauren Alonso

Leiland Theriot

In Memory of Clayton Krehbiel

Rebecca Traenkner

On Behalf of the Hillsborough County Elementary Music Educators Council

PATRONS

$25 – $99

Sandra Adorno

Meghan Alfaro

Maria Athanasulis

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In Memory of Michael Aufschneider

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In Memory of Dr. Mark A. Belfast, Sr.

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On Behalf of Roosevelt Elementary

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In Memory of Claude Dobbins

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In Honor of Dr. Tom Silliman, Sr.

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SOME GUIDELINES FOR Developing Habits

ABY D. GREGORY SPRINGER, PHD RACHEL SORENSON, PHD AND VICTORIA WARNET, PHD

As humans, we are the “proverbial creatures of habit” (Wood & Rünger, 2016, p. 289). We develop many habits throughout our lives—some that serve us well and others that do not serve us well. Habits are learned responses to situational cues (Madsen & Madsen, 2016). The more often a behavior has been repeated in a context, the stronger and more automatic the habit will be—a term known as habit strength. Preparing students for success as developing musicians therefore involves establishing strong habits that will prepare them for a lifetime of music-making. In this article, we discuss the psychology of habits, followed by some suggestions about how to teach students to develop “habits that stick” to support their learning in music classrooms. Finally, we offer recommendations on how teachers can develop their own habits as music educators.

Psychology of Habits

The psychological mechanisms of habit formation are somewhat complex and difficult to understand, but they help to clarify how habits work. Wood and Rünger (2016, p. 291) proposed a model that illustrates how habits can interact with goals in guiding behavior, which is shown in Figure 1. In that figure, context refers to the environment around us, which provides numerous cues that influence our behaviors. Habits are then activated in memory in a mostly automatic fashion (see memory representation in the figure). The subsequent response (the habit response) is what occurs at the end of this process, and at that point, we tend to evaluate whether the outcome aligns with our goals (see the gray double-headed arrow, which refers to this inference).

Although the psychology of habits is complex, James Clear (2018) wrote a best-selling book entitled Atomic Habits that simplifies the concept and gives helpful suggestions on how we can develop strong habits. Clear (2018) clarified the meaning of the book’s title by explaining that an atomic habit refers to a tiny change, a marginal gain, a 1 percent improvement. But atomic habits are not just any old habits, however small. They are little habits that are part of a larger system. Just as atoms are the building blocks of molecules, atomic habits are the building blocks of remarkable results. (p. 27)

Clear (2018) explained that for success in many aspects of life, we need to make small daily improvements to our habits, which accumulate to huge improvements over time. In other words, small changes to our exercise, diet, practice schedule, and money saving habits can lead to major improvements in the long term. To develop these atomic habits, Clear (2018, p. 54) proposed four guidelines, which he called the “Four Laws of Behavior Change”:

w Make it obvious.

w Make it attractive.

w Make it easy.

w Make it satisfying.

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Figure 1

How habits work with the pursuit of deliberate goals (Wood & Rünger, 2016, p. 291)

SUCCESS That Stick

Context

Cues

GOAL SYSTEM

INFERENCE

Memory representation of habit response

Habit Response

OUTCOME

Developing Habits That Stick

continued from page 46

We can use these principles to help our students develop habits that stick and to help us develop our own habits to improve our lives as teachers.

Applying Atomic Habits to the Music Classroom

Building strong habits is essential for achieving success in both individual and group music classroom settings. Consistency is key—whether it’s in daily practice, the fundamentals needed to master an instrument, or running an efficient rehearsal. Establishing good habits helps students build the skills and confidence they need to excel. For educators, promoting positive daily routines ensures that class time is used efficiently and creates an environment that sets students up for success. The Four Laws of Behavior Change can be used to cultivate positive habits in the music classroom.

1. MAKE IT OBVIOUS: CREATE CUES

w Visual Cues: Use visual cues and routines in your classroom to encourage strong habits of classroom behavior. Visual cues could consist of a hand raise to get the classroom quiet or a list of behavior goals visible on a poster.

w Consistent Starting Ritual: Begin every class or rehearsal with consistent expectations for students or a shared ritual. Class could start with students completing a bell ringer, a countdown timer, a tuning note, or a moment of silent focus.

w Classroom Setup: Arrange the classroom so students know what is expected. A daily rehearsal schedule on the board, clear seating arrangements, and consistent warm-up routines can help reinforce habit cues.

2. MAKE IT ATTRACTIVE: CREATE MOTIVATION

w Gamification: Turn individual or full ensemble practice time into a game with challenges, competitions, and rewards. This could be as simple as passing off a line in the beginning band book and receiving a sticker or as in-depth as a full Music Olympics game with prizes. You could also use games to make mundane repetitions of a skill more motivating and exciting for students in full ensemble rehearsal (e.g., how many times can you play a scale without a mistake).

w Group Accountability: Encourage peer mentorship opportunities where students can work together to achieve goals. Working toward a common goal creates camaraderie and reinforces habits.

w Music Selection: Choose literature that balances student growth and interest. When students love what they are playing, they remain engaged and motivated and are more likely to practice and repeat the skills found in the curriculum of the music. In Atomic Habits, Clear (2018) contends that quality is a result of quantity.

3. MAKE IT EASY: REDUCE BARRIERS

w Break Rehearsals Into Manageable Sections: Break down complex pieces and passages into more achievable sections. Focusing on a challenging section for a short amount of time, instead of an entire rehearsal, can make progress feel less overwhelming.

w Provide Clear Resources: Use fingering charts that are easy to read and only include the first few notes you are using at the beginning of the year in beginning band. Create rhythm reading reference sheets for common rhythms. Pre-label music for younger students with bowings or commonly missed fingerings.

w Start Small: Encourage students to commit to just five minutes of focused individual practice at home daily. Once the habit is built, students are likely to extend the time naturally.

w “Inch Forward, Leap Back” Sequencing: When sequencing instruction from day to day, use an “inch forward, leap back” approach (Duke, 2009, p. 112). Every class should include a review of the

skills learned in the previous class before “inching forward” to new skills. By “leaping back” to review each day, students will get adequate reinforcement of skills and will be less likely to be left behind.

4. MAKE IT SATISFYING: REINFORCE PROGRESS

w Progress Markers: Create visual progress indicators, such as sticker charts, karate bands, or growth boards so students can see their achievements over time.

w Celebrate Wins: Celebrate small victories! Acknowledge student achievements both in class and in public settings (e.g., concerts, bulle-

tin boards, and newsletters). Make students feel proud of their growth and improvement.

w Performance Opportunities: Give students performance opportunities both inside and outside of class (e.g., school events, small group recitals, solo and ensemble) to showcase their progress. The act of performing is inherently rewarding and can help build confidence.

In many ways, applying the laws of behavior change may look like “good teaching” in general, but they are essential for helping students develop strong habits.

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Developing Habits That Stick

continued from page 49

Applying Atomic Habits to Improve Your Own Life as a Music Teacher

According to Clear (2018), habits are a reflection of our identity. As famously attributed to Aristotle, “You are what you repeatedly do.” When we set out to start good habits or quit bad ones, it is because we want to alter a part of our identity. For example, we don’t set a goal of walking a mile each day because we want to add that particular habit to our to-do list. We want to form that habit in order to become a healthier person. Walking is simply a means to an end. Therefore, before deciding to establish new habits in your life, you should first set out to define what type of person you want to be.

What type of music teacher do you want to be?

We all have different goals for ourselves as music teachers, both personally and professionally. For some, the goal may be to have the best music program in the district, state, or country. For others, the goal may be to become a more caring, empathetic, and nurturing teacher. For others still, the goal may be to take a step back from professional demands in favor of cultivating a better work-life

balance. It is possible for several of these goals to exist at the same time. To achieve any of these goals, you must first decide what identity you want to cultivate. Then, you have to curate and nurture habits that will reflect this identity.

In his “QuickStart Guide to Identity-Based Habits,” Clear (n.d.) outlines a three-step approach to achieving your new identity through habit building:

1. Name the goal you want to achieve. Example: I want to be less stressed about work during my personal hours.

2. In one sentence, describe the type of person who would achieve your goal. Example: To achieve this goal, I need to be the type of person who doesn’t bring work home with me.

3. List five incredibly small steps you can take to become this person. Example: (1) Remove my work email account from my phone. (2) Answer work-related emails only during work hours. (3) State one positive thing about my workday before going home each day. (4) Listen to my favorite song as soon as I get in the car to go home. (5) Do one small, relaxing thing for myself as soon as I get home.

You can use the steps outlined above to achieve any number of personal or professional goals. The idea is to complete small habits consistently because the results will add up! As Clear (2018) illustrated, shifting an airplane’s angle by as little as 3.5 degrees at takeoff results in a landing that is hundreds of miles away from the originally intended destination. And remember the third law of behavior change—make it easy. Enacting small daily habits is easier for habit formation and can lead to surprisingly large outcomes down the road.

