Florida Music Director - March 2019

Top Tips for Improving Your Clarinet Section

June M. Hinckley Music Education Scholarship

Call for Applications

Conducting a Choral-Orchestral Composition FEMEA REGIONALS:

We Did a Thing

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

Mark A. Belfast, Jr., PhD Southeastern University College of Arts & Media 1000 Longfellow Blvd.

Lakeland, FL 33801 (863) 667-5104 (office) (mabelfast@seu.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)

Contents February/March 2019

Volume 72

•

Number 6

F E AT U R E

June M. Hinckley Music Education Scholarship Call for Applications. . . . . 7 FEMEA Regionals: We Did a Thing. . . . . . . . . . . . . . . 8 Top Tips for Improving Your Clarinet Section.. . . . . . . . . . . . . . . . . . . . . 12

Alice-Ann Darrow, PhD College of Music, FSU, Tallahassee (850) 645-1438; (aadarrow@fsu.edu) Jeanne Reynolds Pinellas County Schools, Largo (727) 588-6055; (reynoldsj@pcsb.org) John K. Southall, PhD Indian River State College, Fort Pierce (772) 462-7810; (johnsouthall@fmea.org)

Advertising Sales Valeria Anderson (val@fmea.org)

Director of Finance and Client Relations

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

Official FMEA and FMD Photographers

Bob O’Lary

Debby Stubing

Art Director & Production Manager

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

Conducting a Choral-Orchestral Composition. . . . . . . . . . . . . . 17 2019 Hall of Fame Inductee. . . . 20 2019 FMEA Award Winners. . . 22 D E PA R T M E N T S

Circulation & Copy Manager

Advertiser Index. . . . . . . . . . . 4

Research Puzzles. . . . . . . . . . 40

Copy Editor

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

Committee Reports. . . . . . . . 41

NOTEables. . . . . . . . . . . . . . 6

2018-19 FMEA Donors. . . . 46-47

Academic Partners. . . . . . . . . 31

Executive Director’s Notes. . . . 48

Corporate Partners. . . . . . . 32-33

Officers and Directors.. . . . . . 49

Valeria Anderson, (800) 301-3632 Susan Trainor

Component News.. . . . . . . . . 34 February/March 2019

3

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

CIRCULATION: 4,500 educators. Published eight times annually

by The Florida Music Education Association, Hinckley Center for Fine Arts Education: 402 Office Plaza Tallahassee, FL 32301-2757.

FMEA reserves the right to approve any application for appearance and to edit all materials proposed for distribution. Permission is granted to all FMEA members to reprint articles from the Florida Music Director for non-commercial, educational purposes.

Non-members may request permission from the FMEA office.

SUBMISSIONS: Article and art submissions are always considered and should be submitted on or before the 1st of the month, one month prior to the publication issue to: Mark A. Belfast, Jr., PhD, mabelfast@seu.edu.

All articles must be provided in digital format (e.g., Microsoft Word).

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

Florida Music Director reserves the right to refuse any ad not prepared to the correct specifications OR to rework the ad as needed with fees applied.

2018-19 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.

The Florida Music Director is made possible by the participation of the following businesses whose advertisements appear in this issue. They make it possible to provide you with a high-quality publication, and we gratefully acknowledge their support of our mission. We hope you will take special notice of these advertisements and consider the products and services offered. It is another important way you can support your professional association and the enhancement of Florida music education.

The publisher does not endorse any particular company, product or service. The Florida Music Education Association (FMEA) is not responsible for the content of any advertisement and reserves the right to accept or refuse any advertisement submitted for publication. Information for advertisers (rate card, insertion orders, graphics requirements, etc.) can be found at FMEAMediaKit.org.

ADVERTISERS Alfred Music Publishing Co., Inc. ............................................................. 11 Florida Gulf Coast University....................................................................4 International Trumpet Guild Conference.............................................. IFC Smoky Mountain Music Festival...............................................................10 Advertisers shown in bold provide additional support to FMEA members through their membership in the Corporate and Academic Partners program. These advertisers deserve your special recognition and attention.

FMEAMediaKit.org

INSPIRE | CREATE | PERFORM

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4 F l o r i d a

Music Director

President’sMessage It Is Not Just What You Learned …

It Is What You Are Doing With What You Learned M

y head is still reeling from my 2019 FMEA Professional Development Conference experi-

ence. This is not a new sensation for me, as this is my usual mental and emotional state

after being overwhelmed by new knowledge, especially when that knowledge comes from musi-

cal experience. At conference, everywhere I turned I was engulfed by the knowledge, experience and wisdom of world-class musicians and teachers of music who were passionately sharing …

some of whom were home-grown, others from around the country … all engaged in ARTISTRY:

Teaching & Performing. The sheer magnitude of learning opportunities that the annual conference offers grows every year, and our 75th FMEA Anniversary was no exception.

Kenneth Williams, PhD President Florida Music Education Association

“For the things we have to learn before we can do them, we learn by doing them.”

– Aristotle

Promise me! Promise me you will embrace the take-aways from your conference experience

and make them a part of your students’ classroom experience. An increase of knowledge does not nurture personal and professional growth until it becomes action. So, I ask the question: What are you doing with what you learned?

It is amazing to me how the pieces of the conference puzzle, the tens of thousands of details,

come together to produce such a wonderful and powerful learning/sharing opportunity. I am

reticent to begin thanking individuals because it would take this entire magazine to list everyone and their contributions, and alas, some folks would be overlooked. I must, however, extend my

heartfelt appreciation to our FMEA Executive Committee, FMEA Board of Directors, component organizations’ leadership, state and component committee chairpersons and members, contracted facilities and technical professionals, session coordinators, exhibitors, clinicians, conductors,

teachers, performers, moms and dads … and members of FMEA. All are integral to the success of our annual conference.

I must take a moment of privilege to share a personal thank you on behalf of FMEA to my

friend Dr. Robert Duke for sharing his wisdom and experience with us during the First General

Session and to friend and colleague Dr. Timothy Jones for his stunningly artistic performance … truly the essence of artistry. All of the performances I experienced were sheer inspiration.

Our conference wouldn’t happen if not for the herculean work, on our behalf, by our execu-

“Tell me and I forget, teach me and I may remember, involve me and I learn.”

– Benjamin Franklin

tive director, Dr. Kathleen Sanz, and our FMEA staff, Valeria Anderson, Richard Brown, Dr. Josh Bula, Jenny Abdelnour and Jasmine Van Weelden. And finally, you should know that without the support and heavy lifting by our president-elect, Dr. Steve Kelly, and our past president and conference chairman, Dr. John Southall, I would not have survived. I am forever in their debt.

I hope your spring is successful and joyful. SHARE! Tell someone what you have learned …

commit to having what you have learned guide the intent and purpose of your teaching.

With warmest regards,

Kenneth Williams, PhD, President

Florida Music Education Association February/March 2019

5

NOTEAbles Jeffery Redding Wins GRAMMY Music Educator Award

“Don’t Sing to Impress, Sing to Inspire!”

by Scott Evans

D

r. Jeffery Redding recently won the

GRAMMY Music Educator Award

for his inspirational work with students at West Orange High School in Orange

County, Florida, and across the country.

Photo: Daryl Yasay

What was captured so beautifully by the interviews and promotional stories cov-

ering his recognition was the essence of who he is: a selfless servant teacher who

embraces all students with warmth, love and respect.

Those who have had the pleasure of

watching Dr. Redding work know that

that he not only insists that students cre-

for exploring all degrees of inspiration.

students: “Don’t sing to impress, sing to

make, but he also insists on them being

ance between mind, body and spirit in

classroom environment and his relation-

tation allows students to have the techni-

and family. He is a brilliant teacher in

creative passions with limitless potential

he truly lives by the words he tells his

ate meaning in and from the music they

inspire!” It’s a phrase that permeates his

literate and skilled musicians. This expec-

ships with students, colleagues, friends

cal tools necessary to unleash their fullest

Kasia Bugaj Awarded Fulbright U.S. Scholar Award

K

atarzyna (Kasia) Bugaj, PhD, assistant professor of string music education in

the Florida State University College of Music, has been awarded a Fulbright U.S. Scholar

award to conduct research at the Fryderyk

Chopin University of Music in Warsaw, Poland. Prior to her appointment at FSU, Dr.

Bugaj taught strings in public schools in central Indiana and taught violin and viola on the faculty of the Indiana University String Academy. Dr. Bugaj was the 2018 FMEA Collegiate Music Educator of the Year.

6 F l o r i d a

Music Director

Jeff Redding has found the perfect balthe way he approaches music education.

As we enter into the music perfor-

mance assessment and spring concert

seasons, it is easy for us to lose sight of the

true importance of the role we play in the lives of our students. The sentiment of Dr. Redding’s words and his well-balanced

approach to teaching can act as a remind-

er to us all. While it is possible to fall prey

to the temptation to “teach to the test,” Dr. Redding models a foundational skill development approach, fueled by passion

and inspiration. When listening to his choirs perform and his students talk

about their experiences in his classroom, the results are evident. As music educators, we strive to inspire young people,

ignite their love of song and give them the tools to be lifelong participants in

the music-making process. Dr. Jeffery Redding now has a national podium

to help remind us all that we don’t sing to impress, we sing to inspire!

Congratulations, Dr. Jeffery Redding!

CALL FOR APPLICATIONS

June M. Hinckley Music Education Scholarship We are pleased to announce that the Florida Music Education Association (FMEA) is soliciting scholarship applications for the 2019 June M. Hinckley Music Education Scholarship. The association will award $1,000 scholarships to selected 2018-19 graduating high school students who participated in a Florida all-state ensemble and who intend to major in music education at a Florida college or university.

Please access the application at the link below and encourage your students to apply.

A P P L I C AT I O N

https://fmea.org/programs/scholarship/ application/

About

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

June Hinckley led the development

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

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

schools and school districts with the

implementation of the arts standards and with connecting the arts with

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

«« «« ««

Postmark Deadline: April 19, 2019

the state accountability and testing

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

groups, higher education and com-

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

a Complete Education project, which

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

and proactively to improve the qual-

ity and quantity of arts programs throughout the state.

February/March 2019

7

FEMEA REGIONALS

E

We Did a Thing!

by Rosemary M. Pilonero, FEMEA President

Each fall, the FEMEA Executive Board

benefit more students and teachers? The

State Elementary Chorus and the FMEA

focus:

processes auditions for the FMEA AllAll-State Elementary Orff Ensemble.

Prior to the creation of the Orff ensemble, we had a large number of chorus

auditions—around 700 each year. This big number caused us to think about

how to serve more students, and the

FMEA Elementary Orff Ensemble was

formed. With two ensembles, we have been processing just over 1,000 audi-

tions each year. Three hundred students participate in the two all-state elementary ensembles, but that leaves 700+

students. What can we do to serve all of these students?

In fall 2017, FEMEA Executive Director

Jennifer Sullivan presented us with the

student data and numbers. There was no more space or time available during the

annual FMEA Professional Development

Conference, so we started to brainstorm.

What else could we do to serve more

students and teachers? How could we

8 F l o r i d a

Music Director

FEMEA mission statement remained our The mission of the Florida

Elementary Music Educators Association is to unite and

support music educators in

order to provide a high quality,

comprehensive music education for all children.

That’s when it occurred to us. What if

we took another level of scores from all-

state auditions and made other groups?

We couldn’t do it in Tampa, but what if

we did it in the fall before conference?

What about a district or regional event,

similar to what the Florida Bandmasters

Association does? If we did it in the fall,

there wouldn’t be much time for kids

to learn the music. That’s when the idea

turned into a day of learning, rehearsing and performing. We did not want to put

the burden of learning music in a short amount of time onto the teachers. We

wanted the day to be structured as a pos-

itive musical experience for the teachers, parents and children.

The details of the events started to

come together at the May 2018 FEMEA

board meeting in Daytona. All of the district chairpersons were excited by the

prospect to take on this new project.

We started to look at colleges and foot-

at such beautiful campuses would add to

director of finance and client relations,

daily schedules and probably came up

The FEMEA Executive Board divided

and managerial tasks were accomplished.

ball schedules, made tentative plans for

our events.

with more questions than answers at this

into two teams, one for each location.

ment in the air were palpable! If we could

Everyone worked tirelessly to help orga-

meeting, but the electricity and excitereally do this, just think of all the students and teachers we would serve.

Summer led to further development

in our plans. In fact, 2018 was the summer of FEMEA Regionals. With many

details and logistics to be determined,

we got to work. We were happy and excited when the University of Florida in Gainesville hopped on board for the

Northern Regional location. I contact-

ed Dr. Bill Bauer, and he led us to Dr. Megan Sheridan. She and her students

were invaluable assets before and during

our Northern Regional event. Mike Parks

of Florida Southern College was thrilled

when we contacted him with the idea.

He and his music education students

were an integral part of the Southern Regional event. Both schools were gen-

Tasks were determined and conquered.

nize, disperse information, process audition paperwork and work out all of the

logistics for these events. We are very fortunate to have such dedicated ser-

amount of time. We are grateful for her dedication and diligence to keep us on track.

We were fortunate to have such tal-

Regional Choir performed under the

(District 1), Jason Thomashefsky (District

2), Jennifer LeBlanc (District 3), Sydney

Johnson (District 4), Sondra Collins (District 5), Ashley Peek (District 6), Lesleigh

Howard-Zeno

(District

7),

Joani Slawson (District 8), Marie Radloff

(FEMEA past president) and Ernesta Chicklowski (FEMEA president-elect).

Everyone’s diligence and effort came

together to help make these events a big success.

The support of FMEA played a vital

helped ensure that all information was

integrity and prestige that performances

parts came together in a relatively short

committee members: Claudia Lusararian

all district chairpersons and executive

ing it would be for elementary students

We were also excited about the added

Jennifer Sullivan, all of these moving

ented educators and musicians step up

role in the creation of these events. Josh

to perform at such beautiful campuses!

