Florida Music Director May 2019

Assessment Tools and Feedback in Performing Ensembles

Take Time to Reflect and Plan

Encouragement From Outside the Comfort Zone PLUS:

FOA & Florida ASTA Fall Conference 2019

1: R e l b a T

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2 F l o r i d a

Music Director

Dyna Com exce Phr Co st

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 May 2019

Volume 72

•

Number 8

Editor-in-Chief

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

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

F E AT U R E S

Encouragement From Outside g Scale the Comfort Zone.. .5 . . . . . . . . . . . . . . 8 n i t a Editorial Committee R mance r Terice Allen 4 o vided f r o r e P P Tallahassee g (850) 245-8700, n i Assessment Tools and Feedback t 3 , don’t Ra e h (tallen1962@hotmail.com) t a e 2 ou br in Performing . . . . . . . . . . . . . . . 12 yEnsembles.

Judy Arthur, PhD n e h W .

Florida State University, KMU 222 1 t r a 5 (850) 644-3005 0 most p e ssed h t (jrarthur@fsu.edu) 4 r o ood f gPhD William Bauer, s 3 a ang it s w e u r . o l u University of Florida, Gainesville l y 2 r post 273-3182;is(wbauer@ufl.edu) e up, and fa m e a c r t s: You (352) i 1 s to Darrow, PhD erAlice-Ann 5 h time wel. ldCollege c u a o E h 0 of Music, FSU, Tallahassee s ” . o v se ur ” 4 h (850) 645-1438; (aadarrow@fsu.edu)d “ari a n the “ e wor i 3 h a t t Jeanneo Reynolds r n o f rated. c e t d g u l g Pinellas County Schools, Largo o u a o 2 h x h atc 588-6055;l(reynoldsj@pcsb.org) tely e a ables s i r l 1 nts: W (727) p y o s r 5 PhD as app . BothJohn K.StateSouthall, 0 Pierce w t College, Fort n 4 a h-rise” Indian River(772) 462-7810; conson h 3 of the c a t (johnsouthall@fmea.org) s E s o . t b n m o na 2 nt j Sales lleAdvertising hough . e t c l x A E . : Valeria Anderson n 1Take Time . . . 5. . . . . . . . . 19 dayReflecto and ments sectioPlan. (val@fmea.org) ic toto n m a a 0 i n p 4 Director of Finance and mf dy forte and a t n e t ry to Client Relations s T i FOA & Florida ASTA a s .

3 g n h t o n o c i Richard Brown p amics 2 ang a d part has bFall Conference de. v.el.o . . . . . . . . . . . . . . 25 s (richard@fmea.org) s 2019 . . u i o g Y n Tallahassee, ts:402 Office Plaza, 1 e seconFL 32301 phrasi e phrase. th878-6844 e mmen n mf,(850) r u s 0 a r-mea peak of th u o f Official FMEA and FMD r erpt is u t yo d the Photographers a r h a t w r o t a he Stubing growth rasing BobOO’Lary y, IDebby a D E PA R T M E N T S k e : Art Director &r mo r ts ProductionwManager n o e f m llo LDR Design Inc. om to aRoberts, President’s Message. . . . . . . . . . 5 Lori Danello r Executive Director’s Notes. . . . . . 34 e t f o (lori@flmusiced.org) tart s

cal ting S

e

Circulation & Copy Manager

Advocacy Report. . . . . . . . . . . . 7

Advertiser Index. . . . . . . . . . . . 35

Copy Editor

Component News.. . . . . . . . . . . 20

Corporate Partners. . . . . . . . . 36-37

Research Puzzles. . . . . . . . . . . . 24

Academic Partners. . . . . . . . . . . 38

Committee Reports. . . . . . . . . . 26

Officers and Directors.. . . . . . . . 39

Valeria Anderson, (800) 301-3632 Susan Trainor

2018-19 FMEA Donors. . . . . . 30-31

May 2019

3

4 F l o r i d a

Music Director

President’sMessage

Are You Yearning for the Finish Line?

Kenneth Williams, PhD

T

his is the time of year when all are tired … the students are tired, the parents are tired, the

President Florida Music Education Association

teachers are tired, and it is easy for all to stop sprinting and coast to that perceived finish line.

