Florida Music Director March 2023

Teacher Evaluation in the State of Florida A Music Educator’s Perspective

Trauma-Informed Pedagogy in Music Education PLUS: FSMA Leadership Training 2023 Summer Institute FMEA Steel Band Festival June Hinckley Scholarship

A LOOK BACK

February/March 2023

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2 F l o r i d a M u s i c D i r e c t o r

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)

Contents February/March 2023 Volume 76 • Number 6

Editor-in-Chief

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

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

Advertising Sales

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

Official FMEA and FMD Photographers

Bob O’Lary Amanda Crawford

Art Director & Production Manager Lori Danello Roberts LDR Design Inc. (lori@flmusiced.org)

Circulation & Copy Manager

Valeria Anderson, (800) 301-3632

Copy Editor

Susan Trainor

F E AT U R E S

FSMA Leadership Training. . . . . . . . . . . . . . . . 9 A Look Back at the 2023 FMEA Professional Development Conference and Award Winners. . . . . . . . . . . . . . . . . . 10-27 Thankfulness and Generosity Overflow . . . . 28 FMEA Steel Band Festival. . . . . . . . . . . . . . 32 Teacher Evaluation in the State of Florida A Music Educator’s Perspective. . . . . . . . . . . . 34 2023 Summer Institute. . . . . . . . . . . . . . . . 39 Trauma-Informed Pedagogy in Music Education. . . . . . . . . . . . . . . . . . . . 40 June M. Hinckley Scholarship. . . . . . . . . . . 55 D E PA R T M E N T S President’s Message. . . . . . . . . . 4

Research Puzzles. . . . . . . . . . . 48

Advertiser Index. . . . . . . . . . . . 5

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

Advocacy Report. . . . . . . . . . . . 6

Committee Reports. . . . . . . . . 56

Academic Partners. . . . . . . . . . . 8

Executive Director’s Notes. . . . . 60

2022-2023 FMEA Donors. . . 29-31

Officers and Directors.. . . . . . . 61

Corporate Partners. . . . . . . . 46-47 February/March 2023

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President’sMessage

Shelby R. Chipman, PhD President Florida Music Education Association

Collaborating Is a GREAT Thing

w “Being able to scan for credit.

Professionalism of clinicians and ses-

sion speakers. Being able to download

w “Loved the speakers for general session and loved the diversity as well.” w “I enjoyed the varied performances notes.”

through the halls, and the drumming

by Kalani was superb!”

Music connects different cultures,

promoting diversity and growth. Music

encourages creative thinking, discipline,

leadership, and problem solving. And

G

reetings, colleagues!

Wow! I must pause to express

my utmost appreciation to members of

the Florida Music Education Association (FMEA) and your students for your individual and collective roles in our

build a stronger association that meets the

needs of all our members. You constantly

remind each of us of our responsibilities and the importance of being effective music educators.

FMEA certainly plays a significant role

2023 FMEA Professional Development

in bringing together music teachers, all-

to be extended to each of you. I especially

ic partners, exhibitors, and community

Conference in Tampa. So many kudos are would like to commend the FMEA staff in Tallahassee, under the leadership of Dr. Kathy Sanz, executive director. Your work behind the scenes is extraordinary.

Kudos to our outstanding Pre-Con

panelists, Jason Locker (FMEA president-elect/facilitator), FMEA components,

Conference Planning Committee, clinic presenters, Professional Development Committee,

Student

Conference

Experience, Emerging Leaders, awardees, volunteers, conference hotels, Tampa

Convention Center, City of Tampa, and

state participants, corporate and academsupporters to work collaboratively and

strategically through an open and inclusive participatory process, shaping the

future of music. The awesome clinics, performances, social events, and comradery revealed a substantive degree of common good that our association provided

during a most difficult time in our lives as we continue to deal with COVID.

it’s a medium for individual and group

expression—as Hans Christian Andersen said, “Where words fail, music speaks.”

The FMEA board knows there is still

much work to be done as we celebrate our music teachers. To build our com-

munities, we must continue to address the issues that cause barriers, whether

policies, funding, access, inclusion and equity biases, parent involvement, schoolsite support, or other. We are challenged

{

{

to ensure music’s existence remains inclusive in the classroom.

Anything worth having is worth fighting for.

– Susan E. Phillips

Consider the following in establishing

Here are some conference takeaways

worldly approaches to meeting your com-

and a workout session to bring spirit

musical experiences:

element.”

5. Your mentality shapes your reality.

where they are and focusing w “Very enthusiastic general sessions, munities their needs on multicultural and shared shared by our members:

past cannot be changed. w “Meeting the needs of our members 1.2. The Opinions don’t define your reality.

Special thank you to Dr. Steve Kelly, and their students was a highlight.”

3. Everyone’s journey is different. w immediate past president, for your wis“Self-care was a good value added 4. Overthinking will lead to sadness. all, as we build communities “One Note at a TIME.”

dom, thoughtfulness, and foresight as we

4 F l o r i d a M u s i c D i r e c t o r

to the atmosphere.”

2022-23 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.

6. The present moment is all we ever have.

7. If you can’t be kind, at least don’t be unkind.

8. Failure will only be final if you QUIT. 9. The energy you give circles back.

10. The longest journey begins with the first step …

Music teachers have the potential to encourage their

students to engage in music at a variety of levels. Music as a subject allows for students to progress at their own pace

and encourages students to achieve in a classroom dynam-

ic and in ensembles with mixed abilities. I’m reminded of the LUCKY 7 Important Characteristics of an Excellent Music Teacher:

1. They have a genuine love for music.

2. They show a high degree of patience.

3. They know the value of fundamentals.

4. They get to know their students.

5. They’re lifelong learners.

6. They communicate well.

And #7? Then we MAKE music through shared expe-

riences.

Ultimately, it is our responsibility to ensure that music

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is provided in urban and rural settings, where in some

Advertiser Index

multiple problems. There will be forthcoming professional

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

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

cases children are not receiving music instruction due to

development webinars, clinic presentations, and mental and physical health sessions. I wish everyone much suc-

cess as your music programs commence their solo and

ensemble activities as well as other music performance assessment (MPA) events.

I’ve learned that people will forget what you said,

people will forget what you did, but people will never forget how you made them feel. – Maya Angelou

Let us all continue to study the language of music and

how it influences communities! Continue to be amaz-

ing, everyone. I look forward to hearing from you as we

make progress and build stronger music communities TOGETHER.

ADVERTISER Yamaha Corporation of America............................................................. IFC

Shelby R. Chipman, PhD, President

Florida Music Education Association

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

February/March 2023

5

AdvocacyReport

T

Grateful”

his column is written to express my profound gratitude to colleagues who

stepped up when I needed to step away.

It was Thursday, January 12, and I

was soaking up the positive vibe of Dr.

Chipman’s first general session. I was very excited about the 2023 conference

Jeanne W. Reynolds

Chairperson Government Relations Committee

The easiest thing to do would have been

Where It Matters Most” was the ses-

extraordinary FMEA family, and specifi-

to resonate with all FMEA members.

never occurred to me because of our cally my amazing colleagues on our advocacy committee.

Debbie Fahmie and Sondra Collins

and the great sessions to come, as well as

did a masterful job at the session enti-

family members, friends, and colleagues. I

Educators to Build High-Performing

looking forward to seeing so many FMEA was being blown away by the energy from

the FAMU band when I noticed several calls appearing on my silenced cell phone.

The calls were not good. Minutes after the session ended, I learned that my mother-

in-law had suffered a massive stroke and was not expected to live long. In fact, she did pass away several days later.

Knowing I needed to leave Tampa

immediately to be with my mother-in-law and my husband, I had just a few minutes

to plan for my three advocacy sessions.

“School and District Advocacy – Unity

to cancel them. Interestingly, that thought

tled “Uniting Administrators and Music

Schools.” As awards chairperson, Sondra helped secure the award-winning admin-

istrators for this panel, and Debbie facilitated the session beautifully. Thanks to

David Alfonso, 2023 Administrator of the

Year; Dr. Peggy Johns, 2023 School Board Member of the Year; Kim Annis, recipient

of the 2023 FMEA Leadership Award; and Dr. Kelly Paduano, 2021 Administrator

sion our advocacy committee developed Building outstanding programs is the

strongest advocacy tool because building

excellent programs is what every good music teacher strives to do. I was very

disappointed not to have experienced the

brilliance of Kevin Ford, Vivian Gonzalez, and Scott Sheehan. I am still amazed and so grateful they agreed to present at this

session. And there are not enough words to thank my friend and colleague Ajori

Spencer for managing this session and

conversation so brilliantly. As he always does, Ajori did his homework late into the evening the night before to be prepared.

Our visionary leader FMEA President-

of the Year, for sharing their expertise

Elect (elect) Scott Evans stepped in to

Debbie Fahmie for stepping in for me.

sion “Building Stronger Communities by

with our members, and special thanks to

facilitate the innovative advocacy ses-

FSMA President Jane Goodwin, Representative Anna Eskamani, Brevard School Board candidate Erin Dunne, and Representative Johanna López at the “Building Stronger Communities by Running for Office” session

6 F l o r i d a M u s i c D i r e c t o r

Ajori Spencer, Vivian Gonzalez, Kevin Ford, and Scott Sheehan at the “School and District Advocacy – Unity Where It Matters Most” session Running for Office.” Scott worked hard

Jason Locker, and Colin Urbina.

out the fall as we prepared for the con-

those advocacy sessions, I must admit

officials to present. Scott is brilliant on

much of the 2023 FMEA conference and

pulling this session together through-

ference. He secured two of the elected all government relations and advocacy issues. I am still so grateful that Florida

Representative Anna Eskamani, Florida

Representative Johanna López, and school board member and FSMA President Jane Goodwin agreed to present at this ses-

sion. And I am especially grateful to Erin

Dunne, our choral colleague who ran for

After working so hard preparing for

I was terribly disappointed to miss so

As I write this article, the song Grateful by John Bucchino

(sung by Billy Porter) plays over and over in my head. You can listen to it on

I was so grateful to be with my moth-

I’ve got a heart that can hold love

days. Both things are true. By leaving, I

I’ve got a mind that can think

can be replaced. That is such a gift. The

There may be times when I lose the light

er-in-law during those last few sacred

was also reminded and reassured that I work goes on. And in fact, that is what

good advocacy and good organization

the Brevard County School Board, for pre-

And let my spirits sink But I can’t stay depressed When I remember how I’m blessed

senting and inspiring us with her story.

I had looked forward to this session and was very happy and relieved when Scott

Grateful, grateful

agreed to manage it.

There are so many who stepped up for

Truly grateful I am

who took over my Hall of Fame duties;

Truly blessed

Grateful, grateful

me—special thanks to Alice-Ann Darrow

Lisa Lehmann for acting as my guardian angel ensuring I got home safely;

are all about. Advocacy is a team effort.

entire FMEA staff for all the help and

member to be part of the team for the

and Val Anderson, Kathy Sanz, and the support. And I need to give a shout-out to the entire FMEA Government Relations Committee, Corey Alexander, Anthony

2023 Legislative Session, which runs from March 7 through May 5.

The 2023 Legislation Session is going to

be a wild ride. Watch for all updates and

Annabelle Echevarria, Scott Evans, Debbie

Fahmie, Ajori Spencer, Scott Evans, Alice-

Fahmie, Vivian Gonzalez, Izzi Guzzman, Angela Hartvigsen, Bernard Hendricks,

And duly grateful

And we are going to need every FMEA

Atkinson, Andrew Burk, Sondra Collins, Beth Cummings, Alice-Ann Darrow,

.

Truly I am so grateful for everyone

eblasts. Be ready to step up just as Debbie

who stepped up when I needed to step

Ann Darrow, and Lisa Lehmann did for

will step up over the next few months for

me when I needed them.

away. And I am grateful to all of you who music education.

February/March 2023

7

Please take time to thank and support our 2022-2023 Academic Partners.

GOLD PARTNERS

SILVER PARTNERS

University of Central Florida

BRONZE PARTNERS Cannon Music Camp - Appalachian State University Florida Southern College Rollins College Department of Music St. Thomas University

University of North Florida University of North Texas University of Tampa Valdosta State University

Partners as of February 17, 2023.

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

8 F l o r i d a M u s i c D i r e c t o r

FLORIDA SCHOOL MUSIC ASSOCIATION N O T E S

Building the Team:

Equipping the Music Leaders of Tomorrow

Helping current and future component leaders develop the skills for success About the Training:

organizations (FBA, FOA, and FVA) is to provide excellent

QUICK FACTS

pioning of better opportunities for aspiring musicians. This

Date and Location

The aim of state and district leadership of our component

stewarding of existing music programs, as well as the chamrequires leaders to be efficient organizers of persons, resourc-

es, and projects, in addition to being able to plan paths to

fulfilling the vision of a better tomorrow for music education in Florida.

This professional development opportunity will provide

communication training, team building, scenario-based prob-

lem-solving, technology, laws relating to music education, and

other skills identified by participants as a need to find success as a leader in Florida.

w Sunday: Arrival and orientation, possible evening activity. w Monday and Tuesday: Full days of sessions and activities, Schedule Overview:

w Wednesday: Final session will be finished by 11:00 a.m. with social activities in the evenings. Meals provided.

July 16-19, 2023

Renaissance Orlando at SeaWorld Orlando, Florida

Application Deadline April 1, 2023

Limited Participation and Cost

Approximately 16 to 20 participants will be selected through an application process. Hotel expenses and

meals will be covered by FSMA during the training.

In Partnership

The training is designed in partnership with the FSMA component organizations: Florida Bandmasters Association, Florida Orchestra Association, Florida Vocal Association.

(Subject to change; More details will be forthcoming.)

A P P LY H E R E

February/March 2023

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A Look Back at the

2023 FMEA Professional Development Conference

10 F l o r i d a M u s i c D i r e c t o r

February/March 2023

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Official FMEA and FMD Photographers Bob O’Lary Amanda Crawford

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February/March 2023

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2023 FMEA HALL OF FAME This prestigious award honors individuals for outstanding contributions over an extended period of time to music and education in Florida, as well as throughout the nation.

Judy Bowers, PhD 2 0 2 3 H A L L O F FA M E I N DUC T E E

Judy Bowers, PhD, professor emerita in the College of Music

at Florida State University, retired and then completed four

years of holding the Biedenharn endowed chair in music at the University of Louisiana, Monroe. At ULM, she led a

curriculum revision for the undergraduate music education degree programs and established a three-summer MME program for practicing teachers. Currently under development is

CHOIR TALK, an online tool with resources and mini-classes

designed for updating choral teaching strategies. Throughout

her career in music teacher preparation, Dr. Bowers has taught undergraduate and graduate classes for music education, and she conducted the Women’s Glee Club at FSU and

the newly formed Bayou La Belle at ULM. A unifying principle across her work in all settings is Developmental Teaching, an approach that allows singers of varied skill levels to successfully rehearse and perform together in music ensembles.

A belief that the teaching/learning process is a collabo-

rative act has led Dr. Bowers to create multiple partnerships

that enrich learning opportunities for university students while also providing positive changes for the school and community partners: Adopt-A-Choir, a high school/university connection for one concert during one semester; Raa

Singers, part of a before-school program pairing university

students with urban middle school students for multiple choral and instrumental classes; and MTC Glee, a choir pairing

FSU students with women housed in a correctional facility.

Dr. Bowers contributes to music teacher professional growth

through presentations, publications, interest sessions, and school in-service; she models the choral pedagogy she teaches when conducting all-state and honor choirs in the United

States, Canada, and Africa. In June 2014, Dr. Bowers was

named a Lowell Mason National Music Education Fellow and

was inducted into this society by the National Association for Music Education in Washington, D.C.

14 F l o r i d a M u s i c D i r e c t o r

AwardsCommittee

AWARDS COMMITTEE

Sondra A. W. Collins, Chairperson

Congratulations to the 2023 FMEA Award Winners!

I

t is my great honor to introduce our 2023 FMEA award winners. The FMEA Award

Program recognizes the efforts and accomplishments of exemplary music educators,

school and district administrators, businesses, music programs and projects, and oth-

ers who have made an outstanding contribution to music education. Their efforts help FMEA attain our mission of promoting a quality, comprehensive music education in all Florida schools. Please applaud these individuals, as well as all the awardees that came before them, as we strive to showcase exemplary music education throughout our state.

As you read about the 2023 FMEA award winners, you may have exemplary music

educators, administrators, businesses, or programs and projects come to mind. Please remember them when next year’s nomination period begins this spring and nominate them!

Congratulations to all our 2023 FMEA awardees! We honor you and thank you for your commitment to quality and comprehensive music education for ALL, in ALL schools.