Working with FEMEA Executive Director

vant leaders on our team. Thank you to

erous enough to offer their facilities at no cost to the organization. How excit-

gave advice to ensure that necessary legal

Bula, FMEA and FEMEA webmaster,

shared and posted and that all paperwork and payment processing was organized and user-friendly. Richard Brown, FMEA

to serve as conductors. The Northern direction of Barbara Sullivan Mansfield,

accompanied by David Katz. Eldean

Hagans and Le Ann Hasker, a dynamic duo from Brevard County, led our

Northern Regional Orff Ensemble. The Southern Regional Choir performed under the direction of Lu Anne Leone,

accompanied by Suzie Riser. The well-

known duo of Sandy Lantz and Gretchen Wahlberg led the Southern Regional Orff Ensemble. We are very grateful that these

talented educators and musicians took on these roles at our premiere events and worked so patiently with us as we navigated this new adventure.

Especially since these were premiere

events, we needed to hire a photographer.

Continued on page 10

February/March 2019

9

FEMEA REGIONALS Continued from page 9

Owing to his wonderful photos from our annual FMEA conferences, we turned

to none other than the talented and gracious Bob O’Lary. He readily and happily accepted the invitation, and what an

amazing job he did! As an added bonus,

Debby Stubing joined him at the Southern

Regional event. We are very grateful that Bob travelled from Tallahassee to both

this new endeavor. It was definitely a

my remarks at the events, every student

capturing these special events. Please

was so worth it in the end!

and had no idea of a single note they were

locations and took such great care in check out the amazing photographs at the following links:

2019 FEMEA Northern Regional:

2019 FEMEA Southern Regional:

https://youtu.be/KphcdIGV2kw https://youtu.be/oEE90rXDaHU

Finally, we are grateful for all of the

music educators who worked with us.

Questions came up and problems were solved throughout the process. We are

thankful for everyone being so patient and understanding, as this was a new

thing for everyone. Thank you for entrusting your professional organization with

learning experience for everyone, but it

As an unexpected result of these

events, I absolutely loved that so many parents witnessed the PROCESS of ele-

mentary music education, not just the PERFORMANCE or the PRODUCT itself.

Parents were very engaged during the rehearsals, which provided them with a true picture of what we do every day in

our classrooms and not just the on-stage

in each group woke up that very morning

going to sing and play that day. They spent the whole day learning and grow-

ing, as musicians and as people, and they performed wonderfully that same evening. This entire experience is vital, not

only as a point of advocacy for what we

do daily but also for the power of music as it is experienced by children.

Every text, phone call, discussion,

experiences. A parent of one of my own

detail, etc., was extremely worthwhile as

thing involved to put a piece of music

saw the faces of the parents, music teach-

students said she had no idea of everytogether. She was amazed to see it all happen right before her eyes. As I said in

we watched these ensembles perform and ers and children. We heard nothing but

positive comments all day at each event.

We were filled with absolute joy and

pride as we watched the culmination of our work come to fruition. Music teacher

Angela Saltsman perhaps summed it up best with her email and Facebook comment: “This was an amazing experience for us all. One of my boys said it was the

best day of his life and nothing could top it! Thank you all for providing another opportunity for our children!!!”

We are beginning the process to

organize the 2020 FEMEA Regionals,

which may possibly expand into North,

Central and South events. Stay tuned for more information, and consider having your students audition and become

eligible for these events. Please don’t hesitate to contact the FEMEA Executive

Board at any time. Contact information is available on our website at https://femea.

10 F l o r i d a

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11

Top Tips for

IMPROVING Your Clarinet Section

by Daniel Farr and Daniel Rosman

some of the physical characteristics you

have mentioned to them, and to adjust as instructed. Your students will really

In the wind band setting, the strength

or weakness of the clarinet section can drastically alter the level of literature the group is able to perform, as well as the overall sonority of the ensemble. While no set of tips or tricks can completely correct how your students play, we hope the following tips will set them on the right track. Everyone has their own set of experiences, but we hope you can use these “Top to Bottom” tips as a guide.

Tip #1: Embouchure and Tongue Position

Can you model proper embouchure tech-

nique on clarinet? The students need to see what it should look like and then practice proper technique in a mirror.

Another great resource to use (since many students have access to one) is

a cell phone. Ask the students to use

the picture or video function on their phone to show them how they really

12 F l o r i d a

look. This process enables students to see Music Director

enjoy buddying up in class to assist with embouchure corrections!

The embouchure is the first line of

defense for rich, dark tone on clarinet.

The finest mouthpiece, reed and ligature combinations will do nothing for

your students if they are not approach-

ing the instrument correctly. One of the most common issues we see is clarinetists without enough mouthpiece in their mouth. The fulcrum created between the lower lip and the reed should be set

where the reed meets the mouthpiece.

One way to find this is to gently slide a

thin piece of paper between the reed and the mouthpiece. It will naturally stop

where the mouthpiece meets the reed.

Thereafter, have students use a pencil

to mark a line to show them where this

point is. Then be sure they are taking

enough mouthpiece into their mouth to cover it. Another technique is to have

them play as they normally do (perhaps

on a second line G), and then gradually take in more mouthpiece. Each time they

take in more mouthpiece, they should

play the G again, until they’ve taken in

too much mouthpiece and squeak. Have them back up about a millimeter, which

should be much closer to the right spot

for each student. Another great thing to do is to check that each clarinetist can produce an in-tune F#/Gb using only the

mouthpiece and barrel. Have students practice playing this with a steady tone first, and help them to make adjustments

up or down while maintaining a consistent wind stream.

As you’ve no doubt discovered, the

clarinet embouchure, tongue position

and wind stream are very different from the majority of other instruments in

the room. The optimal tongue position should be high and forward, which will

help to create the cold and fast wind stream necessary. We will often have students say “key,” mimic hissing like a cat

or say “shhh” to attain this tongue posi-

tion. These vocal cues are also an easy

way to reference tongue position during rehearsal; simply looking at the section

and saying “key” will remind players what to do.

Tip #2: Articulation

Many students approach articulation as

an “attack” rather than a releasing of the

tip of the tongue from the reed. This is

such an important distinction! The tip of Continued on page 14 February/March 2019

13

Top Tips for Improving Your Clarinet Section

the thumbnail, the more strain will be placed on the wrist, and the less mobility

and dexterity the player will have. The left thumb should point to about 1 o’clock on an imaginary clock face.

Continued from page 13

Here are some areas of concern: Young

the tongue should start on the reed and

clarinet players will try to support the

farther back and traveling to the reed

try to grip the instrument with their

instrument with their pinkies. They’ll

release from there, rather than starting

right hand pointer finger under the side

thereafter. Please take a look at video 1

Eb/Bb keys. They’ll also try to use their

(next page) for an articulation exercise.

left thumb (when it’s free) to support

We will often tell students to aim for the

the instrument. The left thumb should

spot between the mouthpiece and the

remain “shadowing” over the thumb hole

tip of the reed, which means that most

at all times. Any of these habits can be

of their articulations will strike the right

broken with consistent correction from

place. A large majority of the students

you; however, these behaviors could also

we work with (indeed a large majority

be indicative of a student experiencing

of clarinetists at any age) strike the reed

with the middle of their tongue, often

called “anchor tonguing,” or neglect to

and cold air on their hand, and alternate

force the technique of tip of the tongue to

ence. Then as students continue to play

use their tongue at all. One way to reinthe tip of the reed is by using the Marker

Test (championed by our wonderful clar-

inet teacher at Florida State, Dr. Deborah Bish). Use a nontoxic water-soluble marker (black or something dark) to color in the

tip of an older reed. Have the students articulate several times on a free-blowing note (second line G, for instance) and then

stick out their tongue. It is also advisable to use a mirror or smartphone camera during this process. This will show you

and them where they are actually artic-

ulating, which is typically much farther back than they are aware.

Tip #3: Wind Speed

When working with concert ensembles, many teachers will ask their students to play with a beautiful, dark sound.

back and forth to experience the differ-

in your ensemble, give them reminders of “cold, fast air,” along with reminders

of “shh,” hissing like a cat or “key” (from

Tip #1). You can also have them hold a piece of paper against the wall and stand

about 6 inches away from it. Ask them to

take a HUGE breath, blow fast air at the

cially in the throat tones and upper regis-

ter, are due to the player blowing hot air.

There are many ways to get students to feel this. Have them simply blow hot air

14 F l o r i d a

allow students to try a few before they

purchase one. Some will have a hook

that will loop through the small circle attached to the thumb rest while others will loop around the thumb rest itself.

Both varieties of neck strap are effective.

to be neglected, including cleaning the

concept goes hand-in-hand with great

embouchure and tongue position, we see this particular issue of cold air versus hot air come up frequently enough to be men-

tioned separately. When all are combined, a great embouchure, the proper tongue position and cold, fast air can transform a clarinet player’s tone.

The proper hand position for clarinet

hear from young clarinet players, espe-

its own merits and detractors, so perhaps

the paper “glued” to the wall. While this

Their consistent wind stream should keep

open and hot air, yet on clarinet, we must Many of the flat and “tubby” sounds we

neck strap. Each brand of neck strap has

Tip #5: Care and Maintenance

Tip #4: Hand Position and

use cold air to produce our best tone.

could be time for the student to use a

center of the piece of paper and let go.

Interestingly enough, producing a dark sound on many instruments requires

serious discomfort. If this is the case, it

Neck Straps

can be transferred and applied to several

other instruments. Both hands should be curved and relaxed, with the fleshy part or the pads of the fingertips just above

the tone holes. The right thumb should

support the thumb rest between the nail

and the knuckle. The farther away from

Music Director

Several aspects of our instruments tend instrument and oiling it (for wooden instruments). Have you ever noticed that

your clarinetists’ instruments can get a little grimy at times? Over time, dust and dirt can get trapped under the key shafts,

particularly those areas where the fingers

and palms are constantly touching. I’ve known clarinetists who will use pipe cleaners or some variety of brush to clean

these areas, and it works very well. The

pipe cleaners can help you to reach areas that might otherwise be tricky to clean.

There are many brands of clarinet cleaning and repair kits available, all of which will contain similar items, so consider those things you can most readily make

available for your students. Perhaps cre-

ate a clarinet instrument cleaning kit they get to use once each month.

D OW N LOA D P D F to accompany VIDEO 2

VIDEO 1: Articulation Exercise

Clarinet Exercise: Crossing the Break Slowly!

U U̇

1.

Clarinet in B b

&b

&b c ˙

˙

U

7

&b

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œ

13

&b

19

&b

25

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œ

U̇

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w

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œ

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U U

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U

w

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œ œ œ œ

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etc...

w

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œ œ ˙

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U U̇

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nœ œ œ œ

(Bb to B natural!)

˙

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Practice with and without covered fingerings!

5.

&b ˙

2.

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œ

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4.

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VIDEO 2: Crossing the Brea k Exercise

œ

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30

35

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w w U

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We hope you and your clarinetists find

this information helpful. Remember,

learning music is a marathon, not a sprint; take it one step at a time. If you can recognize the most prevalent issues in the sec-

tion, that’s a great first step. If you can prescribe something to help your clarinet players fix common problems, then they’ll be well on their way to success!

Daniel Farr is the band director at Winter Haven

High School. He received Have you ever had a student with a

wooden clarinet come to you because

his or her instrument was stuck togeth-

er? This common issue can occur as the

1. Apply 10 to 12 drops of bore oil to an old swab cloth (which cannot be used

for anything other than oiling thereafter) or a cotton brush swab.

the BME and MME degrees State

from

Florida

University.

He

is active as a solo and

ensemble adjudicator in Florida, and he is

sought after as a clarinet teacher and clinician.

clarinet’s wood expands due to heat and

2. Apply a thin coat of bore oil to the

(as strange as it may sound) is to put the

joints by running the swab through

Daniel

oil on any of the aforementioned areas

Lincoln High School in

condensation. One way to fix this quickly stuck parts of the instrument (usually

the upper and lower body joints) in the refrigerator for about 5 minutes or until you can gently twist the two pieces apart.

The cold will help to reduce the swelling … because, science!

inside of the barrel, bell and body

each. Be cautious not to use too much as this can cause adverse effects. You should be able to see a slight sheen on

the inside of each part as you hold it up to the light.

Joint swelling is usually an indicator

3. Leave the instrument case open over-

ment for quite some time, if ever. Here is

remove any excess oil from the inside

that your student has not oiled the instru-

a process that will help to avoid this in the future:

night. The next day, use a swab to of the instrument.

4. No more refrigerating your clarinet!

Rosman

is

the director of bands at Tallahassee,

Florida.

Bands under his direction have consistently

earned superior ratings

at assessment, and his clarinet studio students have consistently been participants in

Florida all-state ensembles. He is a graduate

of Florida State University, with degrees in music education and clarinet performance.

February/March 2019

15

16 F l o r i d a

Music Director

Conducting a Choral-Orchestral Composition

I

by Zachary Thompson

In March 2018, the Sebring High School Varsity Choir combined with the West Creek High School Advanced Choir to perform Gloria by Antonio Vivaldi. The choirs came together specifically for this performance with a hired orchestra and vocal soloists. This was the author’s first experience conducting a major choral-orchestral work, and the purpose of this article is to offer reflections and advice for the planning, repertoire selection, rehearsal and performance of a choral-orchestral composition.

Planning

might combine its performance trip with

work might seem overwhelming at first;

and other activities. Hosting a choir will

Conducting a large choral-orchestral however, careful planning, communica-

tion and organization will help to make

the performance a success. Some choir programs might not have enough sing-

ers to perform a large work effectively.

This is a great opportunity to collabo-

adjudications, college visits, sightseeing take longer to plan and organize, often with the planning taking place a year

in advance; however, it can provide a great travel opportunity for the visiting students.