“The Best Is the Enemy of the Good” Sometimes deciding where or how to start on a new goal or set of habits can be the hardest part. When we set goals as music teachers, the fruits of our labors are often not seen for weeks, months, or years. This is a daunting prospect and one that can lead to paralysis. Striving for perfection and optimization at every step can be debilitating, resulting in inaction. In instances where you find yourself overwhelmed by selecting the “right” or “perfect” methods (i.e., habits) for reaching your goals, it is worth remembering the famous quote commonly attributed to Voltaire: “The best is the enemy of the good.” Sometimes we just need to pick a lane and get started. The chances are we’ll make progress regardless.

It is also important to keep in mind that progress toward your goals may not always be linear, but that doesn’t mean your methods aren’t working. It is often said that quality is better than quantity. However, when it comes to achieving our goals, Clear (2018) makes the assertion that quality is a result of quantity. In other words, the countless number of repetitions (quantity) is what leads to our desired goal (quality). It is only by consistently chipping away—and learning from our mistakes—that we make progress toward our goals. The theory of expertise acquisition supports this notion. According to research, it takes roughly 10 years or 10,000 hours of steady, deliberate practice in a given domain to become an expert (Ericsson et al., 1993). Sometimes it is best not to focus so intently on the goal and just complete the reps. Even if you don’t achieve your goal exactly, you will have made progress.

Final Thoughts

As a music teacher, how many things do you have to do in a day? For most music teachers, the list is long. What if you were to reframe every “have to” on your list to a “get to”? In Atomic Habits, Clear (2018) challenges the reader to do

just this. Rather than viewing the many tasks in life (habits or otherwise) as burdens, he urges us to view them as opportunities. Reframing things in this way encourages a grateful approach to life … and work. Although developing good habits (and breaking bad ones!) in music class can be challenging, the results have lasting outcomes. If we have high expectations and goals for our students, it’s worth it to build habits that stick now.

D. Gregory Springer, PhD, is associate professor of music education and director of the Center for Music Research at Florida State University, where he provides leadership for FSU’s Summer Master of Music Education degree program. He serves on the FMEA Research Committee and is former editor of Florida Music Director

Rachel Sorenson, PhD, is assistant professor of music education at Kennesaw State University. A former band director in the state of Florida, she received her BME from Stetson University and her MME and PhD from Florida State University.

Victoria Warnet, PhD, is assistant professor of music education at Columbus State University. She received her PhD in music education from Florida State University. Prior to her appointment at Columbus State University, she taught band at Tavares Middle School in the central Florida area.

References

Clear, J. (2018). Atomic habits. Avery. Clear, J. (n.d.). QuickStart guide to identity-based habits https:// jamesclear.com/wp-content/uploads/2016/05/CU-IdentityBased-Habits.pdf?__s=hv9sbg1yvq8u2epp4jmo

Duke, R. A. (2009). Intelligent music teaching: Essays on the core principles of effective instruction. Learning and Behavior Resources.

Ericsson, K. A., Krampe, R. T., & Tesch-Römer, C. (1993). The role of deliberate practice in the acquisition of expert performance. Psychological Review, 100(3), 363–406. https://doi.org/10.1037/0033-295X.100.3.363

Madsen, C. K., & Madsen, C. H. (2016). Teaching/discipline: A positive approach to educational development (5th ed.). Contemporary Publishing.

Wood, W., & Rünger, D. (2016). Psychology of habit. Annual Review of Psychology, 67, 289–314. https://doi.org/10.1146/annurevpsych-122414-033417

Including All Our Students

BY NERISSA R.M. REBAGAY

SStudents with disabilities, diagnosed or not, will be part of your classes. Legally and ethically, our responsibility is to provide all our students with the opportunity to achieve musical success. It can be intimidating to read the multitude of IEPs you may receive at the beginning of the year, and being overwhelmed by what is required of you to accommodate all your students is entirely understandable. This article provides a supportive framework to help you feel confident you can meet all your students’ needs. Consider locations you frequent: your home, school, and local performing arts center. There may be some qualities of the architecture around you, such as steps in addition to ramps and elevators, or doors that can be opened manually or with a button. These features are elements of universal design (Steinfeld & Maisel, 2012), a process of creating products that are accessible to all, not just people with disabilities, and reduce the need for adaptation or specialized design.

You have likely benefited from universal design without even realizing it; think about sidewalk curb cuts, which not only make sidewalks and streets accessible to wheelchair users but also those with baby strollers,

continued on page 54

universal learning for

universal design learning

Including

All

Our Students

continued from page 52

what why how

delivery staff with rolling carts, or even those on skateboards or bicycles. Think about an automatic door, which is helpful for those with a walker and for musicians carrying a double bass or moving timpani. As you move throughout your day, what accessibility elements are there that you did not even notice? What barriers still exist? You may be surprised at what you find.

The principle of universal design has been applied to education, creating a concept called universal design for learning (Rose & Meyer, 2002), or UDL for short. Based on scientific insights into how humans learn, UDL is a framework for improving and optimizing teaching and learning for all people. The idea is similar to universal design: adapting curricular instruction to meet the needs of all and reducing the need for specialized adaptations for students with disabilities as much as possible.

You have likely heard of the learning modalities—visual, auditory, and kinesthetic; while the myth of being “one of these learners,” such as a “visual learner,” has been debunked (Nancekivell et al., 2020; Reiner & Willingham, 2010), using various teaching methods can benefit all students (Mayer, 2003). The idea behind UDL is that you present information in as many ways as possible to reach as many students as possible

There are three main components of UDL: the why of learning, the what of learning, and the how of learning (CAST, 2025). In each of these, we must consider how we can provide multiple options so that our students can be successful. The “why” of learning involves affective networks of the brain and engagement for purposeful, motivated learners to stimulate interest and motivation for learning. We can do this by providing multiple means of engagement

How can we recruit interest and spark our students’ excitement and curiosity for learning? Perhaps we can offer our students more choices or reduce distractions in the classroom to help students focus. How can we sustain effort and persistence, helping students tackle challenges with focus and determination? Perhaps we can clearly outline our goals and objectives to students and foster opportunities for collaboration and community. How can we teach students self-regulation, allowing them to harness the power of emotions and motivation in learning? Perhaps we can share our expectations and beliefs and teach students to reflect thoughtfully on their work.

The “what” of learning involves recognition networks of the brain and representation for resourceful, knowledgeable learners to present information and content in different ways. We can do this by providing multiple means of representation. How can we consider our students’ perceptions and interactions with content that does not depend on a single sense? Perhaps we can customize how we share information and offer alternatives to just a single method of instructional delivery, like lecturing or slideshows, but instead, use a combination of strategies. How can we consider the language and symbols we use and communicate in a way that creates a shared understanding? Perhaps we can use terms from our students’ native languages or clarify the musical vocabulary and symbols in a way that makes sense to all students, like using multimedia. How can we ensure students’ comprehension and ability to construct meaning and generate new understandings? Perhaps we can rely on students’ background knowledge, highlight patterns and relationships, and help students process information to generalize.

Figure 1

The CAST website (https://udlguidelines.cast.org/) has everything you need to know about UDL

The “how” of learning involves strategic networks of the brain and action and expression for strategic, goaldirected learners to differentiate their expression to share what they know. We can do this by providing multiple means of action and expression. How can we ensure physical action allows students to interact with materials and tools? Perhaps we can provide manipulatives and technology for learning. How can we help students express and communicate their learning and share their ideas? Perhaps we can allow students to use multimedia

to share their knowledge. How can we help students develop executive functions that help them develop and act on plans to make the most out of learning? Perhaps we help students set goals and monitor their progress.

The possibilities are endless, but you may be overwhelmed by how you can provide multiple means of engagement, representation, action, and expression in your classes. Here is an example for elementary general music: Say I want my third-grade students to be able to

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identify rhythms such as quarter notes, eighth notes, and sixteenth notes.

For engagement, you can incorporate relevant and engaging examples, such as familiar songs and rhythms, to help students relate the learning to their own experiences. One idea is to start by having students clap or tap the rhythms of a popular children’s song they are already familiar with. Guide them in identifying the quarter, eighth, and sixteenth notes within the familiar melody. This will help them connect the abstract musical notation to something they already know and enjoy. You could also have students work in small groups to create their own short rhythmic compositions using a variety of note values. Encourage them to draw inspiration from music, rhymes, or chants that are important to their families or communities. This will make the learning more meaningful and empowering. Another option is to find examples of musical pieces or rhythms from the diverse cultural backgrounds represented in your classroom. Invite students to share their knowledge and experiences with these musical traditions. This can spark discussions about how different cultures express rhythm and tempo, further enriching the learning.