ELEMENTARY AND SECONDARY MUSIC

Orchestra Conference and Ohio State University. Ernesta has

The FMEA Music Educator of the Year designation is awarded to the

Tampa Bay area.

EDUCATORS OF THE YEAR

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

also served as a clinician for all-county chorus events in the

With 21 years’ teaching experience, she was awarded Teacher

of the Year in her school in 2002 and 2011. Additionally, she

was named Ida S. Baker Educator of the Year for Roosevelt Elementary, an award given to an individual who embodies the

pioneering spirit of Ida S. Baker by going above and beyond to

meet the needs of diverse student populations. In 2014, Ernesta was named Hillsborough County

ELEMENTARY MUSIC

Schools Teacher of the Year. This

Ernesta Chicklowski

terfinalist for the 2023 GRAMMY

EDUCATOR OF THE YEAR:

year, Ernesta was named a quar-

Roosevelt Elementary School

Music Educator Award.

Nominated by Meghan Alfaro on

local community both in and

Ernesta Chicklowski holds the BME from

as president of the Hillsborough

the University of South Florida and is nation-

Educators Council, and in addi-

Roosevelt Elementary School in Tampa.

music educator in Hillsborough

out clinician for music education, arts in

founder and owner of the Studio

shops. She has presented at national confer-

atre school specializing in private

Hillsborough County Public Schools

Mrs. Chicklowski serves her

behalf of FEMEA

outside of school. She has served

Florida State University and the MA from

County

ally board certified. She is a music teacher at

tion to her work as an elementary

Mrs. Chicklowski is a highly sought-

County Public Schools, she is the

education, and teacher trainings and work-

of South Tampa, a music and the-

ences, including Midwest Band Clinic and

continued on page 16

Elementary

February/March 2023

Music

15

AwardsCommittee continued from page 15

lessons and group productions for school-aged students. Mrs.

Orchestra, as well as All-State, and her group regularly received

as FEMEA president from 2020 to 2022. Prior to this role she

Miami K-8 leading an elementary music magnet program, which

Chicklowski has served elementary music at the state level

served as FEMEA District 3 chairperson for four years. She was

an FMEA Emerging Leader and has served the state organiza-

tion yearly as a session coordinator at the January conference.

Ernesta Chicklowski has dedicated her life to service in music education at the local, state, and national levels.

Steve Kelly, PhD, professor of music education at Florida State

straight superior ratings at MPA. Vivian then went on to South included choir, steel drum ensemble, modern band, and strings.

Ms. Gonzalez held the largest feeder to all three South Miami middle school music programs. She raised the performance level of her middle school students who then continued in orchestra all the way through high school.

Ms. Gonzalez has presented at numerous state and national

University and past president of FMEA, states: “Ernesta is sim-

conferences on the topic of including special learners in the

gious, her creativity is amazing, and her musical skills are of the

Education, American String Teachers Association, Little Kids

ply among our very best in so many ways. Her energy is conta-

highest quality. But to be the FMEA Elementary Music Educator

of the Year requires her to be the VERY best teacher. Ernesta meets this most important qualification hands down. I have had

the pleasure of witnessing her students and her skills firsthand

music classroom including the National Association for Music

Rock Modern Band Summer, and FMEA. She has served as the NAfME IN-Ovations Council southern representative, the FL-ASTA president, FEMEA District 1 chairperson, and FOA 7/8

all-state coordinator, and was a member of the editorial commit-

and have seen the impact she has on all of her students.”

tee for the International Journal of Music Education: Practice.

SECONDARY MUSIC EDUCATOR OF THE YEAR:

Music Teacher of Excellence by the Country Music Association

Miami Arts Studio 6-12 @ Zelda Glazer

Music Education Innovator Award, was recognized as a featured

Vivian Gonzalez

Miami-Dade County Public Schools Nominated by Nerissa Manela

Vivian Gonzalez is a proud product of Miami-Dade County Public

Schools Magnet Programs and community music organizations, as well

as a proud product of the FMEA All-State experience. Vivian teaches as the orchestra magnet direc-

Ms. Gonzalez was most recently recognized as a 2022 National

Foundation, was recognized with the 2018 Give a Note Foundation teacher for the White House Initiative for Educational Excellence

in Hispanic Education Spotlight, was the

Magnet Schools of America 2016 Region 3

Teacher of the Year, was a 2014 GRAMMY Music Educator Award top-ten finalist, was a 2014 FL-ASTA Studio Teacher of the

Year, and was a winner of the 2013 Lady Antebellum 7FOR7.

Kasia Bugaj, PhD, associate profes-

tor at Miami Arts Studio 6-12 @

sor of string music education at Florida

The orchestra at MAS was created

Florida chapter of the American String

Zelda Glazer (MAS), grades 6-12. to give access to students who otherwise would not be able to enter

a strings program. Here she has successfully created the largest and arguably one of the most prestigious

6-12 grade orchestra programs in

the district. In fact, in 2022 her students made up 20% of the

entire Superintendent’s Honors Orchestra and were among the strongest players in the orchestra.

Before Miami Arts Studio, Ms. Gonzalez taught at Southwood

Middle School, where her students regularly made up a signif-

icant portion of the Superintendent’s Middle School Honors

16 F l o r i d a M u s i c D i r e c t o r

State University and past president of the Teachers Association, states: “When you look over her resume, Vivian has done many different things in her career—

some rewarded monetarily, some most simply because they needed to be done and Vivian stepped up to the plate. Vivian

is one of the best advocates for her students that I have seen. But

not just for her students—for anyone in her sphere of influence,

be it preservice teachers, colleagues in the profession, or mem-

bers of organizations in which she leads; she recognizes the

good in people and lifts them up. Vivian Gonzalez is one of the most dedicated teachers and dedicated people I know.”

2007-08 at Music in the Parks. Since 2014, spring choir trips have become a hallmark of Mrs. Mar’s legacy, which includes commu-

nity service and master classes with professors at UCF, UNF, UT,

and FAU. Whether volunteering at Clean the World, organizing book drives, growing plants for the Fairchild Challenge, or

filling a bus with donations for Ronald McDonald Houses, her students put their love for music into action.

Deborah has demonstrated exemplary leadership in schools,

professional associations, and her community. She was depart-

ment chair at North Miami Beach and Miami Southridge.

SECONDARY MUSIC EDUCATOR OF THE YEAR: Deborah Wong Mar

Southwood Middle School

Miami-Dade County Public Schools

Nominated by Angel Marchese on behalf of FVA

Deborah Wong Mar has been a music educator in Miami since 1977. Her choral studies began at Barry University, with the BA

in music education. She went on to complete the MM in music education at the University of Miami and is working on doctoral

studies in music education at the University of Miami. While teaching, she completed national board certification in 2003.

Mrs. Mar’s extensive teaching experience includes middle

Deborah has served as FVA middle school all-state chairperson, two terms as an FVA District 16 chairperson, and FVA adju-

dicator, and now serves as FVA MPA chairperson. A frequent

guest presenter, Deborah has shared her teaching expertise for

numerous FMEA conferences as well as in Maine and in Pinellas, Brevard, Santa Rosa, and Miami-Dade counties. Presentations focused on Music Literacy Through the Use of Solfeggio as well

as Music of Asian Studies. She has conducted honor choirs in

Miami, Broward, Palm Beach, and Santa Rosa counties. Interns

from FSU, FIU, and UM have benefitted from her guidance as mentoring young teachers has been a significant part of her legacy.

Deborah was named Teacher of the Year at Miami Southridge

and high school. Deborah began teaching at her alma mater,

Senior High in 2003, Teacher of the Year at Southwood Middle

John F. Kennedy Junior High. In 1989, she began teaching

She has been awarded grants by the Education Fund for Music

North Miami Beach Senior High, teaching concurrently at at Miami Southridge Senior High. Deborah has been choral

director at Southwood Middle School since 2004. Choirs led by Deborah Mar perform at schools, county events, nursing homes,

School in 2019, and Teacher of the Year of the MDCPS Region VI. Literacy and Music of Holocaust Remembrance. In 2017, Deborah was inducted into the FVA Hall of Fame.

J. Mark Scott, executive director emeritus of the Florida Vocal

Nutcracker Ballet, and the South Florida Youth Symphony. With

Association, states: “Deborah is a role model for our profes-

ratings since 1983. In 2017, the Southwood Middle School Choir

inspired, and encouraged. They leave her classroom with a great

her leadership, her choirs have consistently received superior was one of the first middle schools to be awarded superior with distinction honors, and her choirs have earned this honor every

year since. Her students have participated in Young Voices Festival, Music in the Parks, and MusicFest. Her choirs were

Grand Champions in 2005-06 at MusicFest in Orlando and in

sion. Students who sing under her leadership are challenged, knowledge of music and vocal technique, which will serve them throughout life, as well as the impact of a caring and loving teacher. Deborah Mar represents the best of Florida music educators.”

continued on page 18

February/March 2023

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AwardsCommittee continued from page 17

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

Dr. Steenblik joined UWF in 2015 and quickly became an

influencer of choral music in Florida. The UWF Choir has per-

formed with the Pensacola Opera, the Pensacola Symphony

Orchestra, and at the ACDA Southern Division Conference with the Mobile Symphony. The UWF Choir was most recently

featured at the 2022 Florida ACDA Conference. Lio Irby, a UWF music education graduate, states, “Dr. Steenblik pushes students to be the best possible versions of themselves. He expects great

things while being patient, understanding, and compassionate.”

In 2020, as the interim artistic director of the Choral Society

Director of Choral Activities, University of West Florida

of Pensacola, Dr. Steenblik guided the CSOP through the

Artistic Director, Choral Society of Pensacola

led the ensemble as they persevered to prepare three public

Adjunct Professor of Music, Pensacola State College Nominated by Elizabeth Phillips on behalf of FVA

Dr. Peter Steenblik is director of choral activities at the University

of West Florida, artistic director of the Choral Society of Pensacola, and adjunct professor of music at Pensacola State College. Past appointments include chorus master for the Pensacola Opera, director of the Women’s Chorus at the University of North Texas,

COVID pandemic, developed data-based safety protocols, and performances. In 2021, he was named CSOP’s artistic director.

Regarding Dr. Steenblik’s leadership, CSOP Executive Director Charlie Smoke, stated, “In just one year, he has completely trans-

formed the organization, elevating the quality of our singing and strengthening our sense of community.”

Dr. Steenblik is always willing to serve our choral community,

and director of choirs at Jordan High School (Salt Lake City).

as recognized in his receiving the 2022 FVA Service Award. He

University of North Texas, the MM in choral conducting from

Though he is in demand as a clinician and adjudicator, he is

Dr. Steenblik holds the DMA in choral conducting from the the University of Utah, and the BM degree in choral education from the University of Utah.

has given workshops at FVA, FMEA, and ACDA conferences.

always willing to visit a local high school to lend a helping hand.

Jeannine Stemmer, FVA president, states: “From the very first

Dr. Steenblik is an internationally known adjudicator and cli-

day I met him, I witnessed a gentle, compassionate soul who was

Music Educators Association and on the Utah ACDA Board.

education. He is intentional, passionate, and empowers those

nician. He has served as the head of choral activities for the Utah Prior to joining UWF, his previous choirs have performed with

the Mormon Tabernacle Choir, Utah Symphony, Ballet West, and the Women’s Chorus of Dallas.

ready and willing to serve in any capacity for the good of music around him.”

And Alex Gartner, artistic and executive director of the

Pensacola Children’s Choir, states: “In private conversations, Dr.

Steenblik’s colleagues have repeatedly lauded his work for the choral

community. As a partner in that same community sphere, I am con-

tinually grateful to count him as a trusted colleague in this important work. But perhaps even more

importantly, as anyone who is lucky enough to call Peter a friend would

likely agree, Peter’s heart for choral music extends far beyond the podium or any classroom. He embodies the collaborative and nurturing

spirit that is deeply ingrained in

18 F l o r i d a M u s i c D i r e c t o r

this art.”

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, as well as serving as an active administrator for 10 or more years.

David Alfonso

Principal, Palm Beach Lakes High School

In his tenure as principal of Palm Beach Lakes High School,

School District of Palm Beach County

David Alfonso has elevated the academic progress and entire

David Alfonso is the proud principal of Palm Beach Lakes High

in his viral “Principal Dances at Homecoming Pep Rally,” which

Nominated by Joshua Velez

School, a large urban comprehensive high school in the School District of Palm Beach County. His journey to his current leadership role has been 29 years in the making.

He started as school age childcare director and decided

education was his passion. After graduating from Florida State University, Dave began his professional career as an elementa-

ry school teacher. After only four years, his peers nominated

him for the prestigious Dwyer Teacher of the Year award. His excellence was awarded with a prized finalist position. After

leaving the classroom, Alfonso became an assistant principal at Heritage Elementary School in 2000. His diligence as an admin-

istrator was rewarded by earning his principalship at Frontier Elementary in 2007. Mr. Alfonso then moved on to head Osceola

Middle School, which prepared him for his supervisory roles as

West Area director and then the Area 4 director. As the Area 4

morale of the school. He is not a prideful leader, which is proven his students absolutely adored. Dave has also been seen at the outdoor pep rallies dressed as the school mascot. He is dedi-

cated to everything that is Palm Beach Lakes High. One of his passion projects at the school is supporting the Ram Regiment

Band in becoming the premiere program in the state of Florida.

He has secured funding for many of the band’s needs to do so. One of his first actions was to create an artist-in-residence position, which added even more focus to the level of student

performance. Dave soon noticed the band needed to update their equipment. Since becoming principal, he has allocated

over $75,000 in funding for instruments alone. This past year,

Mr. Alfonso has set aside almost $60,000 for new band uniforms.

His dedication and support of the PBLHS Ram Regiment Band is unparalleled. One might say he is their biggest fan.

Joseph Lee, EdD, instructional secondary superintendent of

director, Alfonso championed literacy in the elementary schools

the School District of Palm Beach County, states: “Without the

low-performing elementary schools. He worked in the capacity

would not look as polished as it does, perform at the academic

by authoring a $3 million grant to support all of the area’s of director for five years until he was approached by the super-

intendent to take the helm of the struggling Palm Beach Lakes High School. Mr. Alfonso did not hesitate before agreeing to accept the position.

guidance and vision of Mr. David Alfonso, Palm Beach Lakes

level it currently has achieved, and definitely would not sound

as exceptional as it does each time they head out the door to enthrall another audience of fans.”

continued on page 20 February/March 2023

19

AwardsCommittee continued from page 19

SCHOOL BOARD MEMBER OF THE YEAR

the forefront of her decision-making, believing that partici-

The FMEA School Board Member of the Year designation is awarded

pation in activities like music is one of the reasons students

who has demonstrated support for and commitment to high-quality

Prior to being elected to the Indian River County school

to a Florida district school board or an individual school board member

music education throughout the school district. This award recogniz-

es excellence in leadership, encouragement, and promotion of music

education in Florida schools. The recipient must have demonstrated a significant contribution in support of music programs/curricula in the

district’s schools, and must have demonstrated evidence of districtwide policies and long-range plans for music education at all levels, as well as demonstrated evidence of equitable access to music programs across

all grade levels including financial support of music instruction in the district.

board, Dr. Jones was a teacher, coach, and principal. As a prin-

cipal she was a constant supporter of the music programs in her schools. During her entire career she has stayed true to her belief

that, “students need to find that niche which builds relationships to feel like they are part of a team or program. There is much

research out there about students becoming involved in any

activity, and it shows that students who do this are more aca-

demically successful.” She believes this because she witnessed

it for close to 50 years. As Dr. Peggy Jones herself states, “Build

Peggy Jones, EdD

School Board Member

School District of Indian River County

Nominated by Sherry St.Petery on behalf of FEMEA

Dr. Peggy Jones has been involved with the School District

of Indian River County since 1980. Since 2020, Dr. Jones has served on the School Board of the School District of Indian River County and currently serves as the vice chairperson.

Having earned the BS degree from Illinois State University,

the MS in educational administration from Northern Illinois University, and the EdD from Nova Southeastern University, Dr. Jones is no stranger to education and educational leadership.

As a school board mem-

ber, Dr. Jones consistently supports music and arts programs

succeed in school.

throughout

the district. Dr. Jones is a devoted advocate of the importance of including

the arts in school curriculums, elementary through

those programs where students can feel successful, and they will come.”

Sherry St.Petery, FEMEA District 7 chairperson, states: “School

board members have come and gone, but Dr. Jones gets to know

all of us. She visits our schools; attends performances; and stops

and talks with teachers, students, and parents. During school

board meetings she keeps the focus on what is best for kids and makes sure that music programs are supported throughout the

district. She consistently shows, with her actions, that these programs are important and works hard to encourage all to support

the music programs in our district. She is a hero to students and art teachers in our district.”