Determining the performance venue

rate with another local choir, and the

far in advance is critical. The director

well in advance to see if it is a possi-

stage to ensure the choir(s) and orches-

director should reach out to colleagues bility. Alternatively, as in the case of the author, one can offer to host a choir

from a distance away. The visiting choir

must take into account the size of the

tra can fit comfortably. If the score calls

for an organ or a harpsichord continuo, Continued on page 18 February/March 2019

17

Conducting a Choral-Orchestral Composition Continued from page 17

the director must decide either to find a performance space with an organ or to use an amplified keyboard capable of producing a high-quality organ or harpsichord sound. Renting the performance

space may come at an additional cost;

however, this could offer the opportunity to collaborate with a local church

choir that has an organ and ample per-

formance space. The director must also decide whether the choir is going to stand throughout the entire performance or sit during certain parts, such as during

a movement with a vocal soloist. If the

choir is going to sit, the choir risers must be designed to use chairs.

Repertoire Selection

that the director will need to fix before rehearsals can begin.

Suggested choral-orchestral composi-

tions are listed in order from shortest to

«« Regina Coeli in B-flat major K.127 by longest length of performance:

Wolfgang Amadeus Mozart is an 1

It is important to know the approximate

accessible

number of singers in the choir as well

organ, two flutes, two oboes and two

tion. These factors, along with the age,

horns. The performance time frame

experience and ability of the singers,

is approximately 15 to 20 minutes.

will help to set parameters for the selec-

This is a great option for a developing

tion of the choral-orchestral composition. The budget of the choir will also performance. If available, the director

may choose to have students play in the orchestra. Depending on the difficulty and time frame for the performance, hir-

soloists, the director will have to make a decision to use talented students from the choir or to hire professional singers.

Choosing a choral-orchestral composi-

Schubert is slightly longer in length, at approximately 20 to 25 minutes,

yet it is still accessible for developing

free to download. While this option saves

money, it may take longer for the director to research and study the score. In addi-

tion, there might be mistakes in the score

18 F l o r i d a

choirs. It is scored for chorus, strings

«« Gloria in D major RV 589 by Antonio

all of the instrument parts are available

Music Director

approximately 35 to 40 minutes in length. It is scored for chorus, soprano solo, baritone solo, strings, organ,

two flutes, two clarinets, two bassoons, four horns, two trumpets, two

trombones, timpani and harp. Fauré’s Requiem can also be performed with only choir, soloists, strings and organ as an alternative to the full orchestra.

form a choral-orchestral work is similar

3

with piano reduction, the full score and

ed choral-orchestral compositions, at

Mozart’s Ave Verum Corpus K.618,2 to have a complete program.

program money. Often the choir score

is

the longest of the author’s suggest-

Rehearsal

«« Mass No. 2 in G major D.167 by Franz

tion from the public domain can save the

6

choir. It can be paired with several

other shorter compositions, such as

ing professional musicians may be neces-

sary, however. If the score calls for vocal

work

for chorus, soprano soloist, strings,

as the number of singers in each sec-

determine many of the decisions for the

choral-orchestral

«« Requiem Op. 48 by Gabriel Fauré

and organ.

Vivaldi is longer still in length, at 4

approximately 30 to 35 minutes. This

standard of the choral-orchestral repertoire is scored for chorus, soprano

solo, alto solo, soprano duet, strings,

organ, trumpet and oboe. The book

The rehearsal process for the choir to perto the process of learning octavos. The key to learning a large work is to start rehearsing early. If the performance will

be during the spring, the director can start to integrate specific movements into the rehearsal process in the fall or winter.

Extracting movements and performing

them on concerts throughout the year is

a great way to aid the learning process and also to build the confidence of the

singers. The Sebring High School Varsity Choir performed movement one, Gloria in Excelsis Deo of Vivaldi’s Gloria for the winter concert and movement seven, Domine

Face to Face with the Orchestra pro-

Fili for a music adjudication.

mance practice advice for Vivaldi’s

er the choir is going to use sheet music or

5

vides in-depth analysis and perforGloria.

The director will have to decide wheth-

sing from memory for the performance.

If the choir is using sheet music, specific

to go smoothly. If the director is unfamil-

the room to listen for any balance issues

hold the music and when to turn pages so

he or she should consult a colleague who

The logistics of entrances, exits, tuning,

directions must be provided on how to

as not to distract from the end of a movement. It is also important for the director

to start using the full score in rehearsal as soon as possible. This will make the transition to conducting the combined choir and orchestra much easier.

The orchestra rehearsal could be the

most different and difficult aspect of the

rehearsal process from a choir director’s

perspective. The director should plan for an orchestra rehearsal that includes any

vocal soloists. This rehearsal ought to take place one to two weeks before the performance date. The director should

communicate with the orchestra members before the first rehearsal. This com-

munication might include the rehearsal order with an approximate time schedule,

the approximate tempi for each move-

ment, the conducting pattern used for each movement (e.g., in two or in four)

and any other information about logistics. It is imperative that the director has

studied and analyzed the score ahead of time in order for the orchestra rehearsal

iar with any of the bowing techniques,

plays a string instrument. In addition, Face to Face with the Orchestra7 provides in-depth explanations of bowing tech-

niques and general advice for rehearsing and conducting an orchestra.

Performance

After months of preparation and countless hours of hard work, the performance

date arrives. The choir, orchestra and conductor finally get to share the final

between the choir, orchestra and soloists. sitting, standing, bowing and folder hold-

ing should be explained and rehearsed during the dress rehearsal. Between the dress rehearsal and the performance, the conductor should provide dressing or holding rooms and possibly food and

beverages for the choir, orchestra and soloists. Beyond the Downbeat8 is a great

resource for information on logistics when working with an orchestra or choir.

product with the audience. Several hours

Conclusion

orchestra should have a dress rehearsal

orchestral composition can be a challeng-

before the performance, the choir and in the performance space. Depending on budget and scheduling constraints,

this might be the only rehearsal with

the choir, orchestra and soloists before the performance. This dress rehearsal

before the concert is a vital time for the

Preparing for and performing a choraling and rewarding experience. As a result of rehearsing and conducting a choir with

orchestra, the author has made significant

gains in rehearsal technique, research and performance practice.

choir and orchestra to get used to a new

Zachary Thompson is

final time for the conductor to make any

High School, the director of

space and to each other. This is also the

last-minute adjustments. It is helpful to have someone placed toward the back of

the choir teacher at Sebring music at St. John United Methodist Church and an adjunct professor of music

at South Florida State College. He holds music degrees from Austin Peay State University and Slippery Rock University.

Endnotes 1 ht t p://imslp.org/wik i/Reg i na_coeli_ in_B-flat_major,_K.127_(Mozart,_Wolfgang_ Amadeus) 2 http://imslp.org/wiki/Ave_verum_corpus,_K.618_(Mozart,_Wolfgang_Amadeus) 3 http://imslp.org/wiki/Mass_No.2,_D.167_ (Schubert,_Franz) 4 ht t p://i m slp.org/w i k i/Glor ia _ i n _ D_ major,_RV_589_(Vivaldi,_Antonio) 5 Don V. Moses, Robert W. Demaree, Jr., and Allen F. Ohmes. Face to Face with Orchestra and Chorus: A Handbook for Choral Conductors.

Indiana University Press, 2004.

6 http://imslp.org/wiki/Requiem,_Op.48_ (Faur%C3%A9,_Gabriel) 7 Moses, Demarre, Jr., and Ohmes. Face to Face with Orchestra and Chorus.

8 Sandra Willetts. Beyond the Downbeat: Choral Rehearsal Skills and Techniques.

Abingdon Press, 2000.

February/March 2019

19

2019 HALL OF FAME INDUCTEE 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.

André J. Thomas, DMA B

orn in Wichita, Kansas, on August 15, 1952, André J.

age of 14, he became the director of choirs. The racial landscape

on a toy piano at age 3. As a junior high school student, André

singing and conducting choirs, and winning piano competi-

Thomas was born to be a musician, playing church songs

had the daunting privilege of integrating schools in Wichita during the beginning of the end of segregation and busing. He

did not change for André in college, but he continued his music, tions playing Brahms.

André J. Thomas is the Owen F. Sellers professor of music,

was one of 2,000 students. André found the music room at his

director of choral activities and professor of choral music edu-

performed and accompanied others on piano. His music was

at the University of Texas, Austin, Dr. Thomas received his

junior high school to be his haven of safety and solace as he the secular music he heard on the radio and the church music

he heard at the black Baptist church he attended, where at the

20 F l o r i d a

Music Director

cation at Florida State University. A previous faculty member degrees from Friends University (BA), Northwestern University (MM) and the University of Illinois (DMA). He is in demand as

a choral adjudicator, clinician and director of honor and all-

state choirs throughout the United States, Europe, Asia, New Zealand and Australia.

Dr. Thomas has conducted choirs at the state, division

and national conventions of the National Association for

Music Education (NAfME) and the American Choral Directors

Association (ACDA). His international conducting credits are extensive. They include conductor/clinician for the

International Federation of Choral Musicians, summer residency of the World Youth Choir in the Republic of China and the Philippines, winter residency of the World Youth Choir

in Europe and a premiere performance by an American choir (Florida State University Singers) in Vietnam. He has been the

guest conductor of such distinguished orchestras and choirs as the Birmingham Symphony Orchestra in England, the Berlin

Radio Choir and the North German Radio Choir in Germany, the Netherlands Radio Choir, the Bulgarian Radio Choir and Orchestra, the Charlotte Symphony, the Tallahassee Symphony,

China’s People’s Liberation Orchestra and the Czech National

Symphony Orchestra. Since 1988, he has also served as artistic director of the Tallahassee Community Chorus.

Dr. Thomas has also distinguished himself as a compos-

er/arranger. Hinshaw Music Company, Mark Foster Music Company, FitzSimons Music Company, Lawson Gould,

Earthsongs, Choristers Guild and Heritage Music Company publish his compositions and arrangements.

Dr. Thomas has produced two instructional videos, What

They See Is What You Get on choral conducting, with Rodney

Eichenberger, and Body, Mind, Spirit, Voice on adolescent voices,

with Anton Armstrong. His recent book Way Over in Beulah Lan’: Understanding and Performing the Negro Spiritual has quick-

ly become a major source in this area of study. The African

Diaspora Sacred Music honored Dr. Thomas as a Living Legend.

In 2011, Dr. Thomas’s dedication to and accomplishments in

the choral arts were recognized by his peers in Chorus America,

when that organization presented him with its Distinguished Service Award, by his peers in the American Choral Directors

Association with its Robert Shaw Choral Award in 2017 and by the National Collegiate Choral Organization with its Lifetime Achievement Award.

He is a past president of the Florida ACDA, past president of

the Southern Division of ACDA and president designate of the National ACDA.

The FMEA Awards Program recognizes the efforts and accomplishments of exemplary music teachers, school and district administrators, businesses and others that have made an outstanding contribution to music education. Their efforts help FMEA attain our mission of promoting a quality, comprehensive music education for all Florida students as a part of a complete education. Help me to applaud these individuals, listed on the following pages, as well as all the awardees that came before them, as we strive to improve music education throughout our state. As you read about the 2019 FMEA award winners, you may have exemplary teachers or programs come to mind.

Please remember them when the next nomination period rolls around.

Debbie Fahmie Chairwoman, FMEA Awards Committee

February/March 2019

21

CONGRATULATIONS TO THE 2019 2019 Music Educators of the Year

The FMEA Music Educator of the Year designation is awarded to the music educator who has served his/her 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.

2019 Elementary Music Educator of the Year

MARIE U. RADLOFF Andover Elementary School in Orange County Nominated by Rosemary Pilonero on behalf of FEMEA Marie Radloff is the immediate past

president of FEMEA. She started her teaching career in Gwinnett County,

Georgia, and has worked as an elementary music specialist in Orange

County for the past 30 years, teach-

ing at Andover Elementary School

since 2005. She has been an adjunct professor at the University of

Central Florida and Rollins College.

Additionally, Marie has mentored 30-plus interns over her long career, many of whom continue to stay in touch with her and benefit from her mentoring outreach. Marie has extensive involvement

in curriculum and assessment development within her school district as well as statewide. She

holds national board certification for professional teaching standards in early/middle childhood

music. In 1999, Marie was awarded the FMEA Innovative Program Award. She held the title of Teacher of the Year at Three Points Elementary and became an Orange County district finalist in 2004. Marie is a native Floridian and an alumna of Florida State University (BME) and the

University of Central Florida (MEd). She performs regularly as a church musician at the First United Methodist Church of Orlando as an oboist and as a member of the Wesley Ringers handbell choir. Marie Radloff is very creative, a talented musician, instrumental in preparing young

adults to enter the profession of music education and dedicated to being a lifelong learner. She has made a huge impact on music education.

22 F l o r i d a

Music Director

FMEA AWARD WINNERS 2019 Secondary Music Educator of the Year

ALEXANDER KAMINSKY Marjory Stoneman Douglas High School in Broward County Nominated by Luis Piccinelli Alexander Kaminsky is director of bands at Marjory Stoneman Douglas High School in Parkland, Florida.

Mr. Kaminsky is in demand as an adjudicator, guest conductor and clinician throughout the United States.

Throughout his positions as band director at Auburndale

HS, Lincoln HS, Buchholz HS and now Stoneman Douglas

HS, his bands have earned superior ratings at state con-

cert MPA for the last 22 consecutive years and have performed at prestigious state and national festivals and

conferences including four performances at The Midwest Clinic International Band and Orchestra Conference.