For representation, you can provide multiple visual representations of note values, such as animated videos or interactive manipulatives. Offer opportunities for students to hear and experience the different note values through clapping, body percussion, or playing instruments. One effective approach could be using various visual aids and manipulatives to help students understand and differentiate between the different note values. For example, you could create a visual dis-

play that includes large, color-coded cards or symbols representing each note value (such as a big, bold “Q” for quarter notes, an “8” for eighth notes, and a “16” for sixteenth notes), rhythmic counting patterns displayed beneath the note symbols (like “1-2-3-4” for quarter notes, “1&-2&-3&4&” for eighth notes, and “1e&a-2e&a3e&a-4e&a” for sixteenth notes), corresponding visual representations (such as a single, solid block for quarter notes, two connected, half-filled blocks for eighth notes, and four connected, quarter-filled blocks for sixteenth notes), or hands-on manipulatives that students can physically move and arrange to create rhythmic patterns (like wooden blocks, color-coded counting sticks, or rhythm cards or tiles that students can stack and sequence). By providing these varied visual aids and manipulatives, you can help students make connections between the abstract musical notation and the physical representation of the different note values. This multisensory approach can support diverse learning needs and preferences, making the concepts more accessible and engaging for your third-grade students.

For action and expression, you can allow students to demonstrate their understanding through various options, such as creating rhythmic compositions, performing short musical pieces, or explaining the differences between note values in their own words. Provide alternative ways for students to respond, such

as using technology-based tools, drawing diagrams, or acting out rhythmic values. You can start with modeling: demonstrate how to break down a familiar song or chant into its rhythmic components; clap or tap the song’s rhythms, having students follow along; and identify the different note values (quarter, eighth, and sixteenth notes) within the rhythm. Next, provide scaffolding by giving students a template or graphic organizer to visually map out the rhythms of their chosen song, offering a bank of common rhythmic patterns or note values they can incorporate, and encouraging them to experiment with variations and combinations of the note values. Encourage collaboration by having students work in small groups to create their rhythmic compositions, promoting discussion and peer feedback as they develop their ideas, sharing their compositions, and providing constructive comments to the class. Incorporate technology by providing access to digital music creation tools, allowing students to record their compositions and play them back to refine their work and explore options for notating their rhythms. Finally, foster reflection and sharing by giving students opportunities to present their rhythmic compositions to the class, facilitating discussions about the creative process and the musical choices made, and encouraging students to reflect on their learning and how they might apply these skills in the future.

Figure 2

Original third-grade UDL lesson plan for rhythm

3

seventh-grade UDL lesson plan for band

Here is an example for an ensemble class: Say I want my seventh-grade band to play a B b major scale. For engagement, you can encourage students to set their own practice goals and track their progress toward developing better intonation and tone. Offer opportunities for students

to select the pieces or exercises they use to practice their B b major scale skills, such as recording their scale playing and identifying specific areas for improvement or having them set personalized practice goals and track their progress over time to allow them to take ownership of their

learning. Vary practice activities by offering students choices in the types of exercise they use to practice their scales, such as scale pattern variations, interval leaps, or simple melodies incorporating the scale to give students a sense of control and

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Figure

Original

Our Students

continued from page 57

relevance over their practice, which can boost motivation and engagement. Create collaborative practice opportunities by organizing small group or peer practice sessions where students can support and learn from one another, fostering a sense of community and shared responsibility for skill development by providing feedback and suggestions. Allow personalized performance options, like allowing students to choose how they demonstrate their B b major scale mastery, such as individual performances, playing as a small ensemble, or submitting digital recordings; this provides students with choices that align with their comfort levels and preferred modes of expression.

For representation, you can provide video demonstrations of proper B b major scale technique, including fingerings, embouchure formation, and breath support. Audio examples can also show what a well-executed B b major scale should sound like, highlighting the characteristics of good intonation and tone. These models and demonstrations can help students see and understand the physical movements and processes involved in executing the scale correctly and hear what it should sound like. You could also ask students to compare their performance to the model recordings and identify areas for improvement. Fingering charts that show the correct fingerings, as well as any alternative fingerings or adjustments, can be annotated with tips or reminders and help students who benefit from visual references during practice. Combining written explanations, diagrams, video demonstrations, and audio examples into comprehensive, multimodal instructional materials provides students with multiple

representations of key concepts and skills, catering to diverse learning preferences and needs.

For action and expression, you can allow students to choose how they demonstrate their scale playing, such as one-on-one performance, playing in small groups, or digital recordings. This provides students options that align with their comfort levels and preferred modes of expression. Students can select options for receiving feedback, such as peer evaluation, teacher feedback, or self-assessment using a rubric. This encourages students to take an active role in monitoring and improving their scale-playing techniques. Additionally, you can utilize digital tools, such as tuning apps or recording software, to give students immediate, specific feedback on their B b major scale intonation and tone quality, helping them identify improvement areas and make targeted adjustments to their technique.

While some of these ideas might be completely new, and some might be things you know just with a new name, they are scientifically and neurologically proven to support the students in your classes. However, you do not have to do this all on your own. Amid the AI revolution, one of my favorites has been Ludia, a UDL bot. At https://poe.com/Iudia, you can put in your lesson plan or even a problematic classroom management situation, and Ludia will provide you with

insight and suggestions from a UDL perspective. UDL can seem overwhelming at first. However, with the support of our resources and colleagues around us, we can ensure that every student can succeed in music class.

Nerissa R. M. Rebagay is a doctoral student at the University of Miami studying neurodiversity, creativity, and music teacher training. She was a 2020 FMEA Emerging Leader, 2021 Miami-Dade County Public Schools Rookie Teacher of the Year, and in Yamaha’s 2023 “40 Under 40” cohort.

References

CAST (2025). Universal Design for Learning. https://www.cast.org/what-we-do/ universal-design-for-learning/ Ludia Chat Bot. (n.d.). https://poe.com/Iudia Mayer, R. E. (2003). The promise of multimedia learning: Using the same instructional design methods across different media. Learning and Instruction, 13(2), 125–139.

Nancekivell, S. E., Shah, P., Gelman, S. A., Kendeou, P., & Graham, S. (2020). Maybe they’re born with it, or maybe it’s experience: Toward a deeper understanding of the learning style myth. Journal of Educational Psychology, 112(2), 221–235.

Reiner, C., & Willingham, D. (2010). The myth of learning styles. Change, 42(5), 32–35.

Rose, D. H., & Meyer, A. (2002). Teaching every student in the digital age: Universal design for learning. Association for Supervision and Curriculum Development.

Steinfeld, E., & Maisel, J. (2012). Universal design: Creating inclusive environments. John Wiley & Sons, Inc.

Please take time to thank and support our 2024-2025 Academic Partners.

BRONZE PARTNERS

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

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

Please take time to thank and support our 2024-2025 Corporate Partners.

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Iwouldlike to take the time to reflect on all of the great events and productive conversations we shared last month at the FMEA Professional Learning Conference. First, please join me in congratulating those who presented at our FCMEA-sponsored sessions. Dr. Marc Decker and Dr. DaLaine Chapman shared helpful strategies for preparing preservice music educators for teacher certification exams. With the many changes endured by our students in the last few years, this was a timely subject for most music teacher educators in Florida. Nerissa Rebagay and Dr. Carlos Abril provided great insight into cultivating leadership among preservice music educators. This presentation was particularly engaging as four undergraduate music education majors, Nicole Ferretti, Jonah Schertz, Rowan Kloss, and Chris Enriques, joined their professors to share their personal experiences and perspectives. Our conversations in our Higher Education Panel this year were also very insightful and timely. Having not only music education professors Dr. Mark Belfast, Dr. Margaret Flood, and Dr. Nicholas Thomas, but also the unique perspectives of Dr. Christopher Burns of Osceola County Public Schools and Prof. Kenrick Wagner, director of commercial music

at the University of South Florida, created great discussion between panelists and audience members. In addition to our sessions, FCMEA also sponsored two meetings: our general business meeting and the second annual Collaborative Connections in Higher Education meeting. Our Collaborative Connections meeting is growing. University professors and students from around the state discussed various ideas for supporting and retaining music education majors. Aside from our sponsored events, we would also like to recognize our great members who presented, conducted, facilitated, and helped make the conference one of the best yet! Thank you for all you do for FCMEA, FMEA, and its component organizations.

During our general business meeting, we voted on our new presidentelect. Please join me in congratulating Dr. Margaret Flood, assistant professor of music and coordinator of music education at Florida Southern. Congratulations! Additionally, we voted to add two new awards for FCMEA’s membership—the Research and Creative Activity Award and the Excellence in Teaching Award. These awards are not part of the FMEA awards but will be announced every January at our general business

meeting. These awards will consider the last three years of a member’s research and creative activity/excellence in teaching to celebrate those who have had recent accomplishments in each field. Stay tuned for more information on how to apply.