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

secondary level, and her

Kimberly Annis

agement serve as a role

Broward County Public Schools

active support and encourmodel for educators, parents, and the community to continue supporting its

music programs. She has

students and teachers at

20 F l o r i d a M u s i c D i r e c t o r

Instructional Facilitator, Music & Performing Arts K-12 Nominated by Pauline Latorre on behalf of FEMEA

Kimberly Annis is a product of the Miami-Dade County Public

Schools. She received the BM degree with a major in music

education from the University of Miami in 1989 and the MS in secondary music from Florida International University in 1997.

Joseph Luechauer, K-12 music and performing arts curriculum

supervisor for Broward County Public Schools, states: “Kimberly

Annis does a wonderful job of instructing teachers and providing positive feedback without making them feel uncomfortable

or intimidated. She works very hard to first develop positive professional relationships with teachers, building trust. … I have

known Ms. Annis for more than 25 years. I have worked with her closely for that same amount of time. She shows initiative, leads by example, and produces quality work. She is a great example of what the FMEA Leadership Award stands for.”

Ms. Annis’s 33-year teaching career began in 1990 in Miami-

DISTINGUISHED SERVICE AWARD IN MUSIC EDUCATION

middle school band and orchestra teacher. During her summers

organizations inside or outside the field of professional music educa-

1999, she moved to Broward County and spent 18 years at Walter

education. The recipient(s) must have demonstrated noteworthy contri-

Dade County, first as an elementary music teacher and then as a

The FMEA Distinguished Service Award is presented to persons or

she taught music at a school for students with special needs. In

tion. This award recognizes exceptional service to or support of music

C. Young Middle School where her programs received many

butions to music education with statewide impact preferred.

accolades and continually received superior ratings at local MPAs. While in the classroom, Ms. Annis served her colleagues

in many important ways. She served in several leadership positions, including as president and secretary of the Broward Music

Education Association and president of the Broward County Orchestra Directors Association.

In 2017, she moved from the classroom to the Broward District

Music Office, where she now continues to serve as the instruc-

tional facilitator for music and performing arts. In her capacity as the instructional facilitator, Kim works very closely with all the Broward County music teachers. Ms. Annis is a mentor to all

music teachers K-12 and focuses on mentoring the new teachers in the county, developing a relationship with each music teacher.

In addition to working closely with teachers, she is tasked with developing professional development opportunities for teach-

ers. Kim communicates with teachers, identifying their needs

and relevant professional development (PD) topics, and then

Jo Hagan

understand how to present the material. She also creates con-

Nominated by Andrea Lange on behalf of FVA

developed hundreds of lessons for every grade level and every

Vocal Association and the Florida Bandmasters Association

es that are made available to all the Broward County music and

and FBA as not only the manager of state and district business

all-county music events, as well as supports all the FMEA orga-

on the right financial path.

events. She even enjoys helping the community by volunteering

Accounting, PA. Jo has a degree from Auburn University with a

writes the PD content and works with presenters to help them

FVA Business Manager and FBA Business Manager

tent for teachers on Broward’s Canvas online platform. She has

Jo Hagan, a certified public accountant, serves both the Florida

musical subject, along with a vast library of lessons and resourc-

as their business manager. Mrs. Hagan serves both the FVA

performing arts teachers. She also supervises all four of the

accounts, but as a financial advisor that keeps the associations

nizations in Broward County by helping at their auditions and

Jo Hagan is also the visionary and founder behind Barefoot

to play her oboe at various church and synagogue celebrations.

continued on page 22 February/March 2023

21

AwardsCommittee continued from page 21

major in finance and a minor in accounting, and in 1998 earned her CPA. With the need for flexible employment to care for her

two young children, Jo decided to become an entrepreneur and started her accounting practice. In 2002, Barefoot Accounting became incorporated, and soon after Jo and her family relocated to Jacksonville, Florida. As time passed, her children grew,

and her business evolved to support others heading down a similar path of balancing work and family life. As a mom, wife,

and business owner, Jo can relate firsthand to the struggles of

starting a business, growing a business, relocating, and reestablishing a business—all while raising a family. Jo’s passion is cen-

tered on helping people understand—and use—their financial resources to be successful in both life and business.

Mrs. Hagan has been the business manager for the Florida

Vocal Association for over the past 10 years. As such, she has established a procedure for all financial dealings within the

organization. Jo has transformed the way the FVA manages and spends its funds, innovating and researching methods to make the jobs of the district chairpersons and FVA Executive Board

more manageable. Ms. Hagan communicates with all sharehold-

ers of the organization to ensure the day-to-day and year-to-year functions are fiscally responsible.

Jeannine Stemmer, president of the Florida Vocal Association,

states: “Jo Hagan goes above and beyond the call of duty and is available to us when we need her. She has helped to organize

and streamline the financial processes of our organization. It is an honor to recognize Jo for her outstanding commitment to music education in the state of Florida.”

And J. Mark Scott, executive director emeritus of the Florida

Vocal Association, agrees: “Jo Hagan is helpful beyond the scope

of her obligations. Her genuine concern, for the association and the people she serves, makes her an outstanding choice for this award.”

22 F l o r i d a M u s i c D i r e c t o r

EXEMPLARY MODEL MUSIC PROGRAM The FMEA Exemplary Model Music Program designation is awarded to an individual or group for a meritorious, exemplary, or innovative program completed in the field of music education. This may include an exemplary model and/or innovative music education program that provides or continues to provide a significant, positive impact on students, music educators, and/or the state/community.

Otis Mason Steel Band, Shaun Bennett Otis Mason Elementary School

St. Johns County Public Schools

The Otis Mason Steel Band began at Otis Mason Elementary School in 2019, when director Shaun Bennett moved back to his hometown of St. Augustine and brought his knowledge of steel

band to the St. Johns County Public Schools. This elementary steel band helps provide an after-school activity for children at

Otis Mason Elementary and allows them to experience playing in a real steel band with full-sized Caribbean steel pans and various percussion instruments. Otis Mason Steel Band is the only

steel band in St. Johns County and one of the only elementary

County Public Schools, states: “I have supported Shaun’s work

The primary focus of this program is to develop a function-

students in grades kindergarten to fifth grade. Throughout this

steel bands in Northeast Florida.

ing elementary steel band that will allow students to grow and thrive musically while developing a love for playing steel pan

and sharing their knowledge with the community. The goals of this program are closely aligned with the goals of the National

Society of Steel Band Educators: to foster excellence in the steel

for the past three years as a general education music teacher for

time, he has consistently demonstrated a commitment to the

integration of the steel pan in elementary school music programs here and across the state of Florida. … In both his instructional program during school hours and the after-school program he

currently leads, Mr. Bennett has shown true promise as a pio-

band art form; to promote appreciation and support of steel

neer in music education.”

eral public; and to honor the cultural heritage and traditions of

EXEMPLARY MODEL MUSIC PROJECT

band among band students, non-band students, and the gen-

steel pans and steel bands. Students in the band learn how to play steel pans and percussion instruments while playing such

musical styles as traditional children’s songs, calypso, SOCA,

classical, pop, and other styles. Twenty-three students are placed on full-sized Caribbean steel pans, and four students serve as the engine room (auxiliary percussion) section of the band.

The FMEA Exemplary Model Music Project designation is awarded to an individual or group for a meritorious, exemplary, or innovative project completed in the field of music education. This may include an exemplary model and/or innovative music education project that provides or continues to provide a significant, positive impact on students, music educators, and/or the state/community.

There is no GPA requirement to participate, but students must maintain excellent behavioral conduct in school to be a part of

the band. This program has helped students develop a love for a

different instrument that they likely never would have had the opportunity to be exposed to. The program has also helped to

boost interest in music for students moving on to middle school and has helped the feeder school Gamble Rogers Middle School gain more students in their band program. A high percentage of

students that go through the program end up in middle school band when they leave Otis Mason Elementary School.

Shaun Bennett is working on the MM at the University of North

Florida in pedagogical research. His research has been focused primarily on teaching steel band and preserving the history of

steel pan. Mr. Bennett won the Janice Lancaster Professional Development Scholarship from the Florida Elementary Music Educators Association, which sent him to Morgantown, West

Virginia, for the Ellie Mannette Festival of Steel. He has regularly volunteered with the Virgin Islands Caribbean Association of Jacksonville and performed for the last five World of Nations

Recycled Tunes of Gasparilla Music Foundation Tracy Lisi

David Cox

Hillsborough County

Gasparilla Music

Music K-5 Supervisor Public Schools

Executive Director Foundation

festivals to help raise money for scholarship efforts in the

Nominated by Ernesta Chicklowski on behalf of FEMEA

also brought steel pans to a North Florida Orff Chapter summer

Music Foundation, the producer of Tampa’s annual Gasparilla

Caribbean community and keep the steel pan culture alive. He camp as a volunteer clinician in 2018. Shaun presented on steel

pan in the FEMEA Curriculum Fair and presented steel pan

sessions at the FMEA Professional Development Conference in 2020, 2021, and 2022. During the 2020 school year, he represented

the state of Florida in the Pan in Unity Project, which brought 691 musicians from 23 countries together for a virtual performance.

Antonio Scott, K-12 fine arts program specialist for St. Johns

Recycled Tunes was founded in 2013 by the 501(c)(3) Gasparilla

Music Festival. The foundation recognized the importance of the arts in creating a healthy community. After seeing con-

tinual budget cuts for local arts and music programs, they saw an opportunity to change the tide by providing advocacy and financial support for local music education. The mission

of Recycled Tunes is to enrich the lives of underserved and

continued on page 24

February/March 2023

23

FCAP Partners Make It Possible

AwardsCommittee continued from page 23

impoverished children in Tampa Bay by ensuring access to musical instruments.

In 2013, the foundation collected used instruments from the

community in exchange for a free ticket to its music festival.

More than 350 gently used instruments were collected, and the foundation partnered with a local music store to clean, refurbish, and restore the instruments so they could be donated to

local classrooms. The program has continued to grow, and in

addition to “recycled” instruments, it also provides new instruments along with repairs and other supplies to classrooms in

Hillsborough County Public Schools. Recycled Tunes provides

curbside, touch-free instrument drop-off at various locations in the Tampa Bay Area. Recycled Tunes accepts all types of

The Florida Corporate and Academic Partners help strengthen music education in Florida through their tireless work to support teachers.

FMEA expresses its greatest thanks to each of our Partners, Corporate and Academic, for their partnership over the past year. We hope that FMEA members from across the state support our partners as they support FMEA and Florida music educators.

gently used (and new) instruments. There is always a need for brass, woodwind, and string instruments, but in 2021, because

the demand was so high, Recycled Tunes started asking for

anything from drum kits to guitars. Recycled Tunes has several instrument drives throughout the year. The collected instru-

ments are refurbished by a local music store, Tampa’s Don Banks Music, and then donated to local schools and other music programs. Recycled Tunes has provided countless instruments,

repairs, and equipment to 54 schools in Hillsborough County Public Schools since its inception in 2013.

David Cox, executive director of the Gasparilla Music

Foundation, says: “Recycled Tunes provides new and refur-

Academic Partners

Corporate Partners

colleges

businesses

universities

organizations

military organizations

bished musical instruments, equipment, supplies, and repairs to music classrooms in Hillsborough County. The program focuses

on Title 1 elementary and middle schools. Music classrooms

have faced a unique set of challenges due to the pandemic, such as losing the ability to share instruments among kids.

Additionally, budget cuts are putting even more strain on our teachers and their resources. Recycled Tunes was able to pro-

vide 595 instruments, repairs, and equipment to Hillsborough County music classrooms in 2020.”

Nathaniel Strawbridge, music educator at Crestwood

Elementary School, says it best: “Through our partnership with

the Gasparilla Music Foundation’s Recycled Tunes project, we are able to supply EVERY student with high-quality musical

instruments and a high-quality musical education. Without

For more information, visit:

FMEA.org/partners 24 F l o r i d a M u s i c D i r e c t o r

question, the Gasparilla Music Festival Recycled Tunes is a project that serves our community with passion, compassion,

continuous effort, and understanding. The dedicated members

of the Gasparilla Music Foundation Recycled Tunes deserve to be recognized for their selfless service.”

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

Edwin Anderson............................ 25 years Triangle Elementary School Lake County Schools Brian Hellhake............................... 26 years Freedom High School Orange County Public Schools Sheri Nealey................................... 26 years Millennia Gardens Elementary School Orange County Public Schools David Pletincks............................. 26 years Powell Middle School Hernando School District John Bixby....................................... 28 years Miami Arts Studio 6-12 @ Zelda Glazer Miami-Dade County Public Schools

Karen Kouri-Perez........................ 30 years John A. Ferguson Senior High School Miami-Dade County Public Schools Edgar Rubio................................. 30.5 years Gulliver Preparatory Academy K-8 Miami

Linda Vasilaki, EdD..................... 50 years Grand Rapids, Mich.

Board of Education, Music Consultant K-6................................ 1973-1976 Grand Rapids, Mich. Schools.........1976-1977 Grand Rapids, Mich. Board of Education, Talent Education/Suzuki Violin Program................................ 1977-1982

Karen Butler....................................31 years Itinerant Instrumental Music Orange County Public Schools

Shakopee, Minn. School..................1980-1981

Janet Duguay-Kirsten, PhD........ 32 years South Miami K-8 Center Miami

The Out-of-Door Academy, Sarasota........................................... 1984-2023

Robert Keating............................... 33 years Gulliver Preparatory Academy Upper School Miami Richard Davenport.................... 33.5 years Chipley High School Washington County School District Julie Prock....................................... 38 years Winston Park Elementary School Broward County Public Schools

Emma E. Booker Elementary School, Sarasota County Schools.................1982-1983

Julian E. White II, PhD................ 60 years Northwestern Junior/Senior High School...................................... 1962-1965 William M. Raines High School, Duval County Public Schools.........1965-1972 Florida A & M University, Tallahassee.......................................1972-2012 Frank T. Martin Elementary School...............................................2017-2022

continued on page 26 February/March 2023

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AwardsCommittee continued from page 25

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

Middle Schools: Lawton Chiles Middle Academy..... 49% Polk County Schools Principal: Angela Price Music Educators: Christina Baker, Michael McElwain Pershing School................................... 50% Orange County Public Schools Principal: Sanjay Brown Music Educator: Keith Nichols Avalon Middle School....................... 51% Orange County Public Schools Principal: Karen Furno Music Educators: Garrett Anderson, Evan Powers, Eric Saidat Barrington Middle School................ 51% Hillsborough County Public Schools Principal: Andrea Cummings Music Educators: Miguel Oquendo-Echevers, David Triplett-Rosa, Yeniffer Velasquez Lyndon B. Johnson Middle School...................................... 52% Brevard Public Schools Principal: Marina Saporito-Middleton Music Educators: Erik Bryan, Carolyn Deck, Charlotte Walters

26 F l o r i d a M u s i c D i r e c t o r

Hunter’s Creek Middle School........ 53% Orange County Public Schools Principal: Joumana Moukaddam Music Educators: Elizabeth Bichler, Rafael Couret, Meagan Davis, Adrian Sanchez Williams Middle Magnet School.... 53% Hillsborough County Public Schools Principal: Shellie Blackwood-Green Music Educators: AnnMarie Abraham, Michael Garcia Gotha Middle School......................... 54% Orange County Public Schools Principal: Monica Emery Music Educators: Bret Carson, Jimmy Higginbotham, Anthony Lichtenberg DeLaura Middle School..................... 55% Brevard Public Schools Principal: Scott Corso Music Educators: Lisa Benincasa, Jack Carr, Amelia Lohman Dundee Ridge Middle Academy..... 55% Polk County Public Schools Principal: Stacy Gideons Music Educators: Cathy Montero, Craig Sotolongo

Glenridge Middle School.................. 55% Orange County Public Schools Principal: Daniel Kempinger Music Educators: James Brannock, Johanna Gonzalez, Jin Jones Sgt. Smith Middle Academy............ 55% Hillsborough County Public Schools Principal: Robert Kleesattel Music Educators: Joseph Grady, Cynthia Starling Lockhart Middle School.................... 56% Orange County Public Schools Principal: Farah Henderson Music Educators: Christian Adkins, Victoria Lane Maitland Middle School................... 56% Orange County Public Schools Principal: Aski-Melik Brown Music Educators: Samantha George, Cynthia Johnson, David Olsen College Park Middle School............. 57% Orange County Public Schools Principal: Monica Gordon Music Educators: Charles Hafner, Julie Simmons