Marching bands under his direction have been named

FMBC State Champions five times. Among his awards are eight NBA Citations of Excellence, the FBA Oliver Hobbs Award and election into the prestigious American

Bandmasters Association. Alex is the only director in the

history of the Florida Bandmasters Association to have three concert bands earn straight supe-

rior ratings at state in both 2009 and 2018. Beyond all the awards and accolades bestowed on this remarkable music educator, Alex Kaminsky has been living proof of the power of music to heal,

as witnessed by the response he and his Stoneman Douglas band had to the shooting tragedy that unfolded this past year at their school. Mr. Kaminsky is a national board certified teacher,

an FBA supervising adjudicator and has served on the FBA Executive Board as chairman. He attained the BME with high honors at the University of Florida followed by the MM with highest distinction from Indiana University.

To view lists of those who came before the 2019 winners (some going back to 1968) and links to the nomination process ‌ CLICK HERE

FMEA.org/programs/awards

February/March 2019

23

CONGRATULATIONS TO THE 2019 Administrator 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 the school music program. This award recognizes leadership, excellence in 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 and allocation of resources.

2019 Administrator of the Year

DR. ALLEN BURCH Principal of Lincoln High School in Leon County Nominated by Scott Leaman on behalf of the Lincoln High School Performing Arts Faculty Dr. Allen Burch has been a strong

advocate for music education as both a middle school and high school princi-

pal. His love of the arts has compelled him to continue adding music classes

to the Lincoln High School curriculum

as well as facilitating the growth of

music classes at the primary feeder

school. Dr. Burch is committed to providing ALL students the opportunity to have a quality

music education at Lincoln HS. To that end, he continues to grow the offerings and has added

Jazz Band, Piano 1 & 2 and two levels of orchestra, and will be adding a Rockestra class for the 2019-20 school year. Music educators at Lincoln HS are afforded leave time to work at their feeder middle schools in order to develop relationships and encourage vertical articulation. Dr. Burch also helps to fund the shared orchestra teacher at the primary feeder school. He has used

capital improvement dollars to enhance the audio and lighting in the auditorium. In order to help increase participation in marching band, Dr. Burch assists in funding transportation for the band, which helps to decrease the financial burden on students and parents. School funds

are used to send music faculty to professional development conferences and in-services. Dr. Burch’s constant support is a primary reason Lincoln’s music program has dramatically grown

over the years. After obtaining the BS degree in criminology from Florida State University,

Allen Burch went on to receive the MS in science education at the University of Florida. He went back to UF for the EdS in educational leadership before obtaining the EdD in educational leadership from Florida State University in 2014.

24 F l o r i d a

Music Director

FMEA AWARD WINNERS Superintendent of the Year 2019 Superintendent of the Year

DR. MICHAEL GREGO Superintendent of Pinellas County Schools

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

programs. This award recognizes leadership, excellence in encouragement and promotion of music education in Florida schools.

Nominated by Jeanne Reynolds Dr. Michael Grego, superintendent of

Pinellas County Schools, is a visionary leader and dedicated music and arts education supporter whose career spans

more than 35 years. He began his career

as a classroom teacher and department head with Hillsborough County Public

Schools. After 28 years with Hillsborough, Dr. Grego was named superintendent for

the School District of Osceola County.

Under his leadership, Osceola saw dramatic improvements. Prior to joining Pinellas County Schools, Dr. Grego was

Florida’s chancellor of K-12 education. Dr. Grego firmly believes that music education is a core part of the curriculum. Under his leadership, Pinellas County’s strong music programs have earned many national recognitions. Since he joined Pinellas, Dr. Grego has been keenly focused

on student achievement and closing the achievement gap. He truly understands the role that arts

education plays in this goal. Dr. Grego believes deeply in investing in teachers and administrators to ensure excellence and has made training and compensating teachers a priority. During Dr.

Grego’s tenure, Pinellas County Schools was awarded a federal Professional Development in Arts Education grant to service 10 high-poverty schools. This had a transformative effect on music teaching in the high-poverty urban schools there. Dr. Michael Grego’s well-rounded philosophy

and leadership abilities do not go unrecognized. In 2017, he was named the Florida Art Education Association Superintendent of the Year as well as Superintendent of the Year by the National

School Foundation Association. More recently, he was named the 2018 Florida Superintendent of the Year and was also chosen as the Florida Association for Career and Technical Education

Superintendent of the Year. It is noteworthy that Dr. Michael Grego received the very first FMEA

Superintendent of the Year Award in 2010 for his work as superintendent of the School District of Osceola County. Nine years later, he receives the award once again for the work he is doing in support of music education in Pinellas County. This is testimony to the true, ongoing commitment that Dr. Michael Grego has toward music education.

February/March 2019

25

CONGRATULATIONS TO THE 2019 District School Board/School Board Member of the Year

Awarded to a Florida district school board or an individual school board member who has demonstrated support for and commitment to high-quality music education throughout the school district, this award recognizes excellence in leadership encouragement and promotion of music education.

2019 School Board Member of the Year

BETH MCCALL

Chairwoman of Marion County Public Schools Nominated by Sondra Wenninger Collins on behalf of FEMEA Beth McCall was elected to serve as the District 2 Marion County school board member in August 2016. She serves as chairwoman of the board.

After attending an FMEA Awards Breakfast to support one of her principals in Marion County, Mrs. McCall immediately spearheaded and promoted the creation of a new position at the district

level, that of fine arts program specialist. This

much-needed position gave a voice to the K-12 music, art, theatre and dance teachers within the

district. With that voice dedicated solely to the arts, all arts teachers now have additional support and resources in helping to grow their programs in both quality and quantity. This is all thanks to the foresight of Beth McCall in facilitating the creation of the position of fine arts program

specialist. In August 2018, 72 percent of voters passed a referendum to continue Marion County’s

1-mill tax referendum that supports music, art, media/library and physical education, as well as vocational programs. The 2018 Referendum Steering Committee was brilliantly led by none other

than Mrs. Beth McCall. It was her behind-the-scenes diplomacy and toughmindedness that made passage of the referendum a reality. Thanks to Beth’s leadership and financial support, the highest

quality of music and art education is made possible for Marion County students by the allocation of a per student percentage of the 1-mill tax referendum that goes to all programs. Her eloquent ability to speak about and promote arts education is witnessed at the many public and private

performances she attends. Beyond being a vocal advocate, Beth jumps right in at events to assist

where needed with the students as well as with the parents. Beth McCall owns Beth McCall, LLC, a nonprofit fund-raising advisory group. In addition to serving on the Marion County School

Board, Beth is executive director of the Marion County Children’s Alliance. Her commitment to the arts can be seen in her involvement in the community. She has served on the University

of Florida Phillips Center Performing Arts Advisory Board and the Ocala Symphony Orchestra Board of Directors. Beth is a member of the Central Florida Master Choir (CFMC) and the St. Paul’s United Methodist Chancel Choir and is a member of the CFMC Board of Directors.

26 F l o r i d a

Music Director

FMEA AWARD WINNERS 2019 Distinguished Service Award recipient

KATHY BOHSTEDT Educational Consultant at West Music

Nominated by Marie Radloff on behalf of FEMEA

Distinguished Service Award

The Distinguished Service Award is presented to persons or orga-

nizations 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.

Kathy Bohstedt has worked for West Music

for the past 27 years, serving as education consultant since 2004. In this capacity she is the smiling and

ever-professional face of West Music at the FMEA Professional Development Conference. She is not only

an invaluable resource to teachers as they shop at the West Music booth, but she works tirelessly behind

the scenes to make the FMEA conference a success by supplying instruments for elementary music sessions. This includes ordering, shipping and assem-

bling instruments before the conference and then disassembling and shipping them post conference.

In the meanwhile, these new instruments are offered

at discounted show prices, which has helped build inventory in many an elementary music classroom.

Additionally, Kathy has worked with the FEMEA

president to provide world-class clinicians. She has

done this for the past 14 years, working with eight different FEMEA presidents. Kathy ensures that

West Music provides not only the clinician fees, but also the travel expenses for at least one worldclass clinician each January at the conference. Facilitated through Kathy, West Music played a pivotal role in the establishment of the All-State Orff Ensemble, which has garnered national attention.

Supplying all of the instruments needed for the premiere All-State Orff Ensemble in 2016 required West Music to bring an expanded team to Tampa to assemble and disassemble the instruments.

Kathy made it happen. Under Kathy’s leadership, West Music will once again undertake this mon-

umental task for the 2019 All-State Orff Ensemble. Annually, Kathy coordinates with the FEMEA door prize chairperson to provide prizes for the FEMEA district and business meetings. The thought of such high-quality door prizes helps to draw FEMEA members to these meetings, and there are

always several delighted elementary music teachers who leave with precious items such as an Orff instrument, teacher resource book, tubano drum, recorder, scarves or posters, to name a few of the

types of donations received through Kathy’s commitment to FEMEA. Before working at West Music, Kathy spent 18 years teaching preschool through sixth grade music as well as directing junior high

and high school choirs. These years of experience have made her a tremendous resource for FEMEA members as they visit the West booth and seek advice on what to invest in. Kathy’s national perspec-

tive, gained through facilitating conferences around the country, is an extraordinary asset for Florida as well. Kathy Bohstedt’s dedication and service to music education is exceptional and well deserving of the FMEA Distinguished Service Award.

February/March 2019

27

CONGRATULATIONS TO THE 2019 Exemplary Model Program/Project

The Exemplary Model Program/Project designation is awarded to an individual or group for meritorious,

exemplary or innovative programs or projects completed in the field of music education. Projects may include exemplary model and/or innovative music education programs or projects that provide or continue to provide a significant, positive impact on students, music educators and/or the state/community.

2019 Exemplary Model Program/Project

Little Kids Rock DAVID WISH

Founder & Chief Executive Officer of Little Kids Rock and

MELANIE FAULKNER

Supervisor of Elementary Music for Hillsborough County Public Schools Nominated by Ernesta Chicklowski on behalf of FEMEA Since 2002, Little Kids Rock has served more than 650,000 children with the lifelong gift of

music-making. Little Kids Rock partners with public school districts in some of the nation’s most

economically disadvantaged communities with the goal of ensuring that all students (K-12) have access to music education and its many benefits. They do this by building Modern Band programs in their partner districts. Teachers apply to be trained to use Little Kids Rock’s innovative and transformational methodology. After their training is complete, teachers receive a donation of curricula, instruments and other resources so they can launch Modern Band music programming for students at their schools. With the resources invested in them, teachers can have their programs

up and running quickly and at no cost to the school. The impact of the program has been reported

to increase student attendance, focus in class, music education interest and academic gains in all subjects. In January 2008, the Little Kids Rock Foundation came into the Hillsborough County

Public Schools and struck a chord that still resounds today. Since that initial coming together, Little Kids Rock has provided Hillsborough teachers with training, a methodology and materials

to present music making in an exciting and nontraditional way. Facilitated by elementary music supervisor Melanie Faulkner, several thousand instruments have been provided to schools and

nearly 200 teachers have been trained in Hillsborough County alone. Several of these teachers have gone on to become trainers/ambassadors for Modern Band. The enthusiastic results of this program can be witnessed when the Modern Band students perform in the community. They have delighted audiences at events such as Tampa’s Riverfest. Thanks to the partnerships between Little Kids Rock and the Hillsborough County elementary music programs, thousands of students are rocking on in music classrooms throughout the district.

28 F l o r i d a

Music Director

FMEA AWARD WINNERS Music Education Service Award

The Music Education Service Award is presented 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 them-

selves to this profession for most of their adult lives. This year, we will celebrate 181 total years of teaching among the following six honorees:

Michael Hipple, Citrus Elementary School..................................................................................... 25 years Carissa Reese, Pine Crest School....................................................................................................... 25 years Amelia Fulmer, Flagler-Palm Coast High School........................................................................... 30 years Katherine Reynard, John M. Sexton Elementary School.............................................................. 31 years Karen Bishop, Martinez Middle School........................................................................................... 35 years Peggy Lynn Gulli, Turkey Creek Middle School........................................................................... 35 years

February/March 2019

29

CONGRATULATIONS TO THE 2019 FMEA AWARD WINNERS Middle/High School Music Enrollment Awards

The Middle and High School Music Enrollment Award is presented to music programs demonstrating high enroll-

ment 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, recruitment and retention of students. In order to qualify for this award, at least 30 percent at the high school level and 45 percent at the middle school level of the entire student body must be enrolled in a music course. This year, we are proud to announce that 17 schools will be

recognized. Eleven of these schools have half or more of their total student population enrolled in music education courses! Congratulations to the following schools:

MIDDLE SCHOOLS Wolf Lake Middle School..............47% Orange County Marla Langford, David Laniewski, Ashley Norville Principal: Cynthia Haupt Avalon Middle School....................48% Orange County Jennifer Haber, Natalie Janas, Evan Powers, Jonathan Tirado Principal: Karen Furno Thurgood Marshall Fundamental Middle School.................................. 50% Pinellas County Meghan Lance, Daniel Taylor Principal: Nicole Wilson Timber Springs Middle School... 50% Orange County Jennifer Haber, Angela Pagunsan Megan Reichenbach Principal: Dr. Eric Cantrell Odyssey Charter Jr./Sr. High Middle School...................................52% Brevard County Glenn Hoffman, Marli Varnadoe Principal: Dr. Monica Knight Clearwater Fundamental Middle School...................................52% Pinellas County Sophie Trottier, Calista Zebley Principal: Stephanie Joyner

30 F l o r i d a

Music Director

Odyssey Middle School..................53% Orange County Camden Dumas, Marianne Flanagan, Gabriela Santos Principal: Ann Hembrook Johnson-Wakeland K8 IB School......................................54% Manatee County J.R. Boatwright, Josephine Stone Principal: Angela Lindsey Martha B. King Middle School....54% Manatee County Kimberly Evans, Robert Medlin, Fernando Vera Principal: Kristin Kreiling Millennium Middle School...........54% Seminole County Valentine Agranovsky, Jacqueline Bishop, Jason Ernst, Sonia Galarza, Joshua Langston, Sean Moore Principal: Dr. Margaret Gunderson Lake Alfred Polytechnic Academy..............................................57% Polk County Stephen Cornelius, Victor Martinez Principal: Julie Grice Maitland Middle School................63% Orange County Cynthia Johnson, Lisa Loucks, Eric Mendez Principal: Andrew Leftakis

McLaughlin Middle and Fine Arts Academy.............................................73% Polk County Qiana Lamb, Samuel Ortiz, Mirka “Micky” Polley, Sabrina Terry, Quanetta Veit Principal: Donna Drisdom HIGH SCHOOLS Lakewood Ranch High School.....32% Manatee County Kristin Greene, Ron Lambert, Rebekah Lester, Giselle Panagiotakis, Daniel Shafer Principal: Craig Little Titusville High School....................37% Brevard County Minnie Orr, Ian Schwindt, Marley Sperr, Jennifer Zahn Principal: Annetha Jones Avant Garde Academy of Broward High School..................... 40% Broward County Marcos Rodriguez Principal: Joel Mesa Odyssey Charter Jr./Sr. High School........................... 42% Brevard County Glenn Hoffman, Marli Varnadoe Principal: Dr. Monica Knight

Please take time to thank and support our 2018-2019 Academic Partners.