Even though the semester seems to be getting busier by the minute, there is still time to submit proposals for the Visiting Scholar and Creative Explorations grants (due March 15). Please

note that collaborations are encouraged. Only full FCMEA members can apply; however, collaborations with full and collegiate or retired members are permitted. Also, our mentorship program application is ongoing, so if you would like to join as a mentor, mentee, or both, please apply. To access proposals and forms for these initiatives, please visit our website, FCMEA.org or contact sadorno@fiu.edu.

Have a great semester!

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

Sandra Sanchez Adorno, PhD President

WhatFLORIDA MUSIC SUPERVISION ASSOCIATION

Christopher Burns, PhD President

an extraordinary start to 2025! The Florida Music Education Association (FMEA) conference this January was nothing short of spectacular, and I am thrilled to share some reflections and exciting updates with our music education community.

Celebrating Our Future Educators

First and foremost, I want to extend a profound congratulations to the incredible future music educators who attended the conference. Their energy, passion, and commitment were truly remarkable. Walking through the conference halls, I was struck by the bright-eyed enthusiasm of our emerging professionals—young musicians and educators who are not just preparing to enter the field, but are ready to transform music education in Florida.

These emerging professionals represent the heartbeat of our musical landscape. Their innovative ideas, technological savvy, and deep commitment to music education promise a vibrant future for arts instruction across our state. They aren’t just learning— they’re reimagining what music education can be.

FMSA Website: Connecting Our Community

I’m excited to announce significant updates to our Florida Music Supervision Association website. We’ve developed an interactive, user-friendly platform that will assist music supervisors and educators connect across Florida.

While more updates are on the way, the centerpiece of our new site is a comprehensive, geographically mapped directory of current music supervisors. Imagine being able to quickly locate a professional contact in your county or a neighboring region with just a few clicks. This tool will foster collaboration, support, and professional networking like never before.

Seal of Fine Arts: Continuing Excellence

As we move forward in 2025, I want to remind everyone about the ongoing Florida Seal of Fine Arts program. This prestigious recognition continues to highlight the exceptional work happening in our music classrooms. Educators can find comprehensive information through their district arts supervisors or by visiting the Florida Department of Education Seal of Fine Arts page. The Seal of Fine Arts isn’t just an award—it’s a testament to the rigorous standards and exceptional

quality of music education in Florida. It celebrates programs that demonstrate outstanding commitment to musical excellence and student development.

Looking Ahead

As your FMSA president, I am continuously inspired by the dedication, creativity, and resilience of Florida’s music education community. We are more than educators— we are artists, mentors, and champions of creative expression.

Our profession has always been more than teaching notes and rhythms. We are cultivating creativity, building confidence, and providing students with a powerful means of personal expression. In an increasingly digital and fast-paced world, music education remains a critical pathway for emotional intelligence, cultural understanding, and personal growth.

To our seasoned professionals, emerging educators, and passionate students: thank you. Your commitment makes music not just a school subject, but a transformative experience. Stay inspired, stay connected, and keep making music!

FLORIDA NAfME COLLEGIATE

Mark A. Belfast, Jr., PhD Advisor

Reflect and Refresh

BY ELIZABETH BEWIE

Greetings, NAfME Collegiate members!

I hope this finds you well and continuing to sharpen new tools from FMEA, preparing for concerts and recitals, walking the walk from music student to teacher, and likely pushing ahead to spring break!

Today I invite you to join me in a brief time of reflection. You might reflect on your time at FMEA this year: who you met or reconnected with, what you heard, what sparked joy or enthusiasm or motivation in you, how you might do things differently next year. You might reflect on your journey thus far as a future music educator. You might choose to reflect after the school day is done, focusing on the wins of the day; in the evening before bedtime, focusing on what brought you peace; or in the morning, welcoming a new day, refreshed and ready to go for it!

Reflection, and the feedback it brings, is such a gift! If this is a new practice for you, I encourage you to give it a try. Find a quiet space, ideally with no phones or devices. Write down your thoughts in a journal or speak them aloud. If you’ve hit a speed bump, or something has been lingering, write it

out or talk through it. Breathe deeply and listen. Be present and allow whatever’s on your mind to dissolve into peace. By taking time to reflect, we seal in understandings; we take time to process; we can look at different perspectives; we mature and make progress in our thinking and mindset; and we create space for fresh, new ideas, hope, joy, and laughter. Sharpen this reflection tool every day or every week. You will need it when you get to student teaching and your first job!

March is Music in Our Schools Month and presents another wonderful opportunity to practice

reflection: making time and space to remember those who have helped us or taught us and to say thank you. Perhaps it’s your middle or high school ensemble director, a professor from last semester (music or nonmusic), or your duet partner from class piano. Let’s not forget administrators, office managers and assistants, and custodians! Reflect on these

extraordinary people and the gifts they’ve shared with you, the grace they’ve offered you, the summit to which they’ve called you. Hand write them a personal note and say thank you! Just like with your journaling, be specific and speak from the heart. These reflection practices are so powerful, and lifelong! You can start any time, at any age. As future teachers, we need power tools in our toolbox to be our best each day—in the classroom and out. Taking time and creating a quiet space to reflect—to receive feedback and teachings, celebrate wins, consider what you’d do differently, and allow any stressors to dissolve into peace—is a winning practice that refreshes us, mind, body, and spirit. Savor your time in reflection and pass the practice on to someone else!

Elizabeth Bewie is a visiting assistant professor at FGCU, where she teaches music education classes, class piano, and serves as coordinator of music education and NAfME Collegiate advisor. She has taught choral/general music at the middle, high school, and college levels, in New Jersey, Ohio, and Florida.

COLLEGIATE

Jason Lane President

Greetings, everyone, I am Jason Lane, a third-year music education scholar from the illustrious Florida A & M University, and I proudly serve as the new president of Florida NAfME Collegiate.

Writing my first FMEA newsletter article as the sitting president brings me much pleasure. As I write this article, I get enthusiastic about the future of NAfME Collegiate and reflect upon the fantastic leadership of Past President Megan Robichaud and the work that our Executive Board accomplished.

Last year was full of “first experiences” for me, including my first Hill Day at the Capitol, May Meeting, and Fall Conference. As the presidentelect during that year, I was extremely nervous, and in the beginning felt that I wasn’t doing enough to contribute to the success of NAfME Collegiate. However, I made it through with the guidance of outstanding executive board members such as Megan Robichaud, Joshua Robles-Crespo, and Megan Rodriguez, who already served a year in their positions. Also, with the connections I made with Leslie Flasterstein and Ryan Lumm, I could relate to people who shared similar feelings about entering their positions. As the year progressed and I connected with many collegiates and professionals from across the state, I began to understand what NAfME Collegiate truly stands for. Not only do we advocate for music education, but in that process, we build life-long relationships with others who share the same goals and aims for the future as we do.

Now, I serve as president. When I say that to myself, I think, “Wow. One year goes by fast!” This time, however, I am not nervous and do not feel as if I cannot contribute enough to NAfME Collegiate. After serving as president-elect and absorbing everything our Executive Board did, I am more than equipped to lead this year’s NAfME Collegiate and the incredible Executive Board that was selected. In a meeting with the last Executive Board, Dr. Mark Belfast, and Dr. Deb Confredo, Dr. Confredo explained to us that the goal for any leadership team is not to undo or change what the previous team did but to enhance what they did with the addition of one or two new aspects. This year, I look to expand upon the efforts of past NAfME Collegiate executive boards and incorporate changes that will make our organization more efficient, cohesive to everyone, and exciting to be a part of. Last year, we had almost 100 students represent 12 schools at the Fall Conference, and about 70 new collegiates joined our mission of being a voice for music education. This year, we only plan to do better.

I am ecstatic about this new presidency and look forward to seeing what experiences will come next.

Go, Florida NAfME Collegiate! FLORIDA NAfME

MULTICULTURAL NETWORK COMMITTEE

Arnekua Jackson, PhD Chairperson

DATE:

FRIDAY, JUNE 20, 2025

LOCATION: ST. THOMAS UNIVERSITY, MIAMI GARDENS, FLA.

REGISTRATION FEE: $30 (INCLUDES LUNCH)

Join Us for the 2025 FMEA Multicultural Network (MCN)

Annual Summer Music Education Conference Workshop!

This year’s conference is a must-attend event for music educators, collegiates, and professionals who are passionate about fostering inclusion and innovation in music education. With the theme Harmony in Motion, the conference will emphasize collaboration, creativity, and the power of multicultural music to inspire and transform classrooms and communities.

Why You Should Attend

IMPACTFUL SESSIONS:

Engage in dynamic, interactive sessions designed to equip attendees with innovative strategies for embracing multicultural perspectives in music education. Learn how to:

w Integrate global music traditions into your lesson plans;

w Foster welcoming environments that celebrate the richness of musical traditions; and

w Inspire creativity and connection across all student demographics.