Millennium Middle School.............. 58% Seminole County Public Schools Principal: John Antmann Music Educators: Jacqueline Byl-Bishop, Jason Ernst, Sonia Galarza, Monique Green, William Richardson, William Richey Progress Village Middle Magnet School of the Arts................................ 59% Hillsborough County Public Schools Principal: Peter Megara Music Educators: Kelly Cottet, Kristen Franzen, Bennie Leverett Thomas Jefferson Middle School... 63% Brevard Public Schools Principal: Meara Trine Music Educators: Ava Bratic, Bobbe Butler, Kathleen Kinion

Academy at the Lakes......................... 68% Pasco County Principal: Mark Heller Music Educators: Gary Compton, Frances Pisacane Lake Nona Middle School................ 69% Orange County Public Schools Principal: Robert McCloe Music Educators: Wanda Berry, Courtney Connelly, Hannah Jennings, Ashley Majka, Joanna Sell Pine Crest School, Palm Beach Campus........................... 76% Palm Beach County Principal: Lawrence Mellone Music Educators: Sharon Janezic, Allison Mair, Martha Schimelpfenig

Howard Middle School Academy of Arts..................................80% Orange County Public Schools Principal: W. John McHale Music Educators: Mary Lubaroff, Keegan Norman, Aaron Penfield, Damon Wille Orange Grove Middle Magnet School of the Arts................ 89% Hillsborough County Public Schools Principal: Michael Miranda Music Educators: Tyler Carr, Brooke Giles, Darlene Miceli St. Paul Lutheran School................. 137% Polk County Principal: Gregory Sawyer Music Educators: Daniel Bates, Denise Bates

High Schools: Matanzas High School...................... 30% Flagler Schools Principal: Kristin Bozeman Music Educators: Jared Allen, Jens Oliva, Ryan Schulz Edgewood Senior High School........ 31% Brevard Public Schools Principal: Jacqueline Ingratta Music Educators: Joseph Franco, Andy Kropp Dr. Phillips High School................... 34% Orange County Public Schools Principal: Jackie Ramsey Music Educators: Raine Allen, Jeffrey Brown, Matthew Malhiot, Jane Moore, Nicole Nasrallah, Solangi Santiago, Patrick Waters, Charles Watford

Satellite High School......................... 35% Brevard Public Schools Principal: Robert (Bobby) Pruett Music Educators: Tim Liscum, John Phillips, Christopher Simons

Leon High School................................ 43% Leon County Schools Principal: Michael Bryan Music Educators: Lee Commander, Kayleen Justus, Lisa Leaman, Curtis Newson, Tabitha Peck, Edward Prasse, Megan Sahely, Margaret Smith February/March 2023

27

THANKFULNESS AND GENEROSITY OVERFLOW in Bay County, Florida

by Todd Harless

w Southport Elementary ICounty, Florida. As you know, many of our schools w Cherry Street Elementary (Panama City) ’m the proud principal of Southport Elementary in Bay

were severely damaged during a category 5 hurricane.

The four teachers receiving the bulk of the donations

I went through boxes and carrying cases of some really

mentioned storage challenges within their classrooms

on getting donated to our district. I am one very grateful

they did not want to be selfish. With the remaining instru-

cool instruments that FMEA and NAfME worked hard

principal that our children will be able to have some of

the donated items this school year. The music program at Southport has been an important part of the school for

when they saw the quantity of instruments donated. Plus,

ments, I reached out to the rest of the district affected by Hurricane Michael. The music programs below selected

an item or two from the remaining inventory to supple-

w Deerpoint Elementary (Panama City) with our current inventory. I wanted to reach out to you to w University Academy (Panama City) say thank you very much from Southport Elementary and w North Bay Haven Charter School (Panama City) all the schools here in Bay District receiving your generous w Waller Elementary (Youngstown) w Deane Bozeman Elementary (Panama City) donations.

Unfortunately, post-hurricane, one school, Cedar Grove w Lucille Moore Elementary (Panama City) Elementary no longer offers music. So, instrument alloca- w Margaret K. Lewis School (special needs) (Panama tion began with the remaining four schools. The criteria City) was—what did they need replaced and what did their w Patronis Elementary (Panama City Beach) classrooms have space for? Most of the donated equipment w Hiland Park Elementary (Panama City) w Tyndall Academy (Tyndall Air Force Base) went to these schools: w Callaway Elementary w Lynn Haven Elementary w Parker Elementary w St. Andrews School (Panama City) decades, and this donation has helped our music teacher provide opportunities that our children may not have had

28 F l o r i d a M u s i c D i r e c t o r

ment their classroom resources:

FLORIDA MUSIC Thank you to all of the donors who have EDUCATION shown their dedication to the improvement ASSOCIATION of music education in Florida by supporting 2022-2023 DONORS 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, 2022, through February 17, 2023.

MAESTRO’S CIRCLE $10,000 and up

No current donors at this time.

ARTIST’S CIRCLE $1,000 – $9,999

All County Music Artie Almeida In Honor of June Audrey Grace & Katie Grace Miller Clifford Madsen Russell Robinson

SUSTAINERS $100 – $999

Carlos Abril In Honor of Dr. Nicholas DeCarbo Andre Arrouet Lucinda Balistreri In Honor of music educators in Sarasota Christopher Banks Kasia Bugaj Dale Choate Deborah Confredo In Honor of the fine folks of FMEA who work hard to keep the music education fire lit!

Alice-Ann Darrow In Memory of Mr. & Mrs. O.B. Darrow Virginia Densmore In Honor of Vicki Rhodes Virginia Dickert In Memory of Lindsay Keller & Debbie Liles

Scott Evans Kristin Greene In Memory of Charles E. Inderwiesen, Jr. Stanley Hoch Dennis Holt Frank Howes In Memory of Richard Bowles & Harry Grant Marsha Juday Steve & Beth Kelly Sheila King In Memory of John W. King Aaron Lefkowitz Kevin Liotta-DeVivo On Behalf of HCEMEC Jason Locker In Memory of June M. Hinckley & In Honor of those impacted by Hurricane Ian February/March 2023

29

SUSTAINERS continued David Martinez-Cooley Robert McCormick Carolyn Minear John Nista In Memory of Stanley Dmitrenko Mary Palmer In Memory of Amy Catherine Palmer David Pletincks In Honor of Alexis & Jonathan Pletincks Jeanne Reynolds In Honor of Pinellas County Performing Arts Teachers Rollins College Department of Music Mary Catherine Salo In Memory of Gary Rivenbark & Wes Rainer Steven Salo In Honor of John “Buck” Jamison & Dr. William Prince Kathleen Sanz In Memory of June M. Hinckley Fred Schiff J. Mark Scott In Honor of Dr. Andre Thomas, Dr. Judy Arthur, & Dr. Judy Bowers Scott Sheehan In Honor of those impacted by Hurricane Ian

D. Gregory Springer Jeannine Stemmer In Memory of Barbara Kingman & Lauren Alonso Leiland Theriot In Memory of Clayton Krehbiel Richard Uhler James Weaver Howard Weinstein In Memory of Barry Weinstein Donald West In Memory of Ron Powell, Vista Audio Productions, Inc. Blair Williams David Williams Kenneth Williams In Honor of our extraordinary Florida Music Educators Billy B. Williamson Marilyn Wirsz In Memory of Bill & Shirley Head Anonymous (1) In Memory of Bonnie Nista

PATRONS $25 – $99 Sandra Adorno Raine Allen Scott Apelgren Michael Antmann Judy Arthur In Honor of Raymond Kickliter & Nancy Marsters William Bauer David Bayardelle On Behalf of Harry Spyker Mark Belfast In Memory of Dr. Mark A. Belfast, Sr. Antonio Borges Richard Bradford In Honor of William S. & Helen H. Bradford Greg Carswell Shelby Chipman In Memory of Herbert Rhodes, Sr.

30 F l o r i d a M u s i c D i r e c t o r

Blair Clawson In Honor of Ginny Densmore, Alice-Ann Darrow, & Vicki Rhodes Dayna Cole In Memory of Linda Mann Paul Davis Marc Decker Dewey Dodds Sheila Dunn Judith Evans Bradley Franks In Memory of Gary W. Rivenbark Julie Hebert Bernie Hendricks Julia House In Memory of Dr. Kimberle Moon McKee Alexander Jimenez Catherine Kersten D. Tina Laferriere

Monroe Lewis Joseph Luechauer Kevin Lusk John Marshall Lloyd McIntyre In Memory of Bob Hager Kim Miles Katie Grace Miller In Honor of Artie Almeida Victor Mongillo Ree Nathan Galen Peters Edward Prasse Melissa Rawls John Sinclair Joanna Sobkowska Parsons John Southall Mark Stevens Valerie Terry

PATRONS continued David Verdoni John Watkins Sondra Wenninger Collins

Graeme Winder On Behalf of all our hardworking music educators

Anonymous (6)

Angela Hartvigsen William Hazlett Ciara Hill Jon Hutchison Jason Jerald Kathleen Kerstetter Mary Keyloun Cruz In Memory of George Paul Keyloun Deborah Mar In Dedication to Mrs. Barbara Kingman Kyle Matthews Katie McGuire Menges Ethan Morency Chad Norton In Memory of Cassandra Jean Norton Jessica Oyster In Honor of the new band director in my family John Parris Mikael Patriarca Hank Phillips Amanda Quist In Memory of Patricia Koning Diana Rollo Phil Tempkins In Memory of Susan McCray

Melissa Salek Ian Schwindt Joani Slawson Karen Smith Kelly Southall Eddie Steadman Andrea Szarowicz Mark Thielen Gary Ulrich Noiree Weaver Bradley Wharton Julian White In Memory of Kenneth Tolbert Lindsey Williams Jennifer Zahn

FRIENDS up to $24 Crystal Berner Karen Bishop In Honor of Claudia Davidsen Laurie Bitters Jessica Blakley In Memory of John Rose Thomas Brown In Honor of Dr. Samuel A. Floyd Joseph Callaway Gwendolyn Carroll Bethany Confessore Beth Ann Delmar Jodie Donahoo Revae Douglass Ross Denise Dumala Christopher Dunn Monica DuQuette Debbie Fahmie Shelby Fullerton Michael Gabriel Tina Gill In Memory of Gary Rivenbark Bruce Green Walter Halil James Hammond

Anonymous (14)

FMEA COLLEGIATE MUSIC EDUCATION DAY

at theCapitol

FMEA will host its seventh annual Collegiate Advocacy Day at the Capitol. We will meet at the Challenger Learning Center of Tallahassee building in Classroom A on March 28, 2023.

Join us for a special day of information and the tools necessary to meet with your state legislators. This is an exciting opportunity to advocate for music education.

March 28, 2023, 8:00am-2:00pm Challenger Learning Centerof Tallahassee (Classroom A) 200 S. Duval Street, Tallahassee, FL 32301 Please contact Kathleen D. Sanz, PhD, with any questions: kdsanz@fmea.org

Visit FMEA.org to register February/March 2023

31

FMEA Steel Band Festival March 31 – April 1, 2023 Matanzas High School Palm Coast, Florida

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

Entry Fee: $90 per steel band, regardless of size. Each solo or small ensemble entry is

$25. Checks are to be made payable to FMEA and mailed to 402 Office Plaza, Tallahassee, FL 32301-2757. The entry form, generated

by the online entry application below, must be printed and signed by the principal and director and mailed along with the check.

Questions:

Jared Allen, Festival Coordinator allenja@flaglerschools.com CLICK HERE

for the online entry application.

32 F l o r i d a M u s i c D i r e c t o r

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

Teacher Qualifications: Each director should be a current member of the Florida Music Education Association (FMEA) by March 1, 2023.

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

Performance Time: Each entry will have 20 minutes of performance and a 10-minute clinic. If a band chooses to do sight-reading, they will get an additional 15 minutes in their timeslot to complete the sight-reading process.

Performance Subdivision: Each steel band entry can divide the performance

time into smaller ensembles if desired. For example, an entry of 20 can play

one song utilizing all 20 students, followed by one song for 10 students, followed by the other 10. For smaller musical selections, directors are encouraged to submit them as separate chamber ensemble entries.

Music Selection Criteria: Due to the variance in curriculum and class structure, directors should select music that is appropriate and

challenging to the students in their classroom. If the music being performed is published, the director must bring the original score for the clinician. This is to assist the clinician in providing useful comments and also to discourage unlawful photocopying.

Directors are, of course, able to perform their own unpublished

arrangements. Directors are encouraged to program at least one selection that includes a traditional soca or calypso style including typical engine room instruments.

Sight-Reading: Sight-reading is an optional component in the

festival. Sight-reading music will be produced by the Sight

Reading Factory, and every band will be given unique music.

When completing your online application, you will choose from

the following options:

U No Sight-Reading U Easy Unison U Easy Two-Part (treble & bass) U Easy Four-Part U Challenging Unison U Challenging Two-Part (treble & bass) U Challenging Four-Part

“Easy” will consist of quarter note and longer note duration with no

leaps larger than a 3rd in the key of C and 4/4 time (Level 1 on SRF).

“Challenging” will include eighth and sixteenth rhythms with no leaps

larger than a 4th in the key of C, F, or G in 4/4, 3/4, or 2/4. (Level 3 on SRF).

Bands requesting to sight-read will be given an additional 15 minutes in their

time slot for sight-reading and feedback from the clinician.

Equipment: Music stands will be provided for each performing group. Performing

groups must provide all instruments and instrument stands used in performance,

including drum set and engine room. There will be access to electrical outlets.

February/March 2023

33

Teacher Evaluation in the A Music Educator’s Perspective

Teacher evaluation. These two words wield enormous power over a teacher’s identity and career trajectory. High evaluation ratings identify a teacher as successful and knowledgeable. Low evaluations produce the fear of job loss and a feeling of inadequacy. Understanding the teacher evaluation systems approved for use in the state of Florida allows music educators to increase knowledge of ▼ teacher evaluation through the comparisons ▼ of evaluation systems resulting ▼ in better preparation for future observations.

Culture of High Expectations

▼

▼

▼ ▼

▼ ▼

Instructional Design & Lesson Planning

Assessment

A C C O M P L I S H E D ▼ ▼

Learning Environment

Why do evaluation systems exist?

Teacher Evaluation in Florida

ability and personal growth (Stronge, 1995). One of the

that align with the standards of Florida Educator

Two common reasons for teacher evaluation are accountprimary purposes of using a teacher evaluation system is to provide feedback to teachers for improvement on future lessons through reflection. Teacher evaluation

systems are used to help analyze data on the quality of

teaching within a school, district, or state for use in highstakes decision-making, such as salary and continued employment. Both purposes require teacher evaluation

systems to produce reliable and valid results. High-stakes decision-making based on teacher evaluations may cause teachers to view evaluations negatively and shift the focus away from professional growth.

34 F l o r i d a M u s i c D i r e c t o r

Florida allows districts to select evaluation systems Accomplished Practices (FEAPs). The required align-

ment of the evaluation systems presumably ensures consistency in teacher evaluation across districts. The Florida Department of Education (FLDOE) defines the state’s accomplished practices as “Florida’s core stan-

dards for effective educators [that] provide valuable guidance ... on what educators are expected to know and be able to do” (Florida Department of Education, 2022,

para. 1). Furthermore, the FLDOE states that the accomplished practices are the foundation for teacher preparation, educator certification, and district instructional

e State of Florida

by Amber R. Alderman

Figure 1

Florida Educator Accomplished Practices (6A-5.065 The Educator Accomplished Practices, 2011)

Florida Educator Accomplished Practices

P R I N C I P L E S

▼

▼ ▼

▼ ▼

Deep & Comprehensive Knowledge of Subject Matter

Exemplifies the Standards of the Profession

P R A C T I C E S ▼ ▼

Continuous Professional Improvement

▼

▼

▼ ▼

▼ ▼

Instructional Delivery & Facilitation

Professional Responsibility & Ethical Conduct

personnel appraisal for Florida. The standards were

initially established in 1998 through the State Board of

Figure 1 illustrates the Florida Educator Accomplished

The Florida Educator Accomplished Practices (2011)

tion systems, I have chosen three systems to evaluate

Education’s ruling 6A-5.065 and were updated in late 2010. consist of three foundational principles that define qualities of an effective educator: creating a culture of high

expectations in academics, demonstrating a deep and

comprehensive knowledge of the subject matter, and exemplifying the standards of the profession. These

principles lead to six educator accomplished practices: (1)

instructional design and lesson planning, (2) assessment, (3) learning environment, (4) continuous professional

improvement, (5) instructional delivery and facilitation, and (6) professional responsibility and ethical conduct.