GOLD PARTNERS

SILVER PARTNERS

Florida International University

BRONZE PARTNERS

Cannon Music Camp - Appalachian State University The College of Saint Rose Florida College Florida Gulf Coast University Florida Southern College Hillsborough County Secondary Music Council Jacksonville University Keiser University Mercer University Northwestern State University (LA) Palm Beach Atlantic University

Rollins College Department of Music Stetson University Union University University of Miami University of North Florida University of North Texas University of Tampa University of Texas at San Antonio Valdosta State University West Virginia University School of Music

Partners as of February 1, 2019.

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

February/March 2019

31

GOLD

SILVER PARTNERS The Horn Section, Inc. Music is Elementary West Music Company Partners as of February 1, 2019.

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

32 F l o r i d a

Music Director

Please take time to thank and support our 2018-2019 Corporate Partners.

PARTNERS

BRONZE PARTNERS Blues Angel Music Cadence Music Carl Fischer Music Concept Tours, Inc. Excelcia Music Publishing Festivals of Music & Music in the Parks J. W. Pepper & Son, Inc. MakeMusic, Inc.

Music & Arts Music Man, Inc. Music N More, LLC National Concerts Neil A. Kjos Music Company Rhythm Band Instruments, LLC Romeo Music Super-Sensitive Musical String Co. February/March 2019

33

ComponentNews T

hanks to the wonders of social media, it’s easy to see that we have entered

the season of state MEA conferences.

These professional conferences are held

nationwide to highlight students’ work,

to strengthen our music teachers and,

often, to fight for legitimacy and for our very existence. We often complain that

we shouldn’t have to struggle so hard, but perhaps it is this constant struggle that

makes us stronger. We’re not willing to settle for less than the best, and we won’t

ever stop learning and growing. The

that is admired by our colleagues both ductors, clinicians, educators and other

like-minded professionals from all over the country who want to learn from our

efforts. Immediately after the conference,

I reflected on some things that stuck with me. Here are just a few highlights, quotes

«« I loved watching students and direcand thoughts on the experience:

tors discover the magic of Dr. Tim during

and then shows them how they can

strive to reach even higher than they’d

state are so well connected and marvel

state in the country, so I get a glimpse of what’s happening elsewhere. I have

Leadership

literally to reach as high as they can

ful it is that music educators across the

I have music teacher friends in every

Student

watch him as he asks the students

try new ideas. They ponder how wonder-

promote teamwork and collegiality.

the

Workshop. It’s always amazing to

back from FMEA energized and ready to

of competition and rivalry, we continue to

imagined. We all need that reminder.

Stretch yourself as far as you can.

«« Tradition.

Honor. Excellence. Dr.

David Hedgecoth (The Ohio State

University) spoke on what “THE”

stands for while thanking THE 2019

«« I just ordered a melodica. So should «« We had a full house for our “Artistry in Action” clinic with Alfred Watkins. you. So should everyone. «« “Artistry is not the icing; it’s the For those who missed it, don’t forget

to say that I could not be prouder to be a member of the Florida Music Education

Association. From the quality of the clin-

ics presented to the talent of our student performers, Florida sets a professional

Tim Lautzenheiser “Dr. Tim”

Then push just a tiny bit more.

cake.” Keynote speaker Bob Duke (University of Texas at Austin) spoke

on a vision of students both as accom-

plished learners and as accomplished musicians. He described how we have to encode new knowledge into our

brains in order to create efficient storage and retrieval processes. He said

that learning really starts during the

retrieval process when our brains compare what happens with the

prediction of what we think will

happen and then adjust our memo-

ry. Just this week, my administration

gave our faculty an article regarding

that he will be our keynote speaker for

this year’s FBA Summer Conference,

«« “Conducting an honor band is like June 24-26, 2019, in Daytona.

running a marathon with a blind date.” — Dr. Ann Adams, conductor of the 2019 FMEA Middle School

«« “If we made an honor band big enough Honors Band

and could put U.S. Congress in it, we could get a lot more done. They can’t all play first trumpet, though.” — Dr.

Travis Cross (UCLA), conductor of the 2019 FMEA All-State Concert Band

So, what do we need to remember

the learning process and making link to a video of Dr. Duke teach-

to the audience as the conductor of the

ing on memory formation, adding a

layer of professional development to

our conference experience that goes beyond the music.

Music Director

FMEA All-State Middle School Band.

moving forward? I think Dr. Sarah

material meaningful. I sent them a

34 F l o r i d a

Robert “Bob” Duke

near and far. In fact, we attract con-

often see that our music teachers come

of our peers. In the present-day mindset

Cathi Leibinger, President

development bar for music educators

non-music colleagues in my workplace

that we are so quick to praise the success

FLORIDA BANDMASTERS ASSOCIATION

McKoin said it best during her comments 2019 FMEA All-State Symphonic Band:

“Keep that same discipline and passion we experienced this weekend and put it into everything we do.”

FLORIDA ORCHESTRA ASSOCIATION

Jason Jerald, President

FMEA Conference President’s Concert: Douglas Anderson School of the Arts Chamber Orchestra

I

t was great to see all of you at our won-

As we head into MPA season, please

derful FMEA conference! I hope you

take time to share our new adjudication

speakers and the various performances.

like to thank the adjudication committee

were inspired by the sessions, the guest Again, I would like to thank all of the

session presenters and coordinators as well as our all-state students and con-

ductors for exhibiting true artistry. On behalf of the FOA Executive Committee, we would like to thank our all-state

coordinators: Andrea Szarowicz, Steven

Bossert, Vivian Gonzalez, Sarah Taylor

sheets with your students. Again, I would

Anthony Hose from Stetson University and Professor Thomas Sleeper from Frost School of Music, University of Miami.

As always, please feel free to contact

members for their incredible dedication

any of us on the board with your ques-

process. I am hopeful their tireless efforts

I wish you the very best on your dis-

to improving our adjudication training/ will result in a more relevant educational experience for our teachers and students.

Please be mindful of the following

state MPA dates:

tions or concerns.

trict MPAs this year. Please take time and

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

March 4, 2019

State Solo & Ensemble MPA Application Postmark Deadline

our students. We would also like to thank

March 29, 2019

State Concert MPA Application Postmark Deadline

School of the Arts Chamber Orchestra

April 6, 2019

State Solo & Ensemble at Strawberry Crest High School, Dover

President’s Concert.

April 23-25, 2019

State Concert MPA at Blake High School, Tampa

and Sarah Guarrine for their outstanding

service and dedication to creating a posi-

tive and successful musical experience for Brian Griffin and the Douglas Anderson

for their outstanding performance at the Thank you to the membership for

attending our FOA General Membership

Our state concert MPA adjudicators

meeting. It’s hard to believe we are already

are Dr. Mark Laycock from Wichita

ferences! If you have any suggestions,

the University of South Carolina and

planning for our 2019-20 Fall/FMEA conplease email me at jjerald@myfoa.org.

Thank you for your support.

State University, Dr. Gail Barnes from

Dr. Robert Gardner from Penn State University. Our clinicians are Professor

“He is a good musician who understands the music without the score, and the score without the music”

– Robert Schumann February/March 2019

35

ComponentNews

C

ollegiate students from all over Florida met in Tampa for the 75th Anniversary FMEA Professional Development Conference. The Florida Collegiate National Association for Music Education held two gen-

eral business meetings where we discussed future advocacy events, held our state executive board elections and presented chapter updates from all schools. Our chapters across the state are doing amazing work to further FMEA’s advocacy efforts while diligently working to promote our membership numbers.

Bethune-Cookman University’s FCNAfME

Florida Atlantic University regu-

ger than ever. The chapter hosts regular

its members to help prepare for

chapter is once again active and stron“Cram Nights” for underclassmen members where older members help them study

for their music theory and sight-singing

exams. This event is used to build a stronger

community within the chapter and to help with recruitment efforts, which are two of the main goals for this semester.

Bethune-Cookman University is proud to announce that one of its chapter executive board members, Malik Turner, won the

NAfME Student Composers Competition. His piece was premiered at his senior recital by a local high school in Orlando and was later performed at the winter concert.

larly hosts study hall sessions for upcoming exams. One of the goals

for the year was fund-raising, and

the chapter has been quite successful,

especially when partnering with Chili’s. This year the chapter rewrote its constitution to accurately reflect chapter operations.

Florida Gulf Coast University established an FCNAfME chapter this year. In its

inaugural year, the chapter has hosted performance workshops for local high school students and an instru-

ment petting zoo, and has become active in our state FCNAfME activ-

ities such as the Fall Conference.

The goal for the remainder of the

semester is to create a stronger community within the chapter Eastern Florida State College is in a rebuilding year and has

many goals and ideas for the chapter’s return. The group has

been more organized and efficient than ever as an Executive Board and in meetings. One of the main focuses this school year

has been membership attendance at the FMEA conference. We are so proud of Eastern Florida State College, as the chapter’s

entire Executive Board comprises freshmen eager to transform their chapter.

Florida A&M University is incredibly proud of its chapter advisor, Dr. Shelby Chipman, who was recently elected FMEA president-elect. This chapter

has hosted an FCNAfME week for its

campus to promote the chapter and to

increase membership diversity. The goal

for the school year is to expand both pro-

fessional development opportunities and community outreach projects for the chapter.

36 F l o r i d a

and the university.

Florida International University is working to rebuild its chapter. FIU has a benefit concert schedule to raise money for the music

program at a nearby school. FIU has also

partnered with the Kappa Kappa Psi chapter on campus to fund-raise for other local music

programs. In the coming months the chapter hopes to increase its membership numbers and participation.

Florida Southern College

has been busy hosting many music events on campus.

This year the group hosted

our FCNAfME Fall Conference and the FEMEA Workshop, and is getting ready to host the Polk County all-county ensembles

later this semester. In addition to extensive philanthropy proj-

ects, the Executive Board added an advocacy chairperson as well as an Advocacy Committee.

Music Director

FLORIDA COLLEGIATE NAFME

Jennifer Luechauer, President

Florida State University expanded its

to roam around the room as they felt led by the music, to touch

going out into a local mall to tell the

the performers after the concert about their instrument. This

NAfME advocacy efforts this year by community about music education and

the FCNAfME chapter on campus. The chapter has also spearheaded two social

media campaigns to create music edu-

instruments being played to feel vibrations and to speak to FCNAfME chapter added an advocacy/communications chairperson to its Executive Board and is working on increasing professional development opportunities for members.

cation awareness and has worked to teach members how to advocate.

Palm Beach Atlantic University’s goal for this year is to rebuild and expand the chap-

The University of Florida’s main focus this year has been increas-

full Executive Board rather than just

socials included folk dance classes, musical games and bonding

ing with the school’s student gov-

guest speaker to talk about professional development topics that

a larger portion of the student body to advocate for chapter

prepare them for teaching.

ter. To do so, the chapter has established a

ing its chapter’s community-feel by hosting socials. Some of the

one position. The chapter is work-

activities for members. Chapter meetings consist of bringing in a

ernment association to help reach

will expand members’ music education knowledge and better

membership.

The University of Miami won the

NAfME Advocacy Award for its Social

Media

Advocacy

cam-

paign. The chapter encouraged Southeastern University saw a huge increase in membership this

fall among incoming freshmen. One of the fund-raisers was sell-

ing $1 five-minute lessons to people who walked by. This was a huge success, and the chapter intends to do this promotion again soon. One of the group’s philanthropic events was working with

physically and intellectually disabled students to teach them a song using Orff instruments. This gave music education majors an opportunity to teach while doing good for the community.

Stetson University has been

finally got it. This hour will help FCNAfME membership and

involvement grow. Currently the chapter is planning an honor

chamber ensemble performance festival for lower income students who may not be able to afford the cost of solo and ensemble or other supplemental activities. held

a

Central

“Night

concert to raise money for a local elementary school and has held an instrument petting zoo on campus.

The University of South Florida is focusing on increasing membership and reestablishing the chapter.

chapter meetings.

music education majors, and

Florida

#WhyMusicWednesday. The chapter has also hosted a benefit

bring in more guest speakers for

sional development hour for

of

to social media. Themes included #MotivationMonday and

development opportunities and to

a music education profes-

University

take part in five days of posting

The goal is to increase professional

hard at work advocating for

The

its members, peers and family to

of

Exceptionalities” concert for

students with disabilities. During

the concerts, students were allowed

Warner University’s FCNAfME chapter petitioned for a music building to

be built at the school. Members were recently informed of the univer-

sity’s decision to move forward with construction, and they are

elated! When the chapter members weren’t advocating for their

new music building, they were visiting local schools to speak

to students and teachers about the importance of music education.