EXPERT SPEAKERS:

Gain valuable insights from renowned educators, performers, and thought leaders who are at the forefront of multicultural

music education. Their stories and expertise will provide practical takeaways to elevate your teaching practices.

INTERACTIVE WORKSHOPS:

Participate in hands-on workshops that delve into the rhythms, melodies, and traditions of cultures from around the world. Discover new approaches to teaching music that honor cultural authenticity while sparking student engagement.

NETWORKING OPPORTUNITIES:

Connect with like-minded educators and professionals who share your passion for multicultural music education. Exchange ideas, collaborate on future projects, and build lasting professional relationships.

Reserve Your Spot Today!

This conference is your opportunity to explore how music can transcend barriers, foster understanding, and inspire unity across all backgrounds.

Register now to secure your spot for this transformative experience!

For more information, please contact Dr. Arnekua Jackson, director of vocal arts at St. Thomas University, arnekuajackson@gmail.com

Research Puzzles

TEACHERS

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

FMEA RESEARCH COMMITTEE

William I. Bauer, PhD Chairperson, University of Florida FOR MUSIC

Coffee, Meta-Analysis, and Self-Efficacy

BY MICHAEL S. ZELENAK, PHD

It’s healthy to drink coffee; it’s not healthy to drink coffee. Research findings can be contradictory. One approach to reconciling these contradictions is a methodology called meta-analysis. I recently conducted a meta-analysis to determine the strength of the relationship between self-efficacy and achievement in music performance (Zelenak, 2024). This investigation combined findings from multiple, and sometimes contradictory, studies to arrive at a reasonable estimate of the strength of this relationship.

Background

Bandura (1997) identified self-efficacy as a powerful determinant of human thought and action. He proposed the belief in one’s abilities affected their choice of activity, effort, perseverance, degree of stress, and level of achievement. For example, I have

strong self-efficacy beliefs for playing the piano, but weak beliefs for playing golf. If you invited me to play the piano, I would gladly accept your invitation but would reject your offer to participate in a golf tournament.

Purpose and Research Question

Since self-efficacy beliefs are linked to specific activities, researchers have examined its role in a variety of domains. One area of interest in music education has been the relationship between self-efficacy and performance achievement. I noticed that findings from individual studies range from r = -.06 (Stewart, 2002) to r = .69 (Hewitt, 2015). These varied findings beg the question, what is an accurate estimate of the strength of this relationship?

continued on page 68

Research Puzzles

FOR MUSIC TEACHERS

continued from page 17

Methodology

Single quantitative studies typically test for statistical significance (i.e., the likelihood that the result was not a chance finding) (Ellis, 2010). A meta-analysis, however, examines the practical significance (i.e., effect size) from single studies to arrive at an estimate of the effect as it occurs in the population (Card, 2012). In addition, the meta-analytical process elevates the accuracy of its estimate by adding weight to each study’s effect size based on its sample size. Studies with larger samples are given more weight while studies with smaller samples are given less because smaller samples are typically less precise and contain more measurement error. Additional benefits to conducting a meta-analysis include the ability to (a) organize existing research; (b) combine findings from studies using different research methods, measures, and samples; and (c) isolate factors that account for the differences in results.

Data Collection

I searched through numerous databases and journals using the keywords “self-efficacy AND music” and identified 220 articles and dissertations. Given my research question, I narrowed the number of documents down to 19 by eliminating all studies that were not quantitative in approach and did not have findings relevant to the research question.

Findings

The findings from a meta-analysis are easily communicated through a forest plot (Figure 1). The source documents are listed along the left margin and their findings along the right. For each study, the size of the square indicates the sample size and the horizontal location illustrates the mean effect size. The horizontal lines attached to each box represent confidence intervals.

The bold diamonds at the bottom of the figure indicate the mean effect sizes. The weighted mean effect size is larger (r = .56) but less accurate than the random-effects mean effect size (r = .44). The random-effects mean effect size includes the error found within the sample and the error between samples (i.e., different populations). The weighted effect size only includes the error within the sample. Since these studies contained data from different populations, the random-effects mean is more appropriate and accurate than the weighted mean. Additional evidence supporting this conclusion is found by drawing a vertical line from each effect size mean through the confidence intervals of the listed studies. Sixteen studies have confidence intervals that cross the line drawn through the random-effects mean while only 14 studies have confidence intervals crossing a line through the weighted mean.

This meta-analysis estimates the mean effect size to be r = .44, p < .05, 95% CI [0.34: 0.54]. Cohen (1992) provides guidance to interpreting a moderate effect size as “represents an effect likely to be visible to the naked eye of a careful observer” (p. 156).

Taking this analysis one step further, I questioned whether the participants’ ages or instrument type influenced the relationship. The results from this “moderator” analysis indicated that the strength of the relationship was significantly stronger (p < .001) among secondary school musicians (r = .55) than collegiate musicians (r = .40). No difference was found between instrumentalists and vocalists.

Discussion and Implications

Based on the findings in this meta-analysis, musicians with stronger beliefs in their musical abilities are more likely to attain higher levels of achievement than those with weak beliefs. The intentional development of self-efficacy may influence secondary school students more than collegiate students with no difference between instrumentalists and vocalists.

Bandura (1997) identified four sources of information that contribute to the development of self-efficacy. Strategies are available to address each source (Zelenak, 2020). The following examples are organized by source.

1. Enactive Mastery Experience

• Facilitate repeated experiences of success

• Match repertoire to the student’s ability level

• Encourage students to attribute successes to skill or the use of strategies

• Use targeted strategies to focus the student’s attention on specific behaviors

• Set goals for students and provide them with evidence of their accomplishments

• Allow students to exert control over their own learning

• Use scaffolding to balance effort and task difficulty

• Urge students to experience activities in a variety of contexts

2. Vicarious Experience

• Encourage students to examine performances of other musicians like themselves

• Allow students to work in small groups

• Use peers to demonstrate their abilities

• Avoid direct comparisons of students

• Have students model the appropriate behaviors

3. Verbal/Social Persuasion

• Provide words of encouragement

• Offer frequent and specific feedback

Figure 1

Forest Plot of Self-Efficacy and Achievement Effect Sizes

Note: Size of the shape represesnts sample size. Lines illustrate confidence intervals.

Note. Size of the shape represents sample size. Lines illustrate confidence intervals.

• Match feedback to the student’s ability level

• Develop trust in the student-teacher relationship

• Recognize student achievement with awards and certificates

• Give students reasons to believe they can be successful in the future

4. Physiological and Affective States

• Invite students to challenge inaccurate self-perceptions

• Teach coping strategies to control performance anxiety

• Avoid perfectionism by focusing on expression

• Set short-term goals that lead toward long-term accomplishments

• Eliminate competition

• Create a sense of community

• Be patient when waiting for improvements

• Support the preferences of students

Meta-analyses summarize contradictory findings to arrive at a consensus of phenomena in our world. The meta-analysis cited in this article provides insight into the self-perception of selfefficacy. Additional meta-analyses are needed in music education.

Michael S. Zelenak, PhD, serves on FMEA’s Research Perspectives in Music Education editorial board. He was coordinator of music education at Alabama State University and taught music at middle and high schools in Pinellas County, Florida. His research appears in Psychology of Music and Journal of Research in Music Education.

References

Bandura, A. (1997). Self-efficacy: The exercise of control. W. H. Freeman & Co. Card, N. A. (2012). Applied meta-analysis for social science research The Guilford Press.

Cohen, J. (1992). A power primer. Psychological Bulletin, 112(1), 155–159.

Ellis, P. D. (2010). The essential guide to effect sizes: Statistical power, meta-analysis, and the interpretation of research results. Cambridge University Press.

Zelenak, M. S. (2024). Self-efficacy and music performance: A meta-analysis. Psychology of Music, 52(6), 649. https://doi.org/10.1177/03057356231222432

Zelenak, M. S. (2020). Developing Self-Efficacy to Improve Music Achievement. Music Educators Journal, 107(2), 42-50. https://doi.org/10.1177/0027432120950812

Email your questions and feedback to wbauer@ufl.edu with a subject heading Research Puzzles.

TALLAHASSEE

FLORIDA STATE UNIVERSITY

MAY 17, 2025

UNIVERSITY OF SOUTH FLORIDA

MAY 15, 2025

SANTA FE COLLEGE

MAY 9, 2025

TAMPA

GAINESVILLE

CONTEMPORARY MEDIA COMMITTEE

Clint Randles, PhD Chairperson

The Florida Music Education Association Crossover Festivals are designed to encourage musical creativity, critical thinking, and collaboration by students in K-12 schools.