Practices. Because the state allows for many evalua-

in this article. The three evaluation systems are the Framework for Teaching (FFT), used by Hillsborough County School District; the Stronge Goals and Roles Classroom Assessment and Evaluation Model, used by

Miami-Dade County School District; and the Marzano Classroom Teacher Evaluation Model (FTME), used by

Broward County School District. The three districts were selected because they have a large number of schools to allow for a comparison of these three systems.

continued on page 36

February/March 2023

35

Teacher Evaluation in the State of Florida continued from page 35

Comparison of Teacher Evaluation Systems

The three selected evaluation systems are

representative of the evaluation systems used in the state of Florida. The compari-

sons use each county’s adopted version of the systems found on the applicable dis-

trict’s or the state’s website. The FLDOE’s

official teacher evaluation system is based

on research and the analysis of research on teacher evaluation by Marzano.

Schools, 2017), “Unsatisfactory” (Office of

the word “Effective” with a more neu-

2018), and “Needed” (School District

to Marzano’s “Proficient” rating than to

Professional Development and Evaluation,

of Broward County, 2019). Marzano’s

“Needed” implies the absence of what is being observed, Stronge’s “Unsatisfactory”

signifies what is being observed is there but not well executed, and Danielson’s

“Requires Action” implies that whatever is being observed or not observed needs

to be improved for future teaching. The second to lowest rating provides more

Rubrics

Rubrics are an essential aspect of teacher evaluation systems, allowing educa-

tors to know the expectations to meet

during observations prior being observed.

Table 1 compares the rubric evaluation ratings for each district. Both Danielson’s and Stronge’s rubric use a four-category rating system, whereas Marzano’s rubric

is divided into five ratings, indicating a more nuanced distinction between middle-range teachers.

The wording of the lowest ratings dif-

fers among the rubrics with “Requires

Action” (Hillsborough County Public

consistent language between rubrics with

“Progressing” (Danielson), “Developing/ Needs Improvement” (Stronge), and “Emergent” (Marzano), all implying learn-

ing but not mastery of skills. Interestingly,

Stronge includes “Needs Improvement,”

tral connotation and corresponds more accomplished. Marzano and Danielson

also use the same word “Exemplary” to define the highest-rating score; Stronge uses “Highly Effective.” The word exemplary implies above average or excel-

ling practices, whereas highly effective

does not mean extraordinary practices.

The wording of rubrics implies different

meanings in several ratings, particularly in the lowest category between the rubrics, indicating essential differences in

the evaluation systems. These differences imply that teacher ratings are inconsistent between evaluation systems.

The detail provided in the rubrics and

which corresponds to Danielson’s low-

the number of criteria vary between each

ing that rubrics do not align in eval-

22 criteria with specific information

est rating of “Requires Action,” suggestuation ratings. Marzano’s rubric is the only one to provide a neutral score (nei-

ther positive nor negative). The second-

highest rating uses the same language

of “Accomplished” in the Danielson and Marzano rubrics. Stronge’s rubric uses

evaluation system. Danielson provides describing what should be observed by

the evaluator for each criterion in each

rating (Requires Action, Progressing, Accomplished, and Exemplary). The focus of the rubrics shifts between teach-

er, student, or both depending on the

Table 1 Comparison of Teacher Evaluation Rubric Ratings Evaluation System

Lowest Rating

Second Lowest Rating

Danielson (Hillsborough County Schools)

Requires Action

Stronge (Miami-Dade County Schools) Marzano (Broward County Schools)

Second Highest Rating

Highest Rating

Progressing

Accomplished

Exemplary

Unsatisfactory

Developing/ Needs Improvement

Effective

Highly Effective

Needed

Emergent

Accomplished

Exemplary

36 F l o r i d a M u s i c D i r e c t o r

Neutral Rating

Proficient

Table 2 Number of Criteria Associated With Each Accomplished Practice Assessment

Learning Environment

Continuous Professional Improvement

Instructional Delivery and Facilitation

Professional Responsibility and Ethical Conduct

6

9

12

7

7

1

Marzano (Broward)

4

6

13

3

19

3

Stronge (Miami-Dade)

4

6

4

6

5

1

Instructional Design and Lesson Planning Danielson (Hillsborough)

criteria. Marzano provides 23 criteria,

less specific and more consistent across

Accomplished Practices (FEAPs), the way

demonstrating the behavior (none, less

explicit language in these rubrics creates

each evaluation system.

focusing on the number of students than a majority, majority, 90% of students) for criteria associated with stu-

dents. Some of Marzano’s criteria focus only on teacher behaviors, such as the

criteria for adhering to school district policies and procedures. Stronge provides the fewest number of criteria with

only eight. Many of the criteria are word-

ed as “the teacher consistently meets…,” “the teacher identifies and addresses…,” “the teacher attempts…,” and “the

teacher consistently demonstrates a lack

of…” indicating that the Stronge teacher evaluation focuses on teacher behaviors (Office of Professional Development and Evaluation, 2018, p. 43).

The three systems vary greatly in

descriptive detail in the criteria. The

criteria in the language used. The lack of

a blurry picture of what the observer is

teria used by Marzano and Stronge are

that

number of times criteria can be catego-

the desired effect is considered for the rating. Evaluating based on the number of students is a very different mentality;

the students must respond behaviorally

be determined through comparing the

rized under each accomplished practice.

Table 2 provides the number of criteria for each accomplished practice.

Table 2 shows the differences in how

to the teaching for a high rating in many

each evaluation system focuses on accom-

vague in language and lacks specifics

tem used in Broward County focuses

instances. The Stronge rubric is more for individual criteria, leaving much of

the evaluation up to the observer’s inter-

pretation. The Stronge evaluation system provides teachers with less feedback to

improve and less data for overall teacher ratings calculations.

There are many important differences

criteria, the number of ratings, the details

appear in more than one rating. The cri-

practices

in that the number of students displaying

are also so precise that an observer may may be demonstrating behaviors that

accomplished

each evaluation system focuses on can

viously, the Marzano criteria are unique

between the rubrics in the three evalu-

have to decide how to rate a teacher who

The

expected to evaluate. As mentioned pre-

details in Danielson’s criteria clarify what

the observer is looking to evaluate but

the FEAPs are measured (ratings) vary for

ation systems, including the number of

plished practices. The evaluation sys-

on instructional delivery and facilitation.

The criteria for Stronge and Danielson

are more evenly distributed across the accomplished practices, suggesting that

the evaluation system does not primarily focus on one area. Stronge’s rubric criteria are the most evenly distributed of the

three. Danielson’s criteria slightly favor the learning environment.

The rubric and criteria used in teach-

of individual criteria, and the language

er evaluation systems provide import-

gest that despite all three of the systems

looking for, what accomplish practice(s)

used. The differences in the rubrics sugreportedly aligning with Florida Educator

ant information on what the observer is continued on page 38

February/March 2023

37

Teacher Evaluation in the State of Florida continued from page 37

receiving high ratings because it takes practice for the teacher and the students

to demonstrate behaviors associated with each practice successfully. Focus on specific areas to improve during an observation, and integrate behaviors related to the practices in time to practice before

being observed. Understanding the district’s evaluation system and planning

for teacher evaluations provide proactive ways that music teachers can prepare for evaluations, have a meaningful discussion with observers, and make evaluations less threatening, allowing for the focus to shift to professional growth.

the criteria of the rubric primarily focus

understanding how what they are observ-

Understanding the teacher evaluation

pre- or post-observation conference with

on, and how teachers should be rated. system assessing the teacher allows the

music teacher to be proactive in preparing for observations.

Teacher Evaluation as a Music Teacher

Understanding the evaluation system

ing aligns with the criteria. Having a

the observer to discuss lessons can help clarify what happened during the obser-

vation and help evaluators not familiar with music understand how the lesson fits

with the criteria. If pre- and post-observa-

tion conferences are not standard, ask the observer if a conference can be scheduled

Amber R. Alderman has teaching experience in public and private schools in

strings, vocal, and general

music education. She has earned degrees in music edu-

cation from Florida Southern College and Florida State University and is working to complete a PhD in music from the University of South Florida.

for observations.

References

cific areas that may need improvement.

provide valuable information for prepar-

evaluation system is being familiar with

sional development plan. Knowing what

Florida Department of Education. (2022). https://www.fldoe.org/teaching/ professional-dev/the-fl-educatoraccomplished-practices.stml

allows music teachers to prepare for

upcoming evaluations and to target spe-

Part of the process of understanding the the wording and focus of the rubric. Is the

rubric looking for students’ behaviors or

the teacher’s behaviors? Are most of the rubric’s criteria assessing instructional

delivery and facilitation, or are the criteria

evenly distributed across accomplished practices? Music teachers should think about what high ratings for each category

look and sound like in the music classroom and be able to explain to an evalua-

tor how the lesson aligns with the criteria

and the evaluation system being used.

Evaluators unfamiliar with music con-

tent and pedagogy may have difficulty

38 F l o r i d a M u s i c D i r e c t o r

The wording and details of the criteria

ing for observations and making a profesevaluation system the district uses and

6A-5.065 The educator accomplished practices.

(2011). Florida Department of Education.

the rubric will allow the teacher to know

The Educator Accomplished Practices, Pub. L. No. 6A-5.065 (2011). https://www.flrules.org/ gateway/ruleNo.asp?id=6A-5.065

dent-centered (or both). It will also inform

Hillsborough County Public Schools. (2017).

Teacher evaluation handbook. Hillsborough County Public Schools.

carefully looking at the language used in

if the rubric’s criteria are teacher- or stuthe teacher about the main focus areas

of accomplished practices for the evaluation. Using the rubric to observe other music teachers will allow for insight into

what the observer sees and will allow

the teacher to be more familiar with the criteria.

Using

the

accomplished

practic-

es should become a habit for teachers

Office of Professional Development and Evaluation. (2018). Instructional performance evaluation and growth system procedural handbook. Miami-Dade County Public Schools.

School District of Broward County. (2019).

Instructional personnel evaluation system.

Stronge, J. H. (1995). Balancing individual and institutional goals in educational personnel evaluation: A conceptual framework. Studies in Educational Evaluation, 21(2), 131–151. https://doi.org/10.1016/0191-491X(95)00010-R

FMEA Summer Institute

Summer 2023

The FMEA Summer Institute brings together music educators across all components and grade levels to envision future trends and discuss how to embrace the changes in music education. Join a small group of current and future leaders in music education in an inspiring multi-day training program.

INSTITUTE

All full active FMEA members are encouraged to apply!

Cost to apply is $75. Applications must include 2 letters of references.

Apply by April 10, 2022

June 12-14, 2023 University of South Florida

Visit FMEA.org for more details and to apply.

20 Summer June 5-8, 2022 22 Institute USF School of Music The Summer Institute is an inspiring multi-day professional development training

involving a relatively small number of successful, well-respected music educators. The

participants address specific and relevant topics and questions, such as how do we transform music education and change our perceptions to enable us to reach all students?

In addition to engaging sessions, there is time built in for specific directed discussion and reflection.

REGISTER HERE

February/March 2023

39

TIP Trauma-Informed Pedagogy in Music Education

by Ramon Cardenas The field of education is evolving to promote the inclusion of all students and their diverse backgrounds. An innovative approach to education shows awareness of trauma, as it affects all people through direct or indirect experiences. Trauma is defined as “the response to an unexpected or overwhelming violent event or events that are not fully grasped as they occur, but return later in repeated flashbacks, nightmares, and other repetitive phenomena” (Bradley, 2020, p. 6). Often, trauma is difficult to understand because of its enigmatic nature. As Bradley (2020) stated in the definition of trauma, the original event is often not fully grasped by the trauma victim. In educational settings, trauma symptoms may be

40 F l o r i d a M u s i c D i r e c t o r

misidentified as learning disabilities (Bradley, 2020; Brunzell et al., 2015).

Further, students who have experienced trauma are more likely to experience low academic achievement, suspension, or truancy (Brunzell et al., 2015). The ambiguous nature of trauma has led educators to seek ways to implement trauma-informed pedagogy (TIP) into the classroom. TIP is an educational approach that encourages teachers to modify pedagogy to support the well-being of all students. A trauma-informed approach assumes good intentions and allows students to reach their full potential.

Music educators play an integral role in the implementation of TIP (McEvoy & Salvador, 2020).

Trauma-Informed Pedagogy The Role of Educational Institutions

Educational institutions play an important role in students’ identity development.

Policies, curriculum, and pedagogy associated with educational institutions can either benefit or damage identity development, which should encourage admin-

istrators and educators to enact educational practices that will benefit all students (Bradley, 2020). According to McEvoy and Salvador (2020), trauma-informed pedago-

gy begins at the macro level. Institutions should provide training and resources to help educators implement these practices into their classrooms. Educational policies

and disciplinary systems should also be modified to reflect trauma-informed practices in education.

Culturally Responsive Teaching

Enacting TIP in the classroom requires teachers to honor culturally diverse experi-

ences through content and context. Content refers to materials used to meet teaching standards (such as programming repertoire), and context refers to a nurturing envi-

ronment where students feel comfortable learning new content (McEvoy & Salvador, 2020). Content and context are not mutually exclusive and should complement each other. The foundation of TIP begins with the creation of a safe classroom environment.

Implementation of TIP and the closely related concept of culturally responsive

teaching should be a regular tool used in the classroom (McEvoy & Salvador, 2020).

Trauma has directly or indirectly affected all students in a classroom. Therefore,

consistent implementation of TIP creates a student-centered classroom rather than a content-centered classroom. Educators should be cognizant of content delivery, ensuring the delivery creates a nurturing environment where trauma and culturally diverse backgrounds are considered.

Culturally responsive teaching differs from multiculturalism in the classroom.

Multiculturalism is primarily resource-centered, whereas culturally responsive

teaching is student-centered (McEvoy & Salvador, 2020). Teachers often confuse cul-

turally responsive teaching with multiculturalism. Multiculturalism should be used as a tool to enhance culturally responsive teaching, creating meaningful experiences

for students with diverse backgrounds. Finding resources to enhance musical expe-

riences in the classroom should be the initial step taken toward culturally responsive teaching and should not be considered the sole reason an educator believes they are

changing their pedagogical approach to honor traumatic experiences and culturally responsive teaching.

continued on page 42

February/March 2023

41

TIP

continued from page 41

Practical Implications for the Music Educator Student-Centered Learning: A Nurturing Environment

Teachers should aim to create a nurturing environment

that encourages students to reach their full potential (McEvoy & Salvador, 2020). They should also provide

students with opportunities to show their strengths in the classroom. An example of encouraging students to reach full potential includes student-centered assessments. Allowing students to create assessments in a guided group context allows students to synthesize material they believe is important while creating opportunity for

them to ask questions for clarification. Instead of requir-

ing a written reflection, perhaps students could record an audio or visual presentation in lieu of a writing component. Ultimately, TIP should shift focus from teacher

obligations to student well-being (Yi, 2021). This creates opportunity for self-expression while catering to different learning needs in the classroom. A nurturing environ-

ment begins when students are given an opportunity to engage in dialogue on what pedagogical approaches work best for them.

The nature of trauma leads humans to maintain a sur-

TIP encourages educators to look inward and seek ways

vival mode mentality. Relinquishing the survival mode

tion will help provide a proactive learning environment

exists. Fostering a nurturing environment and estab-

to understand their own trauma responses. Inward reflecwhere students are encouraged to engage in the reflective process (McEvoy & Salvador, 2020). Educators must come

to terms with their own trauma before attempting to help others in their healing processes (Walzer, 2021). Reflecting

inwardly plays an important role in the classroom because many students lack the resources to participate in therapy

and subsequent treatment plans. Therefore, the healing process for many students may begin in the classroom.

TIP can only work when educators know how to regulate

their own trauma that in turn will encourage students to focus on their own physical and emotional regulation

(Brunzell et al., 2015). Some examples of ways that teachers can encourage students to look inward and self-regu-

late include implementing guided journal prompts into the classroom, providing “brain breaks” throughout class time, and encouraging physical movement in rehearsal.

Small implementations of self-regulation and reflection help to create a student-centered environment.

42 F l o r i d a M u s i c D i r e c t o r

mentality requires the acknowledgment that trauma lishing a rapport between educators, their students, colleagues, and fellow musicians helps promote open dialogue where the acknowledgement of trauma can be discussed (Walzer, 2021). Ultimately, discussing trauma does

not have to be the sole focus of TIP. The essence of music education requires humans to connect with one another.

A part of this connection must allow opportunity for discussion of the human experience. The human experience

is incomplete without the discussion of grief and trauma.