February/March 2019

37

ComponentNews FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

Stacie Rossow, DMA, President

T

hank you to all of our members who attended the sessions and the FCMEA business meeting during the 2019 FMEA

Professional Development Conference. The sessions were wellattended, and I know I came away with some useful information

and tools to try this semester. Talking about artistry is something

that should be so innate to us, but hearing some of Dr. Duke’s talk

reminded me of how often we can overlook asking our students to perform (and rehearse) with an artistic purpose.

Our panel discussion with the two- and four-year institutions

brought to light interesting contrasts between programs—not just public versus private, but between State University System institu-

tions. Ideas included attempting to move the two-year colleges to the same page, not just in terms of courses in the pathways, but in endeavoring to align what is taught in certain classes. Several pro-

fessors who deal with accepting and transitioning students into the four-year universities suggested that there is a great disparity in the

level of preparedness of students from certain schools. These stu-

dents, if their level of preparation is too far behind the students who began at the four-year institution, will either not be awarded admis-

sion to the limited access programs or will be required to re-take courses. If they are not awarded admission, it is likely because the

degree-granting institution cannot, in good faith, accept students to

a program they will not be able to finish in the allotted number of credits before they are required to incur excess fees. If remediation is required, and is deemed possible by the accepting institution, it

will almost certainly require incurring those fees. We discussed that several of the changes required to align pathways could be facilitated

by working together. If one institution is permitted by the state to enact a policy, course or credit load, then the others should be able to follow suit. I would like to attempt to facilitate this in my short time left as your president.

I would like to congratulate Marc Decker of Florida Atlantic

University who was elected FCMEA president-elect beginning July 2019. At that time, John Ash of the College of Central Florida will assume the presidency. It was also discussed at the board meeting

that we form a committee to evaluate the bylaws of the organization,

with the immediate past president as chairperson. We will begin working toward that goal in May. I am certain the association will

thrive in the years to come under our new leadership. I encourage you to attend the Fall Conference to continue our statewide collaboration.

38 F l o r i d a

FLORIDA COLLEGIATE NAFME

Shelby R. Chipman, PhD, Advisor

I

would like to commend Dr. Kenneth Williams, FMEA president, members of the FMEA Board

of Directors and Conference Committee, our FMEA office staff and the component members who

helped promote and bring together a wonderful 2019 FMEA Professional Developmental Conference in Tampa, Florida.

Our Florida collegiate chapters, presidents

and members also are to be congratulated for the outstanding manner in which they supported

FCNAfME activities. FCNAfME President Jennifer

Luechauer (Florida State University) and FCNAfME President-elect Katherine Attong-Mendes (Uni-

versity of Miami), along with other FCNAfME

board members, helped to generate much interest and participation from chapters across the state.

Our music supervisors did an amazing job during

the interview/resume sessions, as did our panelists/

clinicians and everyone who volunteered to announce the mini-concerts.

The Florida Collegiate Day at the Capitol will

take place on March 27. I hope we will have representation from several colleges as we promote music

and dialogue with our state senators and representatives. I look forward to hearing from chapter presidents regarding each of the chapter’s spring

activities, including special topic meetings, hosting

solo/ensemble and concert MPA events, Music in Our Schools Month and other special projects.

Congratulations to the newly elected members

of the 2019-20 FCNAfME Executive Board, who will take office on July 1. Thank you to everyone who

applied as well. We will continue to work on activat-

ing Florida chapters that are inactive. We will provide a report during our May FMEA board meeting

of the schools that have and have not responded to FCNAfME to activate their chapter.

In closing, let us be reminded of our current

theme, ARTISTRY: Teaching & Performing, and the

importance of providing unique music experiences

for ALL students. Music transforms a child’s mind and opens up endless possibilities for each student’s learning potential.

Have a great spring semester, and continue to

advocate for music in your schools and communities.

Music Director

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Rosemary Pilonero, President

2006. That was my room number at the

I am excited about our ongoing work to

Williams, Steve Kelly, Val Anderson,

because that is also the year we moved to

benefit of Florida’s elementary music edu-

Conference Committee. Heartfelt thanks

hotel this year in Tampa. How appropriate Florida and I fell in love with teaching all over again. I remember attending my first

move our organization forward for the cators and students.

Special thanks to our vendors: West

FMEA conference in 2007. My mind was

Music (Judy Pine), Music Is Elementary

fantastic sessions and the immense size

who made it possible to have clinicians

blown! I was overwhelmed by all of the

of the event. I came home with excitement that I continue to carry with me. This

year marked my 13 FMEA conference. th

After my first conference, I never could

have imagined that I would be serving as FEMEA president 12 years later.

What a wonderful whirlwind confer-

ence week! This was my second conference serving as FEMEA president,

(Ron Guzzo) and Peripole (Andrew Perry)

and instruments for sessions and our All-State Orff Ensemble. I am grateful to

Peek, Lesleigh Howard-Zeno and Joani Slawson. Thank you doesn’t seem like

enough words to express my gratitude for everything they did to make the conference work.

to anything we needed and the endless

peace of mind and encouragement you always provide.

Finally, I have some FEMEA election

(District 1), Megan Alfaro (District 3),

Southard and Jay Broeker (West Music), Marla Butke (Music Is Elementary) and Chris Judah-Lauder (Peripole).

I love that Jay Broeker was a clini-

Elementary All-State Chorus. What a

Sydney Johnson, Sondra Collins, Ashley

of you! I appreciate your quick response

elementary music teachers of Florida: Josh

an outstanding FEMEA team of disJason Thomashefsky, Jennifer LeBlanc,

chairman, John K. Southall. I am in awe

results to share. We have several new

wealth of knowledge and passion to the

cian and also the composer of the com-

trict chairpersons: Claudia Lusararian,

and congratulations to our conference

our headliner clinicians for bringing their

and my heart is overflowing with grat-

itude and pride. I am privileged to lead

Kathy Sanz and Josh Bula, and the FMEA

missioned piece for the 2019 FMEA

thrill for those students to meet and work with a composer, and I know it was spe-

district chairpersons: Pauline Latorre Jenny Chambless (District 5) and returning as District 7 chairwoman, Lesleigh

Howard-Zeno. Joani Slawson has been elected to serve as the next FEMEA pres-

ident-elect. Congratulations to all, and

I look forward to working with you to

serve the elementary music teachers and students of Florida.

What a great week of inspiration and

cial for Mr. Broeker to hear his piece come

artistry to carry us forward in our profes-

The FEMEA part of the conference

tion. I’m already looking forward to the

alive on stage for the very first time!

couldn’t happen without the support and

diligent work of the FMEA team: Kenneth

sion! I am honored to serve our organiza2020 conference as FEMEA past president!

Robert Todd, coordinator of the All-

State Elementary Chorus, did a wonderful job working with Dr. Kelly Miller, and

the concert was full of beauty and emo-

tion. All-State Orff Ensemble coordinator Holly Mullenix did an outstanding job

working with the dynamic duo of Cyndee Giebler and Michelle Przybylowski,

which resulted in a wonderful performance. Both performances truly exemplified the conference theme ARTISTRY: Teaching & Performing.

Special thanks to the FEMEA Executive

Committee: Ernesta Suarez Chicklowski

for your bright spirit and willingness to learn, Marie Radloff for your mentorship and Jenn Sullivan for your outstanding

brilliance as FEMEA executive director.

February/March 2019

39

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

RESEARCH COMMITTEE CHAIRMAN

Don D. Coffman, PhD University of Miami

What are some psychological benefits from singing in a choir?

I

n this column I have often summarized research reports from the National Endowment for the Arts and

from NAfME publications. This month I draw from the internationally known Psychology of Music, from the

United Kingdom. Music education researchers can have their research published in psychology journals, too.

In this study,1 the researchers noted that although prior researchers had suggested that choral singing

helped psychological well-being, there seemed to be a lack of research that explored why this might be true

and whether benefits unique to choral singing could be identified. They compared choral singers with partic-

ipants in two other leisure activities: solo singing and playing a team sport. This approach allowed them to compare musical and social elements of choral singing. Their questionnaire measured self-reported well-being, entitativity, need fulfilment and motivation. Entitativity refers to the “subjective perception that a group is

a ‘real thing’ or ‘coherent whole.’” For example, a group of individuals waiting for a bus has theoretically less entitativity than a group that has a shared sense of purpose, need fulfilment and affiliation. Because choirs

often have physical synchrony (moving and breathing together, often with similar increases/decreases in heart rate), choir members can report a blurring of the boundary between self and other into “we.” This ought to yield higher levels of entitativity.

The study’s data (collected from 375 individuals) revealed: (1) group participants (choir members, team sport

players) had higher psychological well-being scores than solo singers; and (2) choral singers thought their

choirs to be more coherent or meaningful than team sports players viewed their teams. In the authors’ words: Together these findings might be interpreted to suggest that membership of a group may be a more

important influence on the psychological well-being experienced by choral singers than singing. These

findings may have practical implications for the use of choral singing as an intervention for improving psychological well-being.

I suspect that many of us have heard comments from participants in our ensembles something like this: “It’s

so wonderful to be a part of something bigger than yourself.” So, we know from experience the influence of a well-functioning group on individuals. What I appreciated seeing in this study was the deliberate comparison of a music group with a non-music group and the separate comparison of solo versus group singing.

Endnote

Joseph Stewart, N. A., & Lonsdale, A. J. (2016). It’s better together: The psychological benefits of singing in a choir. Psychology of Music, 44(6), 1240–1254, https://doi.org/10.1177/0305735615624976.

1.

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

with a subject heading Research Puzzles.

Your questions, if selected for publication, will remain anonymous.

40 F l o r i d a

Music Director

CommitteeReports

EMERGING LEADERS COMMITTEE

Mary Palmer, EdD, Chairwoman

FMEA Emerging Leaders gather for a photo following their PechaKucha presentation at the 2019 FMEA Professional Development Conference.

Pictured in the back row are Danielle Wright, Cristina Hernandez, Dr. Mary Palmer, John Weatherspoon, Karista MacRostie, Pablo Elias-Rodriguez, Andrew Bajorek and Christina Johnson; and in the front row, Audrey Carballo, Tami Williams, Mary Johnson and Malissa A. Baker.

A

re YOU willing to step up to leadership for music edu-

cation? Whether you’re interested in taking a greater

leadership role in your school, your district, your state or the

nation, connecting with like-minded people who are on their own leadership journeys can help you frame and achieve your

aspirations. What do successful leaders have in common? What is necessary to build these habits of mind and actual skills?

Are the characteristics of leaders different in different settings?

Why even invest time and energy into being a leader?

If these are burning questions for you, the FMEA Emerging

Leaders Program is for you! This FMEA initiative provides guidance and support to outstanding music educators who demonstrate exemplary teaching and the potential and propensity for professional leadership. Selected teachers have

the opportunity to participate in leadership development talks, workshops, discussions and ACTION. FMEA Emerging

Leaders have opportunities to enhance and use their abilities in all aspects of music education, including at the annu-

al FMEA Professional Development Conference and at the NAfME National Conference, this year being held in Orlando, November 6-10.

2019 Emerging Leaders need to be able to attend the FMEA

Emerging Leaders Drive-In to Leadership one-day conference.

This year’s conference will be held on Saturday, June 8, at the

University of Central Florida in Orlando. More information on the conference will appear in the May issue of FMD.

Nominations from school principals, district music super-

Emerging Leaders from past years join in pre-session support of the 2019 conference presenters. Pictured are Rueff Lopez,

Dr. Mary Palmer, Malissa A. Baker, Samuel Ortiz, Ajori Spencer, Janelle Kaufmann and Audrey Carballo.

visors and any music educator are encouraged and welcomed!

Self-nominations are accepted and welcomed as well. For more information about the program, click here.

Please be sure to

include your resume/vitae with your nomination. Nominations are due April 25. Questions? Please contact Dr. Mary Palmer, mpalmerassoc@aol.com.

Be the CHANGE that you’d like to see! We’re looking forward to

YOUR application!

February/March 2019

41

CommitteeReports F

AWARDS COMMITTEE

Debbie Fahmie, Chairwoman

or those of you who joined us at the

winner for a particular category when

17 schools spanning seven counties

you will agree that we had a fabulous

I want to take this opportunity to say

cation courses. Overall, we celebrated a

2019 FMEA Awards Breakfast, I think

time honoring the well-deserving award recipients. Thank you to all who made the event so special!

The early morning couldn’t have start-

ed out on a better note as we enjoyed the artistic talents of Tom Butler tickling the ivories as our guests arrived. He played

us through the 90-minute celebration

there are so many deserving individuals. thank you to my dedicated awards selection committee members, who had the

daunting job of naming the winners. The

committee once again did due diligence

things happening statewide in Florida.

It is such a challenge to select just one

I

If you have not already done so, please

to be inspired. Also, please be thinking

In addition to an awardee in most of

years of their lives to music education.

pause as I contemplate all the wonderful

cation in the state of Florida!

with each nomination.

port and list of achievements presented

the past 12 years, and we appreciate his The awards breakfast always gives me

Awards Program. Hooray for music edu-

take a moment to read about this year’s

the major categories, FMEA recognized

musical contributions.

total of 70 individuals in our 2019 FMEA

in reviewing each and every letter of sup-

without missing a beat. Tom has been

coordinating live music for this event for

achieved high enrollment in music edu-

six teachers for dedicating 25 or more

Our music education service awardees

awardees on pages 22-30. You are bound about possible nominees for 2020 so you will be ready to submit an application

this spring. Look for announcements of the nominations period to come soon.

The process of facilitating the awards

had a combined total of 181 years of

solicitations, selection and celebration is

through music education. Sixty-six music

forefront just how great our state is in

molding young minds, hearts and souls educators and their administrators from

always such a joy for me. It brings to the

providing music education for ALL. All

asked Alex to share his reflections on winning the FMEA Secondary Music Educator of the Year award.