Teachers are welcome to bring their student bands to a festival experience that will celebrate their students’ achievements in the area of cover song and original song performance. Students will perform a 10-minute set of cover and original music and then have a 30-minute coaching session by a music teacher producer from the hosting institution. Students should plan on spending the day to hear other bands perform and experience the unique program of each host institution. There will be performances from university students, presentations from members of the music industry, and valuable Q&A sessions for how to make better music. All student performances will be professionally multitrackrecorded. At the end of each festival, two bands will be awarded the honor of having one of their original songs released on a special album following the festivals. Here is a link to the 2024 Festival Album

General Guidelines:

1. All Florida student bands in grades K-12 are eligible to participate. Students must, however, be nominated by an FMEA member teacher.

2. Students can enter one of three divisions: elementary (K-5), middle school (6-8), or high school (9-12).

3. This is a group festival. Groups can consist of two or more individuals.

4. Each student can only be involved in one submission.

5. The submission deadline is 5 pm EDT on March 21, 2025

Each Group Must Submit a Performance of:

1. A Cover Song. Cover songs are songs written and/or performed by an artist who is not the student(s) performing.

2. An Original Song. Original songs are songs written and/or performed by the songwriter(s) at the festival.

Submission Guidelines:

w Submissions can include original compositions, mash-ups, partner songs, re-mixes, covers, etc. Live performance pieces must be no longer than four minutes in length.

w Submissions must include both a cover song and an original song. Performances can involve any single musical style or combination of musical styles. While live performance com-

positions can include any combination of instruments and vocalists, they must prominently feature at least one digital instrument (computers, electric guitars, phones, electronic toys, tablets, synthesizers, midi controllers, microphones, electronic drums, loopers, etc.).

w The inclusion of other performing arts, such as movement, dance, theater, poetry, and visual art, is encouraged.

Submission Process:

FMEA member teachers may nominate as many students and/or student groups as they wish. Each nomination must include the following:

1. A video recording of a live performance of the two full pieces.

• The video should be uploaded to a video-sharing site such as YouTube, Vimeo, TeacherTube, or the composer’s or school’s/teacher’s website. Make sure it’s set so that anyone with the link can view the video. For example, in YouTube, this would be “Unlisted” but not private, and in Google Drive the sharing settings should be “anyone with the link” can view. The online application will ask for the link/URL.

• If submitting an audio recording, it should be an mp3 file. The application will ask you to upload it.

2. The online application will ask for: composer name(s) and email(s), school name(s), year(s) in school, composition title, duration, listing of instrumentation and equipment used, an analysis of the piece’s form, one or two paragraphs describing the compositional/creative process, a listing of student performers that includes name, email, school name, year in school, and type of participation in the composition for each student, and links to uploaded video/audio files.

The submission deadline is 5 pm EDT on March 21, 2025 Only applications completed by this time will be considered. Students whose works are selected for performance will be notified by March 28 and will be expected to attend the event.

Payment:

No up-front payment is required to apply, but entry fees for the groups selected to participate will be $20 per student, which must be paid to FMEA before the festival date.

Crossover Music Festival Application

Cultural Complexity, Distributive Fairness, and Humanity (CDH) Advocates for Students

and Teachers

DIVERSE LEARNERS COMMITTEE

Christine Lapka, EdD Chairperson

With Disabilities

Eliminating

CDH initiatives in educational settings can have adverse effects on students and teachers with disabilities. CDH programs are designed to help people lead productive lives.

Special education is a prime example of CDH in action. Historically, students with disabilities were kept in institutions, not educated in public schools, or educated out of view in segregated schools or hidden classrooms. If you want a candid view of what life was like for people with intellectual disabilities in the 1950s, please explore Where’s Molly (Blackstone, 2010). Molly

would have had a much better life with her family; however, as a baby, she was removed from the home and placed in a residential facility. After that, she did not have contact with her family. Because of the work of CDH advocates, Congress enacted the Education for All Handicapped Children Act (Public Law 94-142), also known as the EHA and later named the Individuals with Disabilities Education Act. “Before EHA, many children were denied access to education and opportunities to learn. In 1970, U.S. schools educated

only one in five children with disabilities, and many states had laws excluding certain students, including children who were deaf, blind, emotionally disturbed, or had an intellectual disability (Individuals with Disabilities Education Act, 2024).” It is obvious that CDH has made life better for students and teachers with disabilities.

Eliminating CDH can have adverse effects on students with disabilities in schools. CDH also advocates for including students in classes with typical peers. We know that treating people humanely by making them

a part of society is beneficial for all involved. Everyone learns to accept differences and to notice commonalities. Studies show that inclusive environments improve the social and communication skills of students with disabilities. By interacting with their non-disabled peers, these students can develop stronger communication abilities and build better social connections (Jardinez & Natividad, 2024). Conversely, segregating students with disabilities can foster the false belief that they are inherently different and should be kept apart. This separation can harm the classroom environment and negatively influence students’ views on diversity (cultural complexity) and inclusion (humanity). According to a study by Fisher et al. (1999), segregated classrooms tend to reinforce negative stereotypes and limit chances for meaningful interactions between students with and without disabilities. Without the advocacy provided by CDH, will we begin to repeal or ignore the Individuals with Disabilities Education Act (IDEA) or similar laws and go back to excluding students from neighborhood schools?

Likewise, teachers with disabilities rely on the Americans with Disabilities Act (ADA) for several key protections and accommodations in the workplace. Here are some ways the ADA supports them:

w Cultural Complexity: The ADA prohibits discrimination against individuals with disabilities in employment. This means that teachers with disabilities cannot be denied employment opportunities or treated unfairly because of their disabilities (Americans with Disabilities Act, 1990).

w Fairness: Employers, including schools, are required to provide reasonable accommodations to enable teachers with

disabilities to perform their job duties. This can include modifications to the work environment, assistive technologies, or adjustments to work schedules (ADA Network, 2025).

w Fairness: The ADA ensures that school facilities are accessible to teachers with disabilities. This includes physical access to classrooms, rest rooms, and other areas, as well as access to necessary resources and materials (Americans with Disabilities Act, 1990). These provisions help create an inclusive and supportive work environment for teachers with disabilities, allowing them to contribute effectively to their schools and students. It would be a sad day if we turn our backs on cultural complexity, distributive fairness, and humanity (CDH–one letter away from another maligned acronym).

References

ADA National Network. (2025, February). Disability rights laws in public primary and secondary education: How do they relate? https://adata.org/factsheet/disability-rights-laws-public-primaryand-secondary-education-how-do-they-relate

Americans With Disabilities Act of 1990, 42 U.S.C. § 12101 et seq. (1990). https://www.ada.gov/pubs/adastatute08.htm

Blackstone, John. “Where’s Molly?” CBS News, November 28, 2010, https://www.cbsnews.com/news/wheresmolly/#textTurns20out2C20 Jack20Daly20alsowhere20Molly20was20actually20living. Accessed February 2025

Fisher, D., Sax, C., Rodifer, K., & Pumpian, I. (1999). Teachers’ perspectives of curriculum and climate changes. Journal for a Just and Caring Education, 5(3), 256–268.

Individuals with Disabilities Education Act. (February 16, 2024). A history of the individuals with disabilities education act. https://sites.ed.gov/idea/IDEA-History

Jardinez, M. J., & Natividad, L. R. (2024). The Advantages and Challenges of Inclusive Education: Striving for Equity in the Classroom. Shanlax International Journal of Education, 12(2), 57–65. DOI: https://doi.org/10.34293/education.v12i2.7182

FLORIDA BANDMASTERS ASSOCIATION

Jeff Cayer, EdD President

A Look Back: Reflecting on January’s Successes

As we transition into the second semester of the school year, it is valuable to take a moment to reflect on our successes and experiences. January brought refreshing, cool

weather and an invigorating experience at the Florida Music Education Association (FMEA) Professional Learning Conference. This annual event provided an opportunity to engage in enlightening clinics, to attend outstanding concerts, and to

connect with colleagues— both long-time friends and new acquaintances. Returning to the classroom after the conference, I felt rejuvenated, equipped with fresh ideas, and eager to begin a new season. The enthusiasm in the band room

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Ashley Peek President

Happy“almost spring.” I hope everyone is feeling refreshed after this year’s conference. I know I am after such incredible performances and presentations. Reflecting back on the conference, there wasn’t a single experience that wasn’t a wonderful learning experience. As always, though, our high-caliber all-state ensembles are at the top of my list. These ensembles truly reflect a culmination of our hard work and dedication as music educators, and getting to see the joyous faces of these young musicians gives life to my “why” as an elementary music teacher. I always feel energized after all-state performances. The quality and creativity of our all-state clinicians and students never cease to amaze!