Often, in mid-spring the focus in music classrooms turns to relaxing and just having fun while

the clock plays out. And yet, this should be the most productive time of the year. The results of

the hard work and sustained focus of the past months put students at the peak of their development of concepts and skills that provide the opportunity to significantly raise the bar on what

they might artistically achieve. Those young musicians are in the best position to step up to the next level of sophistication in their music making. Commit to ensuring these closing weeks of

the school year do not become a missed opportunity for your students in their lifelong journey to independent musicianship and artistry.

Never fear, there is a respite from the frantic pace of our students’ journey … it is summer. This

important time must be used wisely to refill our energy reserve and to refine our strategy for the next leg in the race that begins in the fall. And to gain the most benefit from our time away,

there are some things we should make a priority. Here are my recommendations: celebrate your successes; get some needed and well-deserved rest; invest some time in your own intellectual and artistic growth; begin to plan for the coming year; and spend quality time with those people in

your life who help sustain you. The summer will fly by … make the best use of the time you have.

On behalf of the students whose lives you enrich every day, I thank you for your passion and

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

— Carol Ann Tomlinson

service to our noble profession. I remind you of the wonderful summer opportunities for pro-

fessional growth and sharing through our FMEA component organizations (FBA, FEMEA, FOA, FVA).

The time has come, as inevitable as our changing seasons, for our new FMEA president, Dr.

Steven Kelly, to assume the helm and help set course for the future of our association. Joining Dr.

Kelly is our president-elect, Dr. Shelby Chipman. What a formidable team. Of course, the work of

the association is only possible through the commitment and support of the members of FMEA and our component organizations, for you are the driving force. We all owe a colossal thank you

to Dr. John Southall as he completes his tenure as immediate past president. We cannot begin to calculate the many ways Dr. Southall has enriched FMEA and music education in Florida

through his many years of selfless service. Our FMEA staff, led by our executive director, Dr. Kathy Sanz, is a group of heroes who work each day to keep the ship afloat and moving forward.

I thank each of you for the privilege of having served as your FMEA president, an honor that I

The bad news is time flies. The good news is you’re the pilot.

— Michael Altshuler

shall cherish for the rest of my days.

Have a safe and enriching summer!

With warmest regards,

Kenneth Williams, PhD, President

Florida Music Education Association

May 2019

5

6 F l o r i d a

Music Director

AdvocacyReport

Jeanne W. Reynolds

Chairwoman Government Relations Committee

Advocating for Quality, Comprehensive Music Education in All Florida Schools

W

riting an article con-

to have a professional lobby-

relations for a monthly pub-

works with Dr. Sanz and

ing firm in Tallahassee that

cerning government

our FMEA advocacy com-

lication is a fool’s errand

mittee. While we often read

(also known as an activity

negative press about the

that has no hope of success).

influence of lobbyists, it is

During the legislative ses-

important to understand the

sion and the months preced-

value of one. Lobbyists have

ing the session, information

existing relationships with

changes minute by minute.

Indeed, even in the fast pace

of the social media world, it is hard to keep up with legislative activity and to be

certain that information is accurate from day to day and sometimes from tweet to

tweet. There is no chance that an article

written one month in advance in order to meet publication deadlines could include up-to-date and accurate information

unless the writer is clairvoyant—which I can assure you I am not. And I would challenge even the most successful psy-

chic to predict accurately the actions and outcomes of our Florida Legislature. The

past few years have shown that there is no such thing as politics as usual.

This explains why the government

relations advocacy column occasionally

may be missing from the Florida Music Director during the legislative session or

«« Andrew Bajorek «« Shawn L. Barat «« Andrew Burk «« Sondra Collins «« Alice-Ann Darrow «« Scott Evans «« Debbie Fahmie «« Justin Fitzpatrick «« Vivian Gonzalez «« Julie Hebert «« Bernie Hendricks «« Cindy Johnson «« Jason Locker «« Brad Parks «« Leiland Theriot

Sanz, FMEA executive director, also par-

Abdelnour works tirelessly as the liaison to the Government Relations Committee.

Committee members, who are listed

of the legislative process. This has been

invaluable to FMEA. For example, at our

Collegiate Music Education Advocacy Day in March, it was most helpful to have