Alexander has this wonderful quote from Leonard Bernstein in his

signature line, of which Alex and his students are now living proof: “This

will be our reply to violence: to make music more intensely, more beautifully, more devotedly than ever before.”

Thank you to Mr. Kaminsky for sharing these inspirational thoughts

with us and to all who were a part of the 2019 FMEA Awards Program. I

“

hope you have a wonderful spring season, and I look forward to the next exciting round of nominations for the 2020 FMEA Awards.

Listening to the very kind sentiments that were written by col-

leagues, band parents and students over the course of my 30-year

career was humbling and deeply appreciated. The comments

shared by current administrators, band parents and students were particularly moving in light of what we have experienced

together at Stoneman Douglas. The scope of our influence as

music educators comes into more focus when you hear how people have been impacted by us as teachers and leaders. I am thankful to those who helped make so many opportunities possible for me to have been able to

teach in various capacities, from schools at which I’ve taught to honor bands to clinic sessions for others in the

”

profession. Teaching instrumental music is a calling, and I will continue to take my responsibility as a music educator seriously, knowing the transforming power that can and has been unleashed through the performance of

music. As one of my students so eloquently put it, “music is not black ink on paper; rather, it is how you can take pure emotion and transfer it into something audible ... to create something beautiful in the language of music.”

42 F l o r i d a

Music Director

PROFESSIONAL DEVELOPMENT COMMITTEE

Carolyn Minear, Chairwoman

components of our organization are rep-

resented. During the celebration, we can feel the great energy among the FMEA

leadership, music educators, district lead-

H

appy 75th Anniversary, FMEA! In January, more than 10,000 Floridians gathered in Tampa to celebrate the theme ARTISTRY: Teaching &

Performing. From beginning to end, it was a joyous occasion. Just as it takes

ership and school administrators in the

a village to raise a child, it took a huge village of committed music educa-

tunity for advocacy with school admin-

Development Conference. The servant leadership behind the scenes prior

principals who are recommitted to music

to every person who volunteered to support this monumental undertaking.

armed with new ideas.

contributed to the FMEA birthday celebration with your presence. Planning

of the awardees that are recognized in

ference ended, so mark your calendars, choose your level of participation and

room. This celebration is a prime oppor-

tors thousands of hours to plan and implement the 2019 FMEA Professional

istrators. I often receive comments from

to and during the event was an anniversary gift to the profession. Thanks

education and going back to their schools

And thank you to all teachers, students, presenters, vendors and parents who

Although I don’t personally know all

for the 2020 Professional Development Conference began the day the 2019 con-

our special categories, by the end of the

plan to be in Tampa Jan. 8-11, 2020!

them because of our shared belief system

huge variety of learning opportunities during the annual conference: ses-

Music Educator of the Year is no excep-

our vision for what is possible; sessions that celebrate successes; and sessions

ments outlined in his application packet

Models of musical artistry are omnipresent throughout, culminating in more

profound and positive an effect a music

Author Malcolm Gladwell reminds us that understanding how your take-away

Our 2019 FMEA Secondary Music

says that it’s great to know, but urges us to seek to understand and apply it.

Kaminsky, band director at Marjory

and leads to changes in one’s professional actions over time. The change you

Broward County. His nomination includ-

Take a moment to reflect on how the 2019 FMEA Professional Development

awards breakfast I feel a connection to

What best describes a successful professional conference? FMEA offers a

and passion. Our 2019 FMEA Secondary

sions and exhibits that inform; sessions that inspire; sessions that broaden

tion. Reading through the accomplish-

and events that support teachers and students in every stage of development.

made me appreciate, once again, how

than 20 all-state concerts. Every person in attendance has a unique take-away.

educator can have on his or her students.

fits within the context of what you’re doing—how it applies—is the key. He

Educator of the Year is Alexander

Professional development is effective only if it enriches one’s professional life

Stoneman Douglas High School in

choose requires clear intention and intense practice.

ed the many accolades Alex has garnered

Conference impacted you. Did you walk out of a session feeling more whole,

well as letters of testimony to his musical

like-minded colleagues? Were you reminded of how artistic performance

the room rose and many eyes welled with

you more sensitive to the individual needs of your

he handled the tragedy at his school last

the power of connection and community that is

and his students transcended all of his

conference experience, feeling or understanding con-

important, human role of a music educa-

have you chosen to adopt in your professional life?

throughout his distinguished career as

more authentic, more affirmed? Were you inspired by interactions with

achievements; however, the emotions in

unites musicians and audiences? As a result of attending the conference, are

tears as we heard a description of how

students? Do you have a richer understanding of

February. His efforts to help his school

built when we make music together? How has any

musical achievements and reiterated the

tributed to your professional growth? What new habit

tor in times of crisis. Alex’s program lost two students, and others were injured.

Reminder: To continue your professional learning

He tirelessly organized meetings, events

journey, now is the time to explore summer options

and every one of his students the support

endar!

and concerts in order to provide each

available to you. Make your plans and mark your cal-

they needed and to begin their collective healing through music.

February/March 2019

43

CommitteeReports What People With Disabilities Wish You Knew

I

nteracting with a person who has a

Disability, 2015; Schuller, 2018). Beatrice

Handicapped Children Act, now IDEA

ent than interacting with anyone else.

awareness, found that people smiled less

Education Act.

disability is generally no differ-

Unfortunately, some people (though certainly not all) make erroneous assump-

tions about people living with disabilities. I offer as evidence the numerous

articles and videos that have been pub-

lished under the title “Things People with Disabilities Wish You Knew” or a similar

title (Carmen, 2018; Fifty is the New Fifty, 2015; The Guardian, 2017; Living with a

44 F l o r i d a

Wright, an early pioneer in disability often, spoke fewer words and kept a

(2004), the Individuals with Disabilities The reality of living and functioning

greater physical distance when interact-

as a person with a disability is often

those who did not (Wright, 1983). Though

of that reality (Honisch, 2009). Research

ing with people who had disabilities than her study has not been replicated, it is

likely that such avoidance behaviors are

less common among those who have

attended schools since the passage of PL 94:142 in 1974, The Education for All

Music Director

much different from others’ perceptions indicates that the reality of living with a

disability and others’ perceptions of that reality are rarely aligned (Munyi, 2012).

Living with a disability is often perceived

as difficult, depressing or problematic.

DIVERSE LEARNERS COMMITTEE Alice-Ann Darrow, PhD, Chairwoman

Individuals with a disability rarely see

relative have the same abilities I have.

their daily experiences as such. In fact,

8. Please do feel sad for me. I am not a

little thought to their disabilities. Another

9. Please do not talk to me like I am a

tentioned notion, is that people living

10. Accommodating my disability in class

most persons with disabilities give very condescending, though perhaps well-intheir lives with a disability should serve

as an inspiration to their able-bodied peers. The Internet is replete with “inspi-

rational” stories and videos of individuals with disabilities simply going about liv-

sad person. child.

or workplace is the law, not someone’s generosity toward me.

11. If I am using a wheelchair, it is helpful if you also sit so we can talk eye-toeye.

ing their lives. Disability activists’ reject

12. You do not need to know the reason

activities should be considered extraor-

need to know the reasons for my

the notion that engaging in ordinary dinary solely because of one’s disability,

for my disability any more than you abilities.

and they reject in particular the notion

13. I enjoy engaging in the same activities

tional (Darrow & Hairston, 2016; Davis,

14. People who are blind enjoy “sight-

that they should be considered inspiran.d.; Gagliardi, 2015, 2017; Young, 2012, 2014).

So, what do people with disabili-

ties wish we knew? I have compiled 20 reminders for us from the advice offered by the authors of the articles and videos cited above:

1. I don’t mind discussing my disability, but I am well-versed on many other topics as well.

2. I would not change my life or my

disability. I am a stronger and more compassionate person for it.

3. Please do not assume I need or want help. I am well adjusted to my dis-

ability. Please do not “help” without asking first.

4. If I need accommodations in class, I will let you know.

5. I rarely think about my disability until you mention it or ask about it.

6. Please do not assume I know every

other student in school with a similar disability.

7. It may be interesting that you, a family member or friend have the same

disability I have, but it might be more interesting to know that you or a

as my peers.

seeing” and going to “see” movies.

Please feel free to discuss such activities with me.

15. Disability can happen to anyone.

16. I have a social life and I enjoy engaging with and dating others, both those with and without disabilities.

17. Let your child ask questions about my

disability. They are not being rude.

They are curious. Teach them, though,

to celebrate differences and not to fear them.

18. I am not brave or courageous, and please do not consider me inspirational.

19. Please do not pat yourself on the back

if you are kind to me. I hope you are

(Ed.), Proceedings of the 20th International Seminar of the Commission on Music in Special Education, Music Therapy, and Music Medicine, Edinburgh, Scotland, (pp. 49-57). SBN: 9780-9942055-7-5 (eBook). Australia: National Library of Australia Cataloguing.

Davis, D. (n.d.). Disability as inspiration: Can greater exposure overcome this phenomenon? Retrieved from https://www.abilities. com/community/inspirational.html.

Gagliardi, K. (2016, October). Facebook and disability discrimination. Thesis of Publishing and Communications, University of Melbourne. Retrieved from https://www. researchgate.net/publication/310771202_ Facebook_and_Disability_Discrimination Gagliardi, K. (2017). Facebook captions: Kindness, or inspiration porn? M/C – A journal of Media and Culture, 20(3). Retrieved from http://journal.media-culture.org.au/index. php/mcjournal/article/view/1258 Fifty is the New Fifty (2015, July). Top ten things people living with disabilities wish you knew. Retrieved from http://www.fiftyisthenewfifty.com/top-10-things-peopleliving-with-disabilities-wish-you-knew/ Individuals With Disabilities Education Act, 20 U.S.C. § 1400 (2004).

Living with a Disability (2012, October). What people with disabilities wish you understood.

Retrieved from https://www.nmeda.com/ what-people-with-disabilities-wish-you-understood/ The Guardian (2017, November). Seven things you should stop saying and doing to people with disabilities. Retrieved from https:// www.theguardian.com/inequality/2017/ nov/15/seven-things-you-should-stop-saying-doing-to-disabled-people Honisch, S. (2009). Re-narrating disability through musical performance. Music Theory Online, 15(3,4).

Munyi, C. W. (2012). Past and present attitudes toward disability: A historical perspective. Disability Studies Quarterly, 32(2).

Retrieved from http://dsq-sds.org/article/ view/3197/3068

20. I am not my disability.

Schuller, P. R. (2018, May). Things people with disabilities wish you knew. Retrieved from: ht t ps://w w w.yout ub e.com/watc h?v=_ b7k6pEnyQ4

References

Wright, B. A. (1983). Physical disability: A psychological approach. (2nd Ed) New York, NY: Harper & Row.

kind to everyone.

Carmen, T. (2018, December). Five things I wish people knew about being disabled. Retrieved from https://thebodyisnotanapology.com/ magazine/5-things-i-wish-people-knewabout-being-disabled-taylor-carmen/ Darrow, A. A., & Hairston, M. (2016). Disability porn: A qualitative analysis of comments on music and persons with disabilities found on International YouTube posts. In M. Belgrave

Young, S. (2012, July). We’re Not Here for Your Inspiration. ABC Ramp Up. Retrieved from http://www.abc.net.au/rampup/articles/2012/07/02/3537035.htm Young, S. (2014, April). Stella Young: I’m not your inspiration, thank you very much. TEDTalk, TED.com. Retrieved from https://www.ted. com/talks/stella_young _i_m_not_ your_ inspiration_thank_you_very_much

February/March 2019

45

FLORIDA MUSIC EDUCATION ASSOCIATION 2018-2019 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, 2018, through February 1, 2019.

MAESTRO’S CIRCLE

ARTIST’S CIRCLE

All County Music, Inc.