Our conference sessions were top-notch as well. The variety of sessions I was able to attend was wonderful, from Kodály, Orff, and Dalcroze to ukuleles, recorders, and more. Thank you to our sponsors, Peripole and West Music. Your dedication to music education and to our conference is immensely appreciated. Thank you for providing session room and all-state

instruments, as well as sponsoring this year’s superb headliners, Dena Byers and Katie Traxler. The sessions by these talented presenters were inspiring. And we cannot forget our out-of-this-world dynamic duo, Sandy Lantz and Gretchen Wahlberg. Their stellar Thursday night session will certainly be one to remember with such excitement and a glowing good time!

These experiences do not come together without an incredible team, and I want to be sure to thank the entire Florida Elementary Music Educators Association Executive Board for their willingness to serve and for the many hours of work they put in to help make this conference a success.

I would also like to thank our local committee who helped provide session room instruments and help in many different ways. Your willingness to serve is greatly appreciated.

And to every single teacher who attended this year’s conference, thank you for your dedication to music education. I hope you all left this conference with new ideas, joyful memories, and the fire to continue the semester on a high note.

was palpable as students eagerly read through new repertoire and began the process of selecting pieces for the upcoming music performance assessments (MPA). The sense of excitement and anticipation was a clear indication that students were prepared to rise to the challenges of assessment season.

Navigating February and March in the Band World For band directors, the months of February and March represent one of the most demanding stretches of the year. A whirlwind of rehearsals, assessments, and events fill our calendars— concert band pre-MPAs, MPAs, solo and ensemble festivals, jazz band MPAs, fundraisers, all-county performances, field trips, and the continuous daily responsibilities that come with leading a program. The sheer volume of tasks can make time feel insufficient, and it is easy to become consumed by the demands of the job.

During this hectic season, it is crucial to remember a fundamental truth: students join band because it is fun and they find joy in making music. The rehearsal process, performances, and the sense of belonging fostered in an ensemble are what

keep students engaged and motivated. As directors, maintaining this perspective can help us balance the stress of preparation with the underlying purpose of our work—cultivating a love for music. Equally important is recognizing the need for selfcare. Ensuring we prioritize our well-being allows us to be the best educators for our students.

Strategies for Managing the Demands of the Season

With the heightened workload of February and March, it is vital to implement effective strategies to manage responsibilities while maintaining a healthy balance. Here are a few key approaches:

1. Leverage Mentoring and Support Networks. The Florida Bandmasters Association (FBA) offers a range of mentoring opportunities beyond just the “Extra Ears” initiative. Seeking guidance from seasoned directors can provide valuable insights on refining ensemble sound, improving sight-reading strategies, and achieving overall performance readiness. Engaging in mentorship can alleviate some of the burden of preparation and enhance the quality

of student performances. FBA’s mentoring program is an excellent resource for directors at all stages of their careers. More information can be found on the FBA mentoring page

2. Prioritize Effective Time Management. Time is an invaluable resource, especially in the lead-up to MPA season. Establishing clear rehearsal objectives and maximizing efficiency in each session can prevent burnout and create a structured path toward success. Directors should focus on targeted skill-building, address problem areas proactively, and ensure that rehearsals remain engaging and productive. Additionally, allocating time for score study, administrative tasks, and logistical planning outside of rehearsal hours can prevent last-minute stress.

3. Maintain Work-Life Balance. Balancing professional responsibilities with personal wellbeing can be challenging, particularly during peak seasons. Dr. Dré Graham and the FBA Health and Wellness Committee provide valuable resources to help directors develop sustainable work habits while preserving a fulfilling per-

sonal life. Implementing structured boundaries, delegating responsibilities when possible, and dedicating time to non-work activities can contribute to long-term success and mental well-being.

4. Keep Students Motivated and Inspired. As the pressure of assessments builds, maintaining a positive and motivating rehearsal environment is key. Encouraging students to embrace the growth process, celebrating small victories, and fostering a culture of collaboration can help alleviate stress. Reminding students of their progress and reinforcing their accomplishments can enhance confidence and performance outcomes.

Looking Ahead: Spring Break as a Time for Renewal

Amid the rigor of rehearsals, performances, and logistical preparations, it is important to keep a forward-looking perspective. Spring break, a well-deserved period of rest and rejuvenation, is on the horizon. Visualizing a time of relaxation—whether traveling to a favorite destination or simply unwinding at home— can serve as a motivating force to push through the busiest weeks of the semester.

As we move forward, directors should remind themselves that the effort and dedication invested during this season ultimately lead to rewarding experiences. The growth witnessed in students—both musically and personally—makes the journey worthwhile.

Final Thoughts:

Embracing the Journey February and March stand out as some of the most demanding yet fulfilling months in the band director’s calendar. The challenges of this season serve as stepping stones toward student achievement and program success. By prioritizing selfcare, seeking mentorship, maintaining a balanced workload, and fostering an engaging rehearsal environment, directors can navigate this time with confidence and purpose.

Remember, the ultimate goal is not just the performance itself but the journey of musical growth and shared experiences along the way. Stay resilient, lean on your support network, and most importantly—keep the fun alive in your program.

Go, Band!

FLORIDA VOCAL ASSOCIATION

David Pletincks President

Make your plans now to join us in July for the 2025 FVA Summer Professional Development Conference in collaboration with Head’s House of Music’s Choral Panorama. This exciting three-day conference will take place July 23-25 at the Hilton in Altamonte Springs. It promises to be an enriching experience for choral music educators across the state, offering a variety of opportunities for professional growth and networking. Whether you’re a seasoned veteran or just starting out, this conference is the perfect chance to sharpen your skills, connect with peers, and stay up-to-date with the latest in choral music repertoire.

Choral Panorama, sponsored by Heads House of Music and Hal Leonard Publishing, gives attendees the opportunity to engage with new choral works, discover fresh repertoire, and gain valuable insight from wonderful clinicians. These sessions are designed

Why Attend?

w Networking Opportunities: Connect with fellow music educators from across Florida, exchange ideas, and build lasting relationships with others who understand the unique challenges and joys of choral music education.

w Personal and Professional Growth: With dynamic sessions and performances, this conference will offer practical takeaways that you can immediately apply to your teaching and musical practice.

w Inspiration and Fun: The conference is designed to be not only educational but also enjoyable. It’s a chance to recharge and leave feeling renewed, energized, and motivated for the year ahead.

to provide practical resources and techniques that you can bring back to your classroom, enhancing the experience for both you and your students.

This year’s presenters for Choral Panorama include Carrie Tennant, artistic director of the Vancouver Youth Choir, and Tom Shelton from Westminster Choir College.

In addition to the reading sessions, we are thrilled to offer a series of interest sessions, led by some of Florida’s most respected music educators. These expert-led workshops will cover a variety of topics,

from classroom techniques to performance strategies, and everything in between. In addition to the large group interest sessions, we will have multiple options for breakout sessions looking at everything from vocal technique to preparing your students for all-state auditions. It’s a great opportunity to glean knowledge from many of your amazing colleagues here in Florida.

Once again, our conference will kick off on Wednesday morning with a performance by our 6th Grade Florida Treble All-Stars Honor Chorus under the direction of Evan Powers. After a long summer of not hearing treble voices, it was such a delight last year to hear such beautiful singing from these outstanding young singers. It certainly adds to the excitement of a new year coming around the corner in a few days.

Thursday evening will feature our awards ceremony for our new Hall of Fame inductees and those receiving many other awards for their outstanding service to the FVA. If you have not attended the conference in the past, make this the year. You may just create a new summer tradition for yourself! I hope to see you all there.

FLORIDA MUSIC EDUCATION ASSOCIATION

Officers and Directors

EXECUTIVE BOARD

President Jason P. Locker

Orange County Public Schools

445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jasonlocker@fmea.org

Past President

Shelby R. 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

President-Elect

Harry “Skip” Pardee, EdD

Collier County Public Schools 5775 Osceola Trail; Naples, FL 34109-0919 (239) 377-0087; pardeh@collierschools.com

FBA President Jeff Cayer, EdD president@fba.flmusiced.org

FCMEA President Sandra Sanchez Adorno, PhD

Florida International University 10910 SW 17 St.; Miami, FL 33199 sadorno@fiu.edu

FEMEA President Ashley Peek

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

Florida NAfME Collegiate President Jason Lane Florida A&M University jason1.lane@famu.edu

FMSA President Christopher Burns, PhD School District of Osceola County (407) 870-4901; christopher.burns@osceolaschools.net

FOA President Laurie Bitters

Winter Park High School 2100 Summerfield Rd.; Winter Park, FL 32792 (407) 622-3200; laurie.bitters@gmail.com

FVA President David Pletincks

Powell Middle School 4100 Barclay Ave.; Brooksville, FL 34609-0860 (352) 403-8437; david@fva.net