Therefore, human connection is an integral part of TIP (Walzer, 2021). In an article entitled “Confronting Racial

Trauma in the Music Classroom,” Yi (2021) stated, “Build the resilience by building the relationships. Less prep,

more presence” (p. 58). TIP begins with the educator cre-

ating a safe and student-centered classroom environment

where relationships are cultivated and healthy levels of rapport are established, which will subsequently lead to TIP.

TIP

The essence of music education requires humans to connect with one another. A part of this connection must allow opportunity for discussion of the human experience.

Shifting Focus to Positivity

Teachers should use behavior modification to uplift

students rather than punish them. Teachers sometimes

between educator and student that in turn leads to an informed approach to pedagogy.

A practice within TIP is the resilient mindset, or

overly focus on punishing students for unwanted behav-

the acknowledgement that students consistently make

TIP. Understanding that unwanted behavior stems from

educator understands the obligation of attending school

iors, whereas a positive approach is more in line with

a personal traumatic event helps educators create nurturing environments for students recovering from trauma (Bradley, 2020). TIP roots itself in positive psychol-

ogy, defined as “the empirical paradigm that studies wellbeing, human strengths, and optimal functioning in individuals, groups, and organizations” (Brunzell

et al., 2015, p. 6). Modifying behavior in context of TIP encourages educators to assume good intention in all students, which in turn will allow students to reach

their maximum potential. Therefore, educators should examine their approaches to classroom behavior modi-

fication and seek ways to ensure students are not being

punished. Rather than punishing, positive behavior

should be reinforced and rewarded as much as possible.

Shifting the focus to a positive mindset not only creates a

safe classroom environment, but also establishes rapport

resilient choices that may seem trivial to an adult. An or work every day. However, a student attending school every day despite experiencing frustration at school is an

act of resilience. Expressing acknowledgement and gratitude to students’ acts of resilience is a subtle technique

found in TIP. This mindset encourages students to promote positivity and provide perspective to the students

affected by trauma. Trauma may lead to psychological dismissal of a place or group of people as a coping mechanism (Brunzell et al., 2015). For example, a student

who has been bullied at school or demeaned by an edu-

cator’s lack of understanding may lead them to dismiss

all educational institutions and adults. Assuming good intention and acknowledging acts of resilience may be

the initial step needed to help students escape from traumatic cycles.

continued on page 44 February/March 2023

43

TIP

continued from page 43

Appropriately Contextualizing Music

Music plays an important role in recounting human

experiences, and musicians have the power to illustrate traumatic events through performance. For example,

a vocal ensemble can prepare and perform an African American spiritual, recounting the events that led to the composition. Educators can research the history of the

TIP

spiritual and teach their students the composer’s inten-

tions. However, representations of these traumatic events

The promotion of a safe environment, human connection, and positivity are markers of trauma-informed pedagogy.

usually result in trivializing a composition to make performances more accessible to audiences. Compositions burgeoned from traumatic events have often become a “show stopping” enhancement

to a concert program. Therefore, music educators should provide opportunity

for dialogue surrounding performance.

Educators can engage in difficult conversations with their students and their audiences to appropriately contextualize a piece of music. Further, educators must

know their concert program beyond the

notes and rhythms. Discussions of each piece and

follow the implementation of a nurturing classroom

music for the performers, providing an opportunity

pate in meaningful dialogue and difficult conversations.

its history and related trauma help contextualize the to appropriately convey emotions akin to the music.

environment where students feel compelled to partici-

Educators and conductors should also provide program

Process Over Product

alize music without minimizing traumatic experiences

ma victim to come to terms with their traumatizing

notes or pre-concert lectures to appropriately contextu(Bradley, 2020).

Discussing traumatic histories in the classroom with-

out further traumatizing students is a pedagogical

conundrum. However, avoiding discussions may not

only leave students susceptible to a revisionist history but also a lack of understanding history that emerged

from trauma (Bradley, 2020). For example, without under-

standing slavery in United States history, an educator will not fully grasp the spirituals that emerged from

those traumatic experiences. Educators must research each piece they program for their ensembles and prepare to engage in meaningful dialogue—dissecting the

historical background of these compositions, including

the traumatic events that inspired these pieces of music.

Discussion of traumatic events should subsequently

44 F l o r i d a M u s i c D i r e c t o r

Trauma-informed pedagogy not only requires the trau-

event but also requires an educator or administrator to

listen to and engage in meaningful dialogue (Bradley, 2020). Breaking the cycle of stasis requires educators to

discuss difficult topics regarding trauma beyond the superficial. Surface-level conversations do not promote

the growth mindset accompanying trauma-informed pedagogy (Bradley, 2020; McEvoy & Salvador, 2020).

Meaningful dialogue begins when the process (daily rehearsal experiences) outweighs the product (performance). Often, the product becomes the sole purpose

of music education. Music educators often place a sig-

nificant amount of focus on ensuring notes, rhythms,

and articulations are at a high level for performance.

Although these are important factors that contribute to successful music education, educators must remember to

connect the process of making music to the human expe-

Ramon Cardenas is pursuing a PhD in

has directly or indirectly experienced trauma and are

State University. Prior to his studies, Mr.

rience. Every student in a classroom or in an ensemble

learning to navigate these experiences while considering their identity development. Implementing TIP as a music educator is a challenging task, but the cultivation

of nurturing relationships and prioritizing process over

product creates a meaningful experience for students.

Prioritizing process over product encourages music edu-

cators to engage in TIP that caters to students and their diverse backgrounds.

Conclusion

Music educators should constantly seek ways to cater

to students who have experienced trauma. Discussing trauma should be not the sole focus of TIP. Rather, the

promotion of a safe environment, human connection, and positivity are markers of trauma-informed pedagogy.

Further, emphasizing process over product and appropri-

ately contextualizing music enhances the implementation of TIP. These practical implications for educators help with the implementation of TIP in the classroom.

music education: choral conducting at Florida

Cardenas taught high school choir for six

years. He holds degrees in music education and choral conducting. He serves as the direc-

tor of music at First Presbyterian Church of Quincy, Florida.

References Bradley, D. (2020). We are all haunted: Cultural understanding and the paradox of trauma. Philosophy of Music Education Review, 28(2), 4–23. https://doi.org/10.2979/ philmusiceducrevi.28.1.02 Brunzell, T., Waters, L., & Stokes, H. (2015). Teaching with strengths in trauma-affected students: A new approach to healing and growing in the classroom. American Journal of Orthopsychiatry, 85(1), 3–9. https://doi.org/10.1037/ort0000048 McEvoy, C. A. & Salvador, K. (2020). Aligning culturally responsive and trauma-informed pedagogies in elementary general music. General Music Today, 34(1), 21–28. https://doi. org/10.1177/1048371320909806 Walzer, D. (2021). Fostering trauma-informed and eudaimonic pedagogy in music education. Frontiers in Education, 6, 1–8. https://doi.org/10.3389/feduc.2021.647008 Yi, T. S. (2021). Confronting racial trauma in the music classroom. Music Educators Journal, 108(1), 57–59. https://doi. org/10.1177/00274321211035688

February/March 2023

45

GOLD

SILVER PARTNERS Mark Custom Recording Service, Inc. Partners as of February 17, 2023.

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

46 F l o r i d a M u s i c D i r e c t o r

Please take time to thank and support our 2022-2023 Corporate Partners.

PARTNERS

BRONZE PARTNERS Eastman Music Company Head’s House of Music Meloquest, Inc. Music & Arts Music Man, Inc.

National Concerts Orlando Philharmonic Orchestra Orlando Sings West Music Company

February/March 2023

47

ResearchPuzzles

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

FOR MUSIC TEACHERS

William I. Bauer, PhD FMEA Research Committee Chairperson, University of Florida

Music for a Lifetime

O

ne rationale for why music education should be part of

community orchestra members, albeit at a lower rate than

the knowledge, skills, and dispositions that enable them to

tended to have participated less frequently in college ensem-

school curricula is that it allows individuals to develop

engage in active music-making throughout their life, thereby

enhancing their quality of life. Historically, this has been part of professional discourse surrounding major events such as the Yale Seminar in 1963, Tanglewood Symposium in 1967, and

Housewright Symposium on the Future of Music Education in 1999, as well as the object of study by numerous music edu-

cation scholars. Matthew A. Boswell (2022) decided to explore this topic by conducting a review of the related research literature. A review of literature is the process of summarizing,

synthesizing, and/or critiquing the literature (i.e., articles, books, dissertations, etc.) on a topic. The purpose of Boswell’s

those in band and choir. Community band and choir musicians bles than they had in high school groups. Members reported

sight-reading (band) and sight-singing (choir) as important

skills developed in high school ensembles. Instrumentalists regularly took private lessons, as did vocalists but at a lower

rate than the instrumentalists. Band, choir, and orchestra

members had often performed as soloists or in small ensem-

bles in competitive and non-competitive settings. They also

were participants in honors ensembles during high school.

Their parents/guardians and teachers were major influences on their participation in school large ensembles.

review “was to examine previous research on adult partici-

Motivation to Participate in Community Ensembles

munity music settings with a particular focus on the idea of

cated musical, personal, and social reasons for continuing to

pation in large ensemble (i.e., band, choir, or orchestra) comtransition, or preparation of students for adult music making

opportunities” (p. 57). A limitation of this review of literature is that Boswell only studied literature related to large com-

munity ensembles, not including research on other types of amateur adult music-making such as playing chamber music, performing in vernacular music ensembles, solo performances on instruments such as piano and guitar, and so on.

Characteristics of Community Large Ensembles Members Demographics

Most community large ensemble members are more than 50 years old. There is also a gender differential in choirs (more women than men) and bands (more men than women). Few

minorities participate in these community groups. In the stud-

Participants in the studies reviewed by Boswell (2022) indiperform as an adult in community ensembles. They stated they loved music and the aesthetic experience of performing.

On a personal level, they indicated their ensemble partici-

pation was fun and gave them a sense of satisfaction. The social aspects of making music in a large ensemble were

very important, even more significant than musical reasons

in some studies. On the other hand, a lack of time was fre-

quently cited as a reason why people did not participate in large community ensembles. For some, financial issues,

concerns over their diminished musical skills, and a fear of auditions were additional factors that inhibited participation.

Encouragement by their secondary ensemble teacher to participate in music after high school was mentioned as critical

in making the transition to adult membership in a community ensemble.

ies examined, 70% or more of members had attended college

Implications

cially than the average person.

and learning based on his analysis of the literature reviewed.

and/or were college graduates. They were also better off finan-

Prior Experiences in Music

A large percentage of band and choir members had participated in their corresponding high school ensembles, as did most

48 F l o r i d a M u s i c D i r e c t o r

Boswell (2022) provided several implications for music teaching

w Providing all students with experiences focused on devel-

Among them were:

oping interest in music and music skills prepares students best for adult music-making.

w Music educators should endeavor to increase student performance opportuni-

ties of diverse music styles in groups of all sizes, from chamber groups to large

w Encouraging independent music-making ensembles.

within the school ensemble setting can provide students with the tools and confidence

necessary to transition into the community

w Community musicians and music leaders music environment.

could collaborate with school music teach-

ers to provide students with visible role models of lifelong music-making. (p. 56)

Additional details of this and other studies

with practical implications for music classrooms and rehearsals can be found by accessing the website of the journal UPDATE: Applications of Research in Music Education, found at https://bit. ly/nafme-update. The mission of UPDATE is to

bring “research in music teaching and learning close to everyday practice to help teachers apply research in their music classrooms

and rehearsal halls” (National Association for Music Education, 2022b, para. 1). All FMEA members can read UPDATE as part of their FMEA/NAfME membership.

Reference Boswell, M. A. (2022). Music for a lifetime: How are we doing? A review of literature on adult participation in large community music ensembles. Update: Applications of Research in Music Education, 40(2), 56–65. https://doi. org/10.1177/87551233211040735

Email your questions and feedback to

wbauer@ufl.edu with

a subject heading Research Puzzles.

February/March 2023

49

ComponentNews

FLORIDA MUSIC SUPERVISION ASSOCIATION

Lindsey R. Williams, PhD, President

The Four Agreements: Part 1

D

uring my time as president of

cational setting, this tends to center on

like to ask for your indulgence as I take

Association, I’ve had the honor and duty

The Four Agreements, I reflected on how

Agreements within the context of teach-

the

Florida

Music

Supervision

to write for the Florida Music

our students. As I reread don Miguel’s

Director (FMD). Inspiration

for these missives has come from a wide array of sources

… my family, my colleagues,

Dr. Neil DeGrasse Tyson by way of Stephen Colbert, and now don Miguel Ruiz.

So much of the act of

teaching hinges on how we interact with the people

in our world. In an edu-

these function for me as a

teacher and as a student.

If you’re not familiar with

this work, the subtitle is “A

a few moments to address these Four ing. The Four Agreements are:

1. Be Impeccable With Your Word.

Freedom.” It can function

2. Don’t Take Anything Personally.

thoughtful reflection on

3. Don’t Make Assumptions.

Practical Guide to Personal as a guide or simply inspire

how we choose to experience this journey we’re

on. For my final two sub-

missions for FMD, I would

4. Always Do Your Best.

BE IMPECCABLE

WITH YOUR WORD

The author admonishes that we speak with integrity and say what we mean FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

Marc Decker, DMA, President

S

pring is here, and I hope preparations for your upcoming concerts are going well. The Florida College Music Educators Association has exciting news to

share!

First, I am delighted to report that the 2023 recipient of the FCMEA Creative

Explorations Grant is Dr. Brandon McDannald from the University of Tampa. His

project, “Making the Music Education Major Transition from Florida Community

Colleges to University: AA to BME,” is one of strategic interest to the association, and we look forward to hearing more about it in the months to come. Thanks go to the members of the FCMEA Grant Committee for their work reading through

a record high number of grant applications. Committee members were Dr. Erin

Bodnar from the University of North Florida, Dr. Mitchell Hutchings from

Florida Atlantic University, and Professor Troy Jones from Florida Gulf Coast University.

Second, FCMEA held officer elections during the conference in January, and

the membership elected Dr. Kyle Prescott from Florida Atlantic University to serve as president-elect. The leadership of FCMEA will transition this sum-

mer and be led by our incoming president, Dr. Sandra Adorno from Florida International University. I am excited for the future of our association and look forward to seeing it grow under a new leadership team.

I hope all your teaching, creative, and scholarly endeavors go well this spring!

50 F l o r i d a M u s i c D i r e c t o r

and mean what we say. From a student perspective, this could be presented in what our students can expect from us when they enter our sphere of influence.

If we are impeccable—consistent, precise,

and concise—our interactions with our students might also be seen as reliable. I know I am more comfortable in situations

where I feel confident in my ability to

predict how I will be treated, whether in a teaching/learning setting or in a profes-

sional-level meeting. If I don’t know the person I’m interacting with, I tend to give

them the benefit of the doubt that they are good people unless or until they prove

otherwise. Now imagine when you’re in a

situation where there’s a real or perceived “power” dynamic (e.g., student-teacher, teacher-principal, teacher-superintendent, etc.). If you believe you will be treated

with respect and kindness, you are more likely to enter the interaction with a will-

ingness to listen and understand, which I think would be a good mindset for our students to possess in our classrooms.

FLORIDA BANDMASTERS ASSOCIATION

Bernie Hendricks, President

Don’t Take Anything

PERSONALLY

G

reetings, FBA family! Can you believe it is March already? 2023 is frantically moving along and before we start to look ahead, I think

I know I have been guilty of taking the

it’s worthwhile to take a quick look back. The 2023 FMEA Professional

ment. I’ve also made the mistake of pro-

experience filled with many growth opportunities. Our seven all-state band

behaviors of others as a personal indict-

jecting motive to what a student was doing rather than simply observing their behavior and providing appropriate and dispassionate redirection. An important

mentor of mine, Dr. Madsen stated you get to decide whose accolades and/or

criticisms you will accept. Conversely,

you also get to decide whose feedback is of no real consequence. Not all feedback is created equal.

Development Conference and All-State Concerts was an absolutely awesome

ensembles performed extremely well, and the concerts and rehearsals were a true demonstration of how wonderful our students are as well as the great teaching they receive from all of you. A special thanks to any and all of the

directors who volunteered your time, talents, and efforts to make our all-state

ensembles a success and a valuable learning experience for all of the students involved. Also, let’s hear it for all of our wonderful FBA session presenters and session coordinators. And finally a huge shout-out to our more than 1,200 FBA members who were in attendance at the conference, nearly 200 of those collegiate members, which is huge for our future.