Clifford Madsen

$10,000 and up

$1,000 – $9,999

Anonymous SUSTAINERS $100 – $999

Andre Arrouet Artie Almeida In Memory of June Audrey Grace Richard Brown Anthony Chiarito Alice-Ann Darrow Virginia Densmore Jay Hicks Cynthia Johnson Carlton Kilpatrick Sheila King In Memory of John W. King Jason Locker In Memory of June M. Hinckley Robert McCormick Carolyn Minear Jeanne Reynolds In Honor of Pinellas Performing & Visual Arts Team 46 F l o r i d a

Music Director

Russell Robinson In Honor of Charles R. Hoffer Mary Catherine Salo In Memory of Gary Rivenbark & Sally Schiff Steven Salo In Honor of John “Buck” Jamison & Dr. Bill Prince Kathleen Sanz In Memory of June M. Hinckley Kristopher Schave John Sinclair Leiland Theriot Richard Tremper Richard Uhler David Williams Kenneth Williams Matthew Workman Anonymous On Behalf of LungTrainers.com

PATRONS

$25 – $99

Carlos Abril Steven Amowitz Judy Arthur In Memory of Ray Kickliter Lucinda Balistreri Richard Beckford Mark Belfast In Memory of Dr. Mark A. Belfast, Sr. Shelton Berg Lindsay Blanc In Memory of Juan Rios Karen Bradley In Memory of Harold Bradley Gordon Brock Jamie Bryan In Memory of Wes Rainer Katarzyna (Kasia) Bugaj Dana Burt Seth Carlson Carol Casey Ron Castonguay David Chandler In Memory of Harry E. Grant Dale Choate Don Coffman Virginia Dickert Michael Dye In Honor of Phyllis Merritt & Anne Folsom

Curtis Edwards Judith Evans Debbie Fahmie Patricia Flowers Cynthia Heidel John Henderson Stanley Hoch Dennis Holt Llewellyn Humphrey Jon Hutchison Alexander Jiménez Rolanda Jones In Memory of June Hinckley Marsha Juday Steven & Beth Kelly Pauline Latorre Joseph Luechauer Tyler Marais On Behalf of Florida Collegiate NAfME Victor Mongillo Woodrow Nail Ree Nathan In Memory of Dr. Sarah Crumpacker John Nista Mary Palmer In Memory of June Hinckley Galen Peters Hank Phillips

Edward Prasse Marie Radloff In Memory of Charles F. Ulrey Katherine Reynard In Memory of Caroline Sine Alicia Romero-Sardinas In Memory of John Rose Gabrielle Schrack Christopher Shultz In Memory of Kevin Frye Susan Skidmore John Southall Harry Spyker In Honor of Fred J. & Marlene Miller Valerie Terry Susan Throm-White Robert Todd In Memory of Gary Rivenbark Gary Ulrich John Watkins Howard Weinstein In Memory of Barry Weinstein Julian White In Memory of Ken Tolbert Richard Yaklich Anonymous (9) In Honor of Dale Jensen

FRIENDS

up to $24

John Anderson Alicia Austin In Memory of Kim Dentz D’Angelo Braun Balsai David Bayardelle In Honor of Matthew Jensen Ernesto Bayola Judith Berger Hannah Bergstrom Donna Blyden Richard Bradford Alexandra Carminati Ella Carr Tyler Chaney Shelby Chipman Blair Clawson In Memory of Shirley Kirwin Fernando Collar Sherry Cross David Cruiz Dennis Demaree Jodie Donahoo Denise Dumala In Memory of Lindsay Keller & Deborah Liles

Christopher Dunn Jenny Eckenrode Juan Fernandez Bradley Franks In Memory of Gary W. Rivenbark Alfred Gershfeld Tina Gill In Memory of Gary W. Rivenbark Walter Halil Harold Hankerson Robert Hansbrough Jesse Hariton Angela Hartvigsen Megan Hutera Jason Jerald Kathleen Kerstetter Michelle King Katie Kovalsky Anthony Lichtenberg Patricia Losada Claudia Lusararian Kevin Lusk Mari Mennel-Bell Mary Morrow

Randy Nataraj-Allen Kristy Pagan Caleb Pena Audrey Pilafian Rosemary Pilonero Katherine Plank Nathan Ree Paul Rigolini Stacie Rossow Jack Salley Donald Scott Nicholas Stefanic Zenda Swearengin In Memory of Mrs. Doris B. Swearengin Phil Tempkins Kathleen Thompson Ashley Viera Billy Williamson Christin Woodrow Sirenna Zorbis In Honor of All Past Music Educators Who Have Inspired My Career Anonymous (20) In Memory of Tom Damato February/March 2019

47

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

Celebrating 75 Years

C

elebrating 75 Years was an outstanding way to begin 2019. Attending the 2019 FMEA Professional Development Conference & All-State Concerts was a great experience.

There were 10,499 registered attendees with an additional 5,700 unbadged concert attendees.

The mission

of The Florida Music

Education

Association is to promote quality, comprehensive

music education for all Florida students as a part of their complete

education.

ARTISTRY: Teaching & Performing was the theme, and we certainly had a great opportunity to witness artistry firsthand from our keynote speaker, conductors, presenters and students.

The FMEA Board of Directors, component organizations, committee chairpersons, volunteers and staff worked together meticulously to provide the optimum conference for our members and students. Dr. Kenneth Williams, president; Dr. Steve Kelly, president-elect; and Dr. John K Southall, past president, along with our components, deserve a round of applause for their leadership in providing quality experiences for attendees.

Please mark your calendars for the 2020 FMEA Professional Development & All-State Concerts scheduled for Jan. 8-11, 2020. The call for proposals and performing ensembles is open until Apr. 30, 2019. Additional information can be found on the FMEA website.

Music in Our Schools Month March is Music in Our Schools Month. All Music – All People is the theme. There are many activities that are posted at NAfME.org.

Please review this information for assistance

in celebrating this important event.

Advocacy/Government Relations The 2019 Legislative Session is scheduled to begin March 5 and will continue through May 3. We have many newly elected legislators. Please be sure to develop your relationships with lawmakers by calling and visiting your state senator and representative and telling your story so they understand the importance of music education in every student’s life for a well-rounded education. In addition, bills are currently being filed and are being heard in committee meetings. FMEA will provide updates on legislation that may have an impact on your programs.

FCNAfME has planned another advocacy day. Florida Collegiate Day at the

Capitol will take place on Mar. 27, 2019. We have had representatives from several colleges and universities in our state attend this event in previous years. Let’s work through your collegiate chapters to have representatives from all of our state colleges and universities. Additional information will be posted on the FMEA website so collegiate members can register to participate.

The Civic Action Field Guide developed by NAfME is posted on its website. This guide will help you in setting up advocacy at the state and local levels.

In the upcoming months, our performing groups will be preparing for spring concerts and music performance assessments. Please remember to invite school board members, legislators and other decision makers to your concerts. Get on their calendars early.

Have a wonderful second semester by performing artistically. I look forward to hearing many of your performing groups at the music performance assessments.

Musically,

Kathleen D. Sanz, PhD

48 F l o r i d a

Music Director

F L O R I D A M U S I C E D U C AT I O N A S S O C I AT I O N OFFICERS AND DIRECTORS EXECUTIVE BOARD President..............................Kenneth Williams, PhD 3610 Beauclerc Rd.; Jacksonville, FL 32257 (904) 521-7890; kenwms@fmea.org Past President........................John K. Southall, PhD Indian River State College 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810 johnsouthall@fmea.org President-Elect....................... Steven N. Kelly, PhD College of Music, FSU 128 Housewright Bldg.; Tallahassee, FL 32306-1180 (850) 644-4069; Fax: (850) 644-2033 skelly@admin.fsu.edu FBA President.................................. Cathi Leibinger Ransom Everglades School 2045 Bayshore Dr.; Miami, FL 33133 (305) 250-6868; president@fba.flmusiced.org FCMEA President..................... Stacie Rossow, DMA Florida Atlantic University 777 Glades Rd.; Boca Raton, FL 33431 (561) 297-4230; srossow@fau.edu Florida Collegiate NAfME President.......................Jennifer Luechauer Florida State University, 2220 Sandpiper Street Tallahassee, Florida 32303 (954) 643-1149; jll14e@my.fsu.edu Florida Collegiate NAfME Advisor................. Shelby R. Chipman, PhD FEMEA President.......................Rosemary Pilonero The Villages Elementary of Lady Lake 695 Rolling Acres Rd.; Lady Lake, FL 32159 (352) 751-0111; rosemary@femea.flmusiced.org FMSA President......................................Scott Evans Orange County Public Schools 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; scott.evans@ocps.net FOA President........................................Jason Jerald Blake High School 1701 North Blvd.; Tampa, FL 33607 (813) 272-3422; jason.jerald@sdhc.k12.fl.us FVA President.................................Thomas Jomisko Manatee High School 902 33rd Street Ct. W.; Bradenton, FL 34205 (941) 714-7300; jomiskot@manateeschools.net Member-at-Large....................................Ted Shistle Douglas Anderson School of the Arts 2445 San Diego Rd.; Jacksonville, FL 32207 (904) 346-5620; shistlet@duvalschools.org EX-OFFICIO MEMBERS Historian/Parliamentarian 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 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

FMD Editor-in-Chief......... Mark A. Belfast, Jr., PhD Southeastern University 1000 Longfellow Blvd.; Lakeland, FL 33801 (863) 667-5104; mabelfast@seu.edu FSMA President...........................Craig Collins, EdD College of Arts & Media, Southeastern University 1000 Longfellow Blvd.; Lakeland, FL 33801 (863) 667-5657; cscollins@seu.edu FMEA COMMITTEE CHAIRPERSONS Awards............................................... Debbie Fahmie Fine and Performing Arts Resource Specialist Osceola District Schools (407) 870-4904; fahmied@yahoo.com Budget/Finance, Development........................Kenneth Williams, PhD 3610 Beauclerc Rd.; Jacksonville, FL 32257 (904) 521-7890; kenwms@fmea.org Committee Council.......................... Debbie Fahmie Fine and Performing Arts Resource Specialist Osceola District Schools (407) 870-4904; fahmied@yahoo.com Conference Chairman...........John K. Southall, PhD Indian River State College 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810; johnsouthall@fmea.org Contemporary Media...............David Williams, PhD University of South Florida 4202 E. Fowler Ave., MUS 101; Tampa, FL 33620 (813) 974-9166; davidw@usf.edu Diverse Learners.................Alice-Ann Darrow, PhD Florida State University Music Education and Music Therapy 123 N. Copeland; Tallahassee, FL 32306 (850) 645-1438; aadarrow@fsu.edu Emerging Leaders....................... Mary Palmer, EdD 11410 Swift Water Cir.; Orlando, FL 32817 (407) 382-1661; mpalmerassoc@aol.com FMEA Corporate & Academic Partners...Fred Schiff All County Music 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fredallcounty@aol.com Government Relations.............Jeanne W. Reynolds Pinellas County Schools, Administration Bldg.

301 4th St., SW, P.O. Box 2942; Largo, FL 33779-2942 (727) 588-6055; reynoldsj@pcsb.org Multicultural Network..............Bernard Hendricks Ocoee High School 1925 Ocoee Crown Point Pkwy.; Orlando, FL 34761 (407) 905-3009; bernard.hendricks@ocps.net Professional Development............. Carolyn Minear carolynminear@fmea.org Research.................................Don D. Coffman, PhD University of Miami d.coffman1@miami.edu Retired Members................................Cynthia Berry 1341 Dunhill Dr.; Longwood, FL 32750 (407) 310-1254; cberry1314@gmail.com Secondary General Music........................Ed Prasse Leon High School 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net

Student Leadership............................. Ian Schwindt Titusville High School 150 Terrier Trail S.; Titusville, FL 32780-4735 (321) 264-3108; schwindt.ian@brevardschools.org

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

PROFESSIONAL DEVELOPMENT CONFERENCE

President.................................................Scott Evans Orange County Public Schools 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; scott.evans@ocps.net

Exhibits Managers........... Byron and Bobbie Smith 4110 Tralee Rd.; Tallahassee, FL 32309 (850) 893-3606 fmeaexhibits@fmea.org Local Co-Chairman.................................... Ted Hope Hillsborough County Public Schools School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4861; ted.hope@sdhc.k12.fl.us Local Co-Chairwoman.................Melanie Faulkner Hillsborough County Public Schools School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4461; melanie.faulkner@sdhc.k12.fl.us FLORIDA BANDMASTERS ASSOCIATION President.......................................... Cathi Leibinger Ransom Everglades School 2045 Bayshore Dr.; Miami, FL 33133 (305) 250-6868; president@fba.flmusiced.org Past-President...................................Jason Duckett Bartram Trail High School 7399 Longleaf Pine Pkwy.; St. Johns, FL 32259 (904) 343-1999; pastpresident@fba.flmusiced.org Executive Director................................ Neil Jenkins Florida Bandmasters Association P.O. Box 840135; Pembroke Pines, FL 33084 (954) 432-4111; Fax: (954) 432-4909 exec@fba.flmusiced.org FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION President.................................. Stacie Rossow, DMA Florida Atlantic University 777 Glades Rd.; Boca Raton, FL 33431 (561) 297-4230; srossow@fau.edu Past President........................Patricia Fleitas, PhD pfleitas@fau.edu President-Elect...........................................John Ash ashj@cf.edu FLORIDA COLLEGIATE NAfME President................................... Jennifer Luechauer Florida State University, 2220 Sandpiper Street Tallahassee, Florida 32303 (954) 643-1149; jll14e@my.fsu.edu Past-President............................Michael A. Gabriel Florida State University (561) 762-0016 mgmagabriel@gmail.com FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION President....................................Rosemary Pilonero The Villages Elementary of Lady Lake 695 Rolling Acres Rd.; Lady Lake, FL 32159 (352) 751-0111; rosemary@femea.flmusiced.org Past President.................................... Marie Radloff marie.radloff@ocps.net

FLORIDA MUSIC SUPERVISION ASSOCIATION

Past President............................Angela Hartvigsen ja.hartvig@comcast.net Treasurer.................................................... Ted Hope Hillsborough County Public Schools School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4861; ted.hope@sdhc.k12.fl.us FLORIDA ORCHESTRA ASSOCIATION President................................................Jason Jerald Blake High School 1701 North Blvd.; Tampa, FL 33607 (813) 272-3422; jason.jerald@sdhc.k12.fl.us Past President......................................Valerie Terry vterrymusic@gmail.com Executive Director........................Donald Langland 220 Parsons Woods Dr.; Seffner, FL 33594 (813) 502-5233; Fax: (813) 502-6832 exdirfoa@yahoo.com FLORIDA VOCAL ASSOCIATION President.........................................Thomas Jomisko Manatee High School 902 33rd Street Ct. W.; Bradenton, FL 34205 (941) 714-7300; jomiskot@manateeschools.net Past President.............................Carlton Kilpatrick ckilpat444@gmail.com Executive Director.............................. J. Mark Scott 7122 Tarpon Ct.; Fleming Island, FL 32003 (904) 284-1551; fva.scott@gmail.com Financial Officer..........................................Jo Hagan 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260 business@fva.net CENTER FOR FINE ARTS EDUCATION STAFF 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 Executive Director...............Kathleen D. Sanz, PhD kdsanz@fmea.org Director of Operations............................Valeria Anderson, IOM val@fmea.org Director of Finance & Client Relations......................Richard Brown, CAE richard@fmea.org Technology Director.........................Josh Bula, PhD josh@fmea.org Public Affairs & Communications Coordinator......Jenny Abdelnour jenny@fmea.org Marketing & Membership Coordinator.....Jasmine Van Weelden jasmine@fmea.org

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