Member-at-Large

Steven N. Kelly, PhD

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

EX-OFFICIO MEMBERS

Historian/Parliamentarian & Executive Director Kathleen D. Sanz, PhD

Hinckley Center for Fine Arts Education 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793; kdsanz@fmea.org

Editor-in-Chief Kelly Miller, DMA

University of Central Florida; 12488 Centaurus Blvd.; Orlando, FL 32816-8009; (407) 823-4545; kelly.miller@ucf.edu

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

FSMA President Benny L. Bolden, Jr., EdD laruemusic99@gmail.com

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

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

FMEA COMMITTEES & COUNCILS

COUNCILS

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

President Sandra Sanchez Adorno, PhD Florida International University; 10910 SW 17 St.; Miami, FL 33199 sadorno@fiu.edu

FLORIDA NAFME COLLEGIATE

President Jason Lane Florida A&M University; jason1.lane@famu.edu

FLORIDA MUSIC SUPERVISION ASSOCIATION

President Christopher Burns, PhD School District of Osceola County (407) 870-4901; christopher.burns@osceolaschools.net

MULTICULTURAL NETWORK

Chairperson

Arnekua Jackson, PhD Boynton Beach Community High School; 4975 Park Ridge Blvd.; Boynton Beach, FL 33426-8318 (561) 713-6851; arnekua.jackson@palmbeachschools.org

COMMITTEES

Advocacy

Jeanne W. Reynolds (727) 744-7252; jeannewrey@gmail.com

Awards

Sondra A. W. Collins sondra.collins@marion.k12.fl.us

Budget/Finance, Development

Jason P. Locker Orange County Public Schools; 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jasonlocker@fmea.org

Contemporary Media .............................................................

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

Diverse Learners

Christine Lapka, EdD University of Central Florida; 12488 Centaurus Blvd.; Orlando, FL 32816-2372; christine.lapka@ucf.edu

Emerging Leaders

Dakeyan C. Graham, PhD, EdD, DMA Alachua County Public Schools; 3600 NE 15th St.; Gainesville, FL 32609 dregraham@gmail.com

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

Health & Wellness

Aaron Kass Lake Nona High School; 12500 Narcoossee Rd.; Orlando, FL 32832-6922 (407) 956-8327; aaron.kass@ocps.net

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

Research ............................................................................

William I. Bauer, PhD University of Florida; (352) 273-3182; wbauer@ufl.edu

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

Student Engagement

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

FMEA COMPONENTS

FLORIDA BANDMASTERS ASSOCIATION

President......................................................................................Jeff Cayer, EdD president@fba.flmusiced.org

Past President Bernard (Bernie) Hendricks, Jr. Ocoee High School; 1925 Ocoee Crown Point Pkwy.; Ocoee, FL 34761 bernard.hendricks@ocps.net

Executive Director Neil Jenkins Florida Bandmasters Association P.O. Box 840135; Pembroke Pines, FL 33084 (954) 432-4111; Fax: (954) 432-4909; exec@fba.flmusiced.org

Business Manager.........................................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; jo@barefootaccounting.com

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

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

Past President Joani Slawson Holy Trinity Episcopal Academy; 1720 Peachtree St.; Melbourne, FL 32901 joanislawson@gmail.com

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

FLORIDA ORCHESTRA ASSOCIATION

President Laurie Bitters Winter Park High School; 2100 Summerfield Rd.; Winter Park, FL 32792 (407) 622-3200; laurie.bitters@gmail.com

Past President Matthew L. Davis Harrison School of the Arts; 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 393-4232

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

FLORIDA VOCAL ASSOCIATION

President David Pletincks Powell Middle School; 4100 Barclay Ave.; Brooksville, FL 34609-0860 (352) 403-8437; david@fva.net

Past President .......................................................................Jeannine Stemmer Florida Christian School, 4200 SW 89th Ave.; Miami, FL 33165 j9stemmer@floridachristian.org

Executive Director Michael Dye 231 S. Bayshore Dr.; Valparaiso, FL 32580 (850) 217-7419; mike@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/CEO Kathleen D. Sanz, PhD (kdsanz@fmea.org)

Director of Operations Valeria Anderson, IOM (val@fmea.org) Technology Director Josh Bula, PhD (josh@fmea.org)

Marketing & Membership Coordinator .............................. Jasmine VanWeelden (jasmine@fmea.org)

Administrative Assistant Siena Deaton (siena@fmea.org)

PROFESSIONAL LEARNING CONFERENCE

Exhibits Manager ............................................................ fmeaexhibits@fmea.org

Local Chairperson Jon Sever (813) 272-4861; jon.sever@sdhc.k12.fl.us

Executive Director’s

MESSAGE

The mission of The Florida Music Educators Association is to promote quality, comprehensive music education for all Florida students as a part of their complete education.

A Great Time in Tampa… and Now the Work Begins on Conference 2026!

The 2025 Professional Learning Conference and AllState Concerts were exciting and reinvigorating. It was wonderful to see the energy of our colleagues, students, parents, performers, and audiences. This annual event inspires and rejuvenates our profession.

Upcoming Opportunities

GUITAR FESTIVALS

STEEL BAND FESTIVAL

CROSSOVER FESTIVALS

There were 16,000-plus attendees, including performing ensembles, parents, chaperones, and audiences. Under the leadership of President Jason Locker, President-elect Skip Pardee, and Immediate Past President Dr. Shelby Chipman, the conference was a great success. With the contributions

The FMEA Guitar Festivals include a day full of guitar activity. Ensembles of all experience levels perform and receive instant feedback from clinicians on their technique, tone, musicality, and musical interpretation.

The FMEA Guitar Festivals are scheduled for the following dates and locations:

February 15, 2025: University High School, Orlando

February 27, 2025: Leon High School, Tallahassee

March 8, 2025: West Port High School, Ocala

April 5, 2025: Florida Gulf Coast University, Fort Myers

The purpose of the FMEA Steel Band Festival is to provide steel band students and directors with a positive performance outlet and motivating goal, to share ensemble literature among teachers, and to create an event that allows teachers to become more knowledgeable in their craft through clinician contact time, all ultimately to advance the experience of steel band students throughout the state of Florida.

The festival will be held on April 12, 2025, at Blankner K-8 School in Orlando.

The FMEA Crossover Festivals are designed to encourage musical creativity, critical thinking, and collaboration by students in K-12 schools. Teachers are welcome to bring their student bands to a festival experience that will celebrate their students’ achievements in the areas of cover song and original song performance. The festivals will be held in multiple locations around Florida in May, and the application deadline is March 21, 2025.

The FMEA Crossover Festivals are scheduled for the following dates and locations: May 9, 2025: Sante Fe College, Gainesville May 15, 2025: University of South Florida, Tampa May 17, 2025: Florida State University, Tallahassee Please review the information on the FMEA website to learn how to participate and for updated information about each of the festivals.

of the FMEA Board of Directors, volunteers, and partners, FMEA was able to move music education forward for the state of Florida. We cannot go without thanking Dr. John K. Southall, the conference planning chairperson, who made a major contribution to the success of the conference with his many, many hours of coordination and work throughout the entire year. Volunteer members of the team did a fantastic job helping FMEA to prepare for the conference and all-state concerts. Great job, board and volunteers!

In addition, we can’t overestimate the work of the staff: Val Anderson, Dr. Josh Bula, Jasmine Van Weelden, Siena Deaton, and Richard Brown who worked tirelessly throughout the conference to ensure that everything went smoothly.

As the 2025 FMEA Professional Learning Conference and All-State Concerts came to a close, FMEA began preparing for the 2026 FMEA conference, scheduled for January 14-17, 2026, in Tampa, Florida. Mark your calendars now. The session proposals and performance submissions are on the FMEA website. Please consider applying to be a presenter or have your school ensemble perform at the 2026 conference.

Advocacy/Legislation

The 2025 Florida Regular Legislative session is scheduled to begin on March 4, 2025, and run through May 2, 2025. The legislative platform is included in this edition of FMD, and additional advocacy materials are on the website. Also be sure to read Advocacy Chairperson Jeanne Reynold’s article in this magazine.

Have a wonderful and productive spring semester.

Kathleen D. Sanz, PhD

2024-25 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: The circulation of the Florida Music Director is 4,500 educators. Published eight times annually by The Florida Music Education Association, Hinckley Center for Fine Arts Education: 402 Office Plaza, Tallahassee, FL 323012757. 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: Kelly Miller, DMA, kelly.miller@ucf.edu.

All articles must be provided in digital format (e.g., Microsoft Word). All applicable fonts and images must be provided. Images must be at least 300 dpi resolution at 100% of the size. All submissions must be accompanied by a proof (color, if applicable). Ads may be submitted via email to val@fmea.org

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 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.

ADVERTISERS

Stetson University

This advertiser provides additional support to FMEA members through membership in the Florida Corporate and Academic Partners (FCAP) program. FCAP partners deserve your special recognition and attention.