In a previous update email, I labeled the months of February and March

Our students and colleagues are work-

as “OMG, It’s NEXT WEEK!” Month. With all the madness of our spring

and in many cases, music class is but

We must take the time to evaluate our personal journey through these busy

ing hard every day in myriad situations, one relatively small part of their daily existence. While of course I would love to

have all students “eat and sleep music,” that’s just not a reasonable expectation.

What I know I can expect is they will all act in a way that is aligned with their

levels of mental, emotional, and physical development and I, in turn, need to

respond in a way that aligns with my own

MPAs, can you believe we are now just a few days away from spring break?!

seasons. There are plenty of mixed opinions and feelings about our music

performance assessment process, and that is perfectly fine as we are all entitled to our opinions and beliefs. The one thing that remains, however, is providing the best possible musical experiences for our students. It’s all about

the journey … regardless of the destination, whether it be an MPA stage, a cafetorium, or a gym performance, a national parade or a performance in an

outdoor park at a community spring picnic. It doesn’t really matter what the “gig” is; what matters is what we are doing to get our students to that gig.

We have a tough job … that of a band director/music educator … creating

level of maturity. Not always an easy task

something beautiful out of nothing, motivating young people to do things

are all doing the best we can with what

that come with the job. It can be overwhelming, and that’s part of the reason

for sure, but if we choose to believe we

we’ve got each day, we are more likely

they may not be accustomed to doing, managing all of the logistical things why I feel we cannot do this job alone. I want to continue to encourage every-

to temper our reactions with grace and

one to keep building your professional community. Keep reaching out to

behaviors with all those around us, we

an FBA standpoint, we will continue to invest in and support our younger

patience. As we model kind and patient can know we are doing our part to make the world kinder and gentler, or when we feel the need to include “bless her/

his/their heart …” maybe choose to love them through it—whatever “it” may be.

Coming soon …

We’ll continue with Ruiz’s guide with

“Don’t Make Assumptions” and “Always Do Your Best.”

friends, colleagues, and even those in the community you don’t know. From

directors with more activities for our Hi-Five Focus Group. And we are look-

ing to strengthen our relationship with our state CBDNA membership in

efforts to have our awesome universities better connected to our schools and FBA membership.

Lastly, it’s MPA season. Get out and LISTEN! We tell our students this all

the time, so let’s model the behavior we want to see. Plus, it’s a great opportunity to connect with our colleagues and continue to build our community.

Be blessed, everyone, and enjoy the journey!

February/March 2023

51

ComponentNews W

FLORIDA NAfME COLLEGIATE

Mark A. Belfast, Jr., PhD, Advisor

e’ve already made it to March.

weren’t able to attend the full conference.

moving through that space at any given

a look at what’s ahead, let’s reflect on

Band, well done! You all presented a truly

will be asking your State Executive Board

Can you believe it? Before we take

what’s happened so far this year. Once again, the January FMEA Professional Development Conference was a great success, and you had a major part to play

If you performed in the Intercollegiate

wonderful concert Friday night, and it was nice to see so much collegiality on the stage.

Although I know our full membership

moment. As we plan for next January, I to include time for a family photo. I’m

hoping we can make it somewhat of a

tradition. How cool would it be to have

a photo of all our members in attendance each year?!

in that. More than 500 Florida NAfME

isn’t able to travel to Tampa for the FMEA

conference this year, which is amazing

blown away by how many of you actually

during our general membership meet-

Tampa Convention Center makes it dif-

I hope you found them beneficial as

Collegiate members registered for the

considering the All-State Intercollegiate Band made a resounding return this January and those NAfME members

conference each January, I am always

make it each year. The massive size of the ficult to ascertain how many people are

It was wonderful to see many of you

ings as well as the sessions we hosted.

you continue to supplement your college

FLORIDA NAfME COLLEGIATE

Colin Urbina, President

I

t was wonderful seeing many of our colleagues

at FMEA in January! I hope everyone who

attended had a fantastic time and gained a lot from the experience. First and foremost, I would like to congratulate our newly elected members

of our 2023 Florida NafME Collegiate Executive Board.

Megan Robichaud – President-Elect Natalia Cervantes – Secretary Pauly Herrera – Treasurer

Joshua Robles-Crespo – Parliamentarian

Megan Rodriguez – Advocacy Chairperson

We are all very excited to serve the membership this

upcoming year and have some great projects in store that we cannot wait to share with you.

There were a ton of incredible presentations and concerts

this year at FMEA. A standout favorite of mine was a session given by Kevin Brawley entitled, “Unpredictable and Joyful Teaching.” The entire session was run by audience participa-

tion, and we were allowed to guide the conversation in any direction we chose. It was a great example of how we often

My biggest takeaway this year was the amount of passion

I saw coming from our collegiate members. Everyone I talked

with was excited for the future and looking forward to the path that lies ahead. As collegiates, we play a large part in

the future of music education. The passion and love you hold

for what you do and the art you pursue are vitally important to your teaching. You all showed how alive and well that

passion is within our membership, and people beyond your colleagues and professors are recognizing how strong a force our incoming educators will be.

As we move through this year, I am looking forward to

need to allow our audience (our students) to guide how and

growing together as a chapter and seeing the strides we

are not giving them everything we can as educators.

brings.

what we are teaching. If we are not meeting their needs, we

52 F l o r i d a M u s i c D i r e c t o r

can take as a community. I can’t wait to see what this year

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Joani Slawson, President education with professional development

focused on areas in which you have the greatest opportunity for growth. Believe

it or not, the selection of next January’s conference sessions will begin in only two short months. If there is a specific

W

hat an amazing 2023 FMEA Professional Development Conference and All-State Concerts! In a world that seems tumultuous and uncertain, the

FMEA conference was full of hope and inspiration. I was so impressed with the

type of session you would like to see

outstanding musicianship in the All-State Elementary Chorus and the All-State

the 2024 FMEA Professional Development

Sophie Papoulis, Chris Judah-Lauder, and Karen Benson. Thank you, teachers, for

Florida NAfME Collegiate host during

Elementary Orff Ensemble and the amazing work of the conductors. Thank you,

Conference, please contact me or any

preparing your students so well.

member of the Florida NAfME Collegiate

There were also many

State Executive Board right away.

excellent sessions to attend.

if you haven’t already, please take the

sing, play, and dance togeth-

bers for the time, effort, and energy they

when I attended a Dalcroze

in 2022: Allison Yopp, Colin Urbina,

and a choral technique ses-

Calderon. To those individuals, THANK

of the scope of music we

and helping to ensure Florida NAfME

truly hope you found what

Speaking of the State Executive Board,

It was a joy to watch teachers

time to thank your outgoing board mem-

er. On Saturday morning,

dedicated to Florida NAfME Collegiate

session, a hip-hop session,

Veronica Jacob, Sunny Lulla, and Chloe

sion all in row, I was in awe

YOU for carrying the torch for 12 months

teach in our classrooms. I

Collegiate remains one of the largest,

you needed to fill your soul and your teaching tool box.

giate music education organizations in

many people. Thank you to the FEMEA Board of Directors for all their hard work

the incredible things you will do in our

Jennifer Sullivan who works tirelessly behind the scenes to keep this organization

order for the newly elected 2023 Florida

Pilonero, Ruthie Antmann, and Alex Gartner. Their preparation and attention to

Urbina (president), Megan Robichaud

senters. Thank you to West

retary), Pauly Herrera (treasurer), Joshua

support. Thank you, Pinellas

Megan Rodriguez (advocacy chairper-

ments. Thank you to the

throughout the year.

and all the amazing people

respondence from President Urbina

Thank you to Kathy Sanz and

follow our component on Facebook

ication to the teachers and

(flnafmecollegiate). Let us know what

thank you to Dr. Shelby

ging us. We would love to celebrate the

leadership at this conference.

most active, and most beneficial colle-

A conference like this does not come together without the help and support of

the country. We look forward to seeing

in preparing for and coordinating at the conference. Thank you to the amazing

profession. Congratulations are also in

moving forward. Thank you to the all-state coordinators, Lisa Hewitt, Rosemary

NAfME Collegiate Executive Board: Colin

detail ensured our smooth all-state events. Thank you to ALL our fabulous pre-

(president-elect), Natalia Cervantes (sec-

Music and Peripole for their

Robles-Crespo (parliamentarian), and

County, for supplying instru-

son). We look forward to supporting you

FMEA Board of Directors

Finally, be on the lookout for cor-

who work behind the scenes.

and the new board, and be sure to

Val Anderson for your ded-

(FloridaNAfMECollegiate) and Instagram

students of Florida. Finally,

you and your chapter are doing by tag-

Chipman for your vision and

great work you do.

February/March 2023

53

ComponentNews I

FLORIDA VOCAL ASSOCIATION

Jeannine Stemmer, President

students are so precious. They are stuck

lesson. In the poem there is a line that

story.

ed. How could I encourage them to sing

be firm and just and true.”

working with the Duval County middle

conviction and carry the musical experi-

t’s true that every story has a lesson, but sometimes lessons become our I recently had the amazing privilege of

school honor choir. One of the songs in our program was Things That Never Die

by Victor C. Johnson, a lovely compo-

sition written for the Charles Dickens poem of the same name. Middle school

in between being vulnerable and guard-

these notes, rhythms, and lyrics with

says, “Lose not a chance to waken love, Well, here we go …

Years ago, I led the choir at my church.

ence further than the performance? The

I was working on my master’s, had two

them with my own vulnerability. I need-

ondary choral music educator. I was

answer to that question was meeting

ed to share my weakness in order for them to connect to the importance of the

small children, and was a full-time sec-

exhausted all the time. As I left church one Sunday, my young son told me that

he was thirsty and wanted to stop by

the water fountain. When I looked at FLORIDA ORCHESTRA ASSOCIATION

Laurie Bitters, President

I

would like to start out by thanking the performing groups and all-state coordinators that dedicated their time and efforts to prepare their students for

such successful and memorable performances. On behalf of the FOA Executive Committee, we would like to thank our coordinators: Jarrod Koskoski, William Sanderson, Mary Lubaroff, Katherine Ng, and Andrea Szarowicz.

This article is supposed to be about our reflections on the conference.

Unfortunately, I was not able to attend the entire conference. I made it one day and

then became ill and tested positive for COVID. I would like to send many thanks to Cheri Sleeper, Valerie Terry, and Don Langland who jumped right in to make it all happen.

Since I was not able to be at the conference, I will focus on what I missed about

the water fountain that was directly in

the path to my parking spot, I noticed a familiar choir member who was drinking

water. I thought to myself, “I just want to

go home. I do not want to have another conversation, and if I stop at the water

fountain, I will have to wait even longer for my coveted Sunday afternoon nap.” I

told my son that I would get him water on the way home, and I proceeded to my car.

The very next Thursday, as I entered for

church rehearsal, I was told the sad news that the choir member who had been at

the water fountain that day had taken his

own life. That was the day I learned to

w I missed the conversations and seeing colleagues from around the state. w I missed interacting with my students who were in the all-state ensembles. w I missed hearing what amazing things our conductors did with the students to create such fantastic performances. w I missed going home more energized and excited about something I saw/

“Lose not a chance to waken love.” I don’t

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

and the world will be better because of it.

being there:

heard/learned. It is always such a great push to help get through the upcoming months.

or concerns. I wish you the very best on your district MPAs this year. Please take time to encourage your students to listen to the music beyond the page.

blame myself for what happened, but now I know the value of waking love.

It isn’t easy to air out our inadequacies,

but if it inspires us and those around us to

be the best versions of ourselves, then it is worth it. My best friend always reminds me that “perfect” should never be the

objective. Keep learning and growing, As we all enter this MPA season, always

remember to teach students, tell your stories, make music, and touch lives.

54 F l o r i d a M u s i c D i r e c t o r

CALL FOR APPLICATIONS

June M. Hinckley Music Education Scholarship The Florida Music Education Association (FMEA) is soliciting scholarship applications for the June M. Hinckley Music

Education Scholarship. The association will award $1,000

scholarships to selected 2022-23 graduating high school students who were accepted to a Florida all-state ensemble and who intend to major in music education at a Florida college or university.

How to Apply: Fill out the online application. As part of the

w Essay: Answer both of the following questions in a typed online process, you will be asked to upload these files:

About

June M. Hinckley

response of approximately 1,200 words saved as a Microsoft

As arts education specialist for the

become a music educator? (2) Why should music be available

June Hinckley led the development

Word (.docx) or PDF (.pdf) file: (1) Why do you wish to

Florida Department of Education,

w Three letters of recommendation signed and scanned as PDF files. w High-quality headshot photograph such as your senior

of the Sunshine State Standards for

to all students?

photo or similar. This will be published in the Florida Music

the Arts, which are based on the National Arts Standards and were

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

Director magazine if you are one of the scholarship winners.

schools and school districts with the

A P P LY H E R E

and with connecting the arts with

implementation of the arts standards the state accountability and testing

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

June M. Hinckley Music Education Scholarship Attn: Val Anderson 402 Office Plaza Tallahassee, FL 32301

Postmark Deadline: April 22, 2023

Applications will be reviewed by a representative committee of teachers, administrators, and music educators convened

by FMEA. Notification will be made by May 30, 2023. Monies awarded will be distributed to the appropriate college or university once the student is enrolled.

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 2023

55

CommitteeReports Making Your School Concerts Accessible to All

W

hat a fabulous FMEA 2023! I enjoyed every minute of our con-

ference in January. Hearing our award

winners speak, meeting up with old and new friends, hearing outstanding musical

performances, learning about new teaching technologies and strategies, hearing informed speakers, and celebrating our

membership’s diversity during confer-

ence sessions all inspired me beyond measure. I am proud to be a member of FMEA and proud of what our organization offers its members at our annual

conference. My column for this issue is conference inspired.

Without parent chaperones, FMEA All-

State would not be possible. Chaperones are essential to ensure the safety and welfare of students while they are in rehears-

als, at their hotel, and traveling to and

from the concert venues. Participating

child’s teachers and other parents better.

parents. Attending FMEA gives parents

cerned parent, a parent who is deaf may

children. They have a better understand-

All-State as a chaperone. Florida Music

as a chaperone is also educational for a view into the music classroom of their

ing of their child’s music curriculum, and

er. Interpreters at musical events are

have additional reasons to attend FMEA

always easy to secure, and they are not

Director readers may have seen CODA, the

they also get a closer look at the social

2022 Oscar winner for best movie about a

Parents with or without a musical

ber of a deaf family. In joining her high

lives of their children.

background may be particularly interested in serving as chaperones at FMEA. The parent with a musical background

may want to be a chaperone because

they attended All-State themselves, or

they just enjoy the music. The parent without a musical background perhaps wants to be a chaperone because they

are curious. What is it about this music

young girl who is the only hearing mem-

school’s choir, she finds herself drawn to her duet partner and her latent talent for music. Her parents and brother attend her

school concert to better understand her

newfound passion for singing. There is no sign language interpreter at the concert.

The family looks around bewildered and appears uncomfortable.

ensemble that is so appealing to my

FMEA Executive Board Steps Up

way to observe their child interact with

erones for the All-State Orff Ensemble

child? Serving as chaperones is also a classmates and to get to know their

56 F l o r i d a M u s i c D i r e c t o r

the FMEA board provide an interpret-

Other than being an involved and con-

At FMEA 2023, one of the parent chapwas deaf, and FEMEA requested that

becoming more common, but they are not

inexpensive. A minimum of two inter-

preters is required for continuous service of multiple hours. Why are teams of two

interpreters required? Cetra Language Solutions (2012) explains:

Simultaneous interpreting demands

so much concentration that even the most experienced professional can

only hope to be effective for periods of 30 minutes or so. After that time, they will need to hand off to a fellow interpreter. They continue to follow the proceedings and prepare for their next shift. They might also assist

their partner with key terminology, names, and crucial information.

Simultaneous interpreting is complex

SOCIAL JUSTICE & DIVERSE LEARNERS COMMITTEE Alice-Ann Darrow, Chairperson

Making Your School Concerts Accessible to All

It is understandable that some people might ask, “Why have a sign language

interpreter at a music concert?” Here are

some responses from people who are deaf:

“There are a lot of hearing people

who seem to think that deaf and

hard of hearing people can’t enjoy music,” said Rachel Berman, a con-

certgoer who is deaf. “So to go to a concert with an interpreter provided,

they give me the words, the acces-

sibility,” said Berman. “That means

that deaf and hard of hearing people can enjoy the music. It’s very visual.

We can see it. Plus we’re provided the words through the interpreter.

So overall, it’s just a different way of viewing and experiencing the music.

But we still can enjoy it. It’s amazing.

I’m able to be a part of the experiand demanding. It requires listening, understanding, sharp memory, accu-

rate structure, inflection, and syntax, as well as a mastery of key terminol-

ogy. Additionally, a command of two cultures is necessary to interpret idioms and address the audience in the

correct tone of voice. You can imagine the mental fatigue an interpreter

might go through while working,

almost anticipating what the speaker

will say next. Because simultaneous interpreting happens in real-time, there is no room for mistakes.

I am happy to report that the FMEA

Executive Board stepped up and did provide an interpreter for all All-State Orff

Ensemble events. It was a serious commitment and one that should be com-

mended, not only because of the financial obligation when resources are in short

supply, but more importantly, because it signified FMEA’s continued commit-

ment to diversity and inclusion. I am proud to be part of a board that is willing

to make music accessible and open to

all. FEMEA officers reported the parent chaperone had never felt more included

in her child’s school events. Others in the

audience reported how magical it was to see music interpreted into American

Sign Language. As a result, I know that part of my future donations to FMEA will be designated for such accessibility expenses.

ence, right along with the other hearing people. I can hear the songs, the

lyrics. I’m right there.” She pointed

out that other concert goers may not hear a single note, but they can still

feel the pounding rhythms. (Lill, 2019, para 1)

Darci Zook is deaf but her connection with sound is, well, loud and clear.

“My ears and body pick up different sound waves, vibrations and low

notes,” Darci says, explaining that

her other senses are heightened by music. She also loves to study lyrics

and analyze the creative metaphors of songs. (DeVault, 2019, para 1)

continued on page 58 February/March 2023

57

CommitteeReports Accessible Continued from page 57

Interpreters are not just interpreting

who are willing to inter-

pret your concerts for a supplement. They are not volunteers.

the words. Musical interpreters must

2. Enlist interpreter ser-

convey the tempo and the tone of the

of the school year. Sign

also convey instrumental music. They instrumental compositions by using sign language to explain the sounds coming from instruments. They can also convey the beat and emotion of the music using

body language and facial expressions.

Most people who are deaf have some

residual hearing, so they are not without

some access to the music. Instrumental music is usually louder than speech and

incorporates a wider range of frequencies, making it easier to hear. Words are more difficult to understand.

Guidelines for Using Interpreters at Your Concert

vices at the beginning language

interpreters

are not always available.

Even interpreters for the school district may be

booked for other school events.

3. In promotions or flyers

for the concert, indicate

that interpreter services will be provided for the deaf and hard-of-hearing audience.

4. Give interpreters the music ahead of

recording of the concert music from a

preters to know the tempo and emotion of the music ahead of time.

as students in ASL classes. In 2001, the

6. Make sure the interpreters are easily

American Sign Language equal to all for-

fering with the performers onstage.

eign language courses. ASL has become a popular option for high school world lan-

guage graduation requirements. Many

seen by the audience while not inter-

7. Lights are usually dimmed at the time

the concert begins. Make sure there is a spotlight on the interpreter.

ASL learners are especially interested in

8. If possible, a far corner of the stage is

ASL interpreters are professionals

9. Some interpreters prefer a stool and

are specializations in government, legal,

may prefer to stand and may not

learning to translate music.

with varying levels of certification. There

business, education, medical, insurance, or health care terminologies. There are

also interpreters who specialize in music and theatrical performances. Following

are helpful guidelines should you choose

the best placement for an interpreter.

a stand for the music, though others

need the music if they have had it far enough ahead to know it well.

10. The backdrop for the interpreter can

be the stage curtain if it is plain with-

out busy detail.

to provide interpreters at your school

11. Reserve seating for your deaf audi-

1. Hire professionals. There may be

a clear line of sight to the interpreter

concert:

interpreters in your school district

58 F l o r i d a M u s i c D i r e c t o r

After all this work, expense, and prepa-

but maybe a deaf parent, grandparent,

rehearsal. It is very helpful for inter-

Florida Legislature passed a law making

who are enhancing your concert.

hend as words spoken.

Words sung are not as easy to compre-

all in attendance. It will also increase

are deaf are more likely to attend, as well

concert. Again, they are professionals

ration, what if no one who is deaf attends

5. If possible, also give interpreters a

your audience attendance as people who

program and at the conclusion of the

time so they can study the lyrics.

Using ASL interpreters at your school

concert will enhance the experience for

12. Acknowledge the interpreter in your

ence near the interpreter so they have as well as to the performers.

your concert? That will be unfortunate,

friend, or neighbor will learn the concert

was interpreted and decide to attend the next concert and bring his or her deaf

friends. Maybe ASL students will want to become interpreters who specialize in

musical performances. Or maybe a stu-

dent who has a parent with hearing loss

will be inspired to learn sign language, as I was after first seeing an interpreter

work. At the very least, you will have given a clear signal that your program

wants to make concerts accessible—even to those who may not hear every note.

References CETRA Learning Solutions. (2012, July 13).

Simultaneous interpreting: Why do I need two interpreters? Retrieved from https:// www.cetra.com/blog/simultaneousinterpretation-why-do-i-need-2-interpreters/ Lill, A. (2019, July 23). At concerts, American Sign Language interpreters translate more than lyrics. Retrieved from https://www.cpr. org/2019/07/23/sign-language-interpreterconcerts-red-rocks-colorado/ DeVault, N. (2019, July 30). ASL music interpreters amp up accessibility for the deaf community. Retrieved from https://www. ameridisability.com/asl-music-interpretersamp-up-accessibility-for-deaf-community/

EMERGING LEADERS COMMITTEE

Mary Palmer, EdD, Chairperson

There are three main leadership development opportunities

within this program:

1. The Summer Drive-In to Leadership Conference will

be offered on June 17, 2023, from 9:30 am to 4 pm at the University of Central Florida in Orlando. Attending

this session is essential to participation in the Emerging Leaders program.

E

nthusiastic LEADERS are needed at all levels of our profession. The FMEA Emerging Leaders program has been

designed to encourage and build leadership in the classroom,

2. Emerging Leaders will have two special sessions at the

2024 FMEA Professional Development Conference. The

annual Coffee and Conversation time (on Thursday at 7:30 am, just prior to the first general session of the con-

school, local community, school district, state, and beyond. We

ference) provides an opportunity for Emerging Leaders

music teachers who have been and continue to be involved in

conference presenters, and national (NAfME) leaders. On

are proud of the committed, hardworking, and enthusiastic the FMEA Emerging Leaders program.

This FMEA initiative provides support, guidance, and

opportunity for outstanding music educators who demon-

strate exemplary teaching as well as the potential and pro-

pensity for professional leadership. Teachers selected for participation in this program participate in a variety of lead-

ership development opportunities to enhance and utilize their

to meet and talk informally with FMEA board members,

Friday afternoon, FMEA Emerging Leaders will have the

opportunity to present their ideas in a Pecha Kucha format (not required of all Emerging Leaders).

3. Individual leadership mentors to coach, provide leadership pathways, and more will be available as needed, when possible. Occasional online coaching sessions will be offered.

We invite school principals, district music leaders, FMEA

abilities in all aspects of music education.

leaders, and others to nominate candidates. Teachers also are

promising future education leaders. Each FMEA Emerging

is available on the FMEA website (FMEA.org); go to Programs

Initiated in 2010, the program has served approximately 250

Leader is paired with an FMEA music educator/leader who serves as a mentor. Dr. Mary Palmer, professor emerita,

University of Central Florida, and former dean of the UCF

College of Education, serves as director of this program.

welcome to self-nominate. The application/nomination form and scroll to Emerging Leaders.

We look forward to welcoming YOU into the FMEA

Emerging Leaders family.

Building skills for school-based, regional, state, and national

leadership is the focus of this program. Developing advocacy

skills to promote music and arts education is a central component of the program. The development of FMEA conference

presentation skills is emphasized and exercised through the Pecha Kucha session in which Emerging Leaders share ideas as part of the annual FMEA conference. Networking and

building relationships with local, state, and national leaders in music education are emphasized.

Emerging leaders are nominated and selected for partici-

pation in this program. They are successful music teachers, teaching at all levels of instruction and in all forms of music

education. These teachers have been identified as emergent

leaders with the potential for expanded leadership in music education in their schools, districts, state, and beyond.

February/March 2023

59

ExecutiveDirector’sNotes

FMEA Executive Director Kathleen D. Sanz, PhD

The mission of The Florida Music Educators Association is to promote quality,

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

Conference 2023: Great Job, Everyone!

I

t was fantastic to see 15,000-plus participants, with

Thank you to members who completed the online sur-

9,940 registered attendees and more than 5,000 addi-

vey for our 2023 conference. The FMEA Board of Directors

Tampa for the 2023 Florida Music Education Association

and take into account your suggestions as we plan for

tional concert audience members, who gathered in

Professional Development Conference and All-State Concerts. The success of the 2023 conference was due to

and Conference Planning Committee will work diligently next year.

the numerous hours that our board members, volunteers,

Upcoming Opportunities

Shelby Chipman, president; Jason Locker, president-elect;

Drive-In to Leadership Conference

and partners contributed under the leadership of Dr. and Dr. Steve Kelly, immediate past president. In addition, the conference planning chairperson, Dr. John K. Southall, and members of the team did an outstanding job, working throughout the year to help FMEA prepare

for the conference. There were so many highlights to the

The Emerging Leaders Summer will be held June 17, 2023, in

Orlando. The deadline to apply to be an Emerging Leader is April 23, 2023.

The Steel Band Festival will be

conference that it is impossible to share the name of each

held March 31-April 1, 2023. Please

members and volunteers!

website for more information on

and every person deserving accolades. Great job, board In addition, I can’t overstate the work of the FMEA

staff behind the scenes. Val Anderson, Dr. Josh Bula, and Jasmine Van Weelden worked tirelessly throughout the conference to ensure that everything went smoothly.

2024 Professional Development Conference and All-State Concerts

As the 2023 conference came to a close, we began preparing

review information on the FMEA how to participate.

Advocacy/Legislation

The 2023 Florida Regular Legislative Session will begin

on March 7, 2023, and is scheduled to end on May 5, 2023.

FMEA is currently preparing our legislative platform. The

FMEA Government Relations Committee is working to

develop strategies as we review the bills being filed by Florida legislators.

for the 2024 FMEA Professional

Hurricane Ian

State Concerts. The theme of the

by Hurricane Ian, please be

Development Conference and All-

2024 conference is Music Education Begins

with ME. This includes MEmbership, MEaningful Music Making, MEntorship, MEntal Health, MEthods, MEdia,

MEeting, MEssage, and MEmories. The conference is scheduled for January 10-13, 2024, in Tampa, Florida.

Mark your calendars now. Session proposals and performance submissions are being accepted on the FMEA web-

site. Please consider applying to be a presenter or to have your school ensemble perform at the 2024 conference.

60 F l o r i d a M u s i c D i r e c t o r

For those members impacted

sure to visit the FMEA website to apply for assistance.

In addition to the assistance

members can access via the online portal, Hal Leonard

has graciously offered for music to be distributed to counties identified by FEMA as being highly impacted by the storm.

Have a great spring and a successful second semester.

Kathleen D. Sanz, PhD

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

Officers and Directors

EXECUTIVE BOARD President

Shelby Chipman, PhD

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

Steven N. Kelly, PhD

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

Jason Locker

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

Bernard (Bernie) Hendricks, Jr.

Ocoee High School 1925 Ocoee Crown Point Pkwy.; Ocoee, FL 34761 bernard.hendricks@ocps.net FCMEA President

Marc Decker, DMA

Florida Atlantic University 777 Glades Rd.; Boca Raton, FL 33431 (561) 297-3883; deckerm@fau.edu

EX-OFFICIO MEMBERS

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

Historian/Parliamentarian & Executive Director.................................................. Kathleen D. Sanz, PhD Hinckley Center for Fine Arts Education 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793; kdsanz@fmea.org

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

Editor-in-Chief.................................................... D. Gregory Springer, PhD FSU College of Music; 122 N. Copeland St.; Tallahassee, FL 32306 (850) 644-2925; dgspringer@fsu.edu

President..................................................................................Colin Urbina University of Central Florida; colin.urbina24@knights.ucf.edu

Conference Planning Committee.............................John K. Southall, PhD Indian River State College; 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810; johnsouthall@me.com FSMA President ...................................................................Jane Goodwin jane.goodwin@sarasotacountyschools.net

FMEA COMMITTEE CHAIRPERSONS

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

Contemporary Media..................................................David Williams, PhD University of South Florida; 4202 E. Fowler Ave., MUS 101 Tampa, FL 33620; (813) 974-9166; davidw@usf.edu Emerging Leaders...........................................................Mary Palmer, EdD 11410 Swift Water Cir.; Orlando, FL 32817 (407) 382-1661; mpalmerassoc@aol.com Florida Corporate & Academic Partners...................................Fred Schiff All County Music; 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fred@allcountymusic.com Government Relations................................................ Jeanne W. Reynolds jeannewrey@gmail.com Health & Wellness.......................................................Revae Douglas Ross Brandon High School; 1101 Victoria St.; Brandon, FL 33510 (813) 744-8120, ext. 311; revae.douglas@hcps.net

Professional Development/Committee Council...................... Scott Evans Orange County Public Schools; 445 S. Amelia St.; Orlando, FL 32801 (407) 317-3200; scott.evans@ocps.net

University of Central Florida colin.urbina24@knights.ucf.edu Florida NAfME Collegiate Advisor

Mark A. Belfast, Jr., PhD

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

Lindsey R. Williams, PhD

Seminole County Public Schools (407) 320-0434; willialz2@scps.k12.fl.us FOA President

Laurie Bitters

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

Jeannine Stemmer

Florida Christian School 4200 SW 89th Ave.; Miami, FL 33165 j9stemmer@floridachristian.org Member-at-Large

Chad Norton

Miami Northwestern Senior High School cnorton@dadeschools.net

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

Budget/Finance, Development.................................Shelby Chipman, PhD Florida A&M University, Department of Music, Foster-Tanner Music Bldg., Room 318 Tallahassee, FL 32307; (850) 599-8165; shelby.chipman@famu.edu

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

Colin Urbina

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

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

Multicultural Network.........................................................Bruce J. Green (407) 927-3141; bruce.green@ocps.net

Florida NAfME Collegiate President

Past President.........................................................................Allison Yopp Southeastern University; ayopp@seu.edu

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

FEMEA President

Joani Slawson

Florida NAfME Collegiate

Reclamation............................................................................Chad Norton Miami Northwestern Senior High School; 1100 NW 71st St.; Miami, FL 33150; cnorton@dadeschools.net Research....................................................................William I. Bauer, PhD University of Florida; wbauer@ufl.edu Secondary General Music............................................................Ed Prasse Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net Social Justice & Diverse Learners......................... Alice-Ann Darrow, PhD alifsu@mac.com Student Development.............................................Michael Antmann, EdD Freedom High School; 2500 W. Taft-Vineland Rd.; Orlando, FL 32837 (407) 816-5600; michael.antmann@ocps.net

PROFESSIONAL DEVELOPMENT CONFERENCE Exhibits Manager fmeaexhibits@fmea.org Local Chairman Ted Hope—(813) 272-4861; ted.hope@sdhc.k12.fl.us

FLORIDA MUSIC SUPERVISION ASSOCIATION President............................................................. Lindsey R. Williams, PhD Seminole County Public Schools (407) 320-0434; willialz2@scps.k12.fl.us Past President........................................................... Harry “Skip” Pardee pardeh@collierschools.com Treasurer...................................................................................... Ted Hope Hillsborough County Public Schools, School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4861; ted.hope@sdhc.k12.fl.us

FLORIDA ORCHESTRA ASSOCIATION President............................................................................... Laurie Bitters Winter Park High School; 2100 Summerfield Rd.; Winter Park, FL 32792 (407) 622-3200; laurie.bitters@gmail.com Past President.................................................................... Matthew Davis Harrison School for the Arts; 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 499-2855; matthew.lawson.davis@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...................................................................... Jeannine Stemmer Florida Christian School, 4200 SW 89th Ave.; Miami, FL 33165 j9stemmer@floridachristian.org Past President....................................................................... Jason Locker jason@fva.net Executive Director...................................................................Michael Dye 231 S. Bayshore Dr.; Valparaiso, FL 32580 (850) 217-7419; mike@fva.net Business Manager................................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; business@fva.net

CENTER FOR FINE ARTS EDUCATION

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

FLORIDA BANDMASTERS ASSOCIATION

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

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

Public Affairs & Communications Coordinator...................................Jenny Abdelnour, CAE (jenny@fmea.org)

Technology Director...................................Josh Bula, PhD (josh@fmea.org)

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

Marketing & Membership Coordinator................................Jasmine Van Weelden (jasmine@fmea.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

AFFILIATIONS

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

February/March 2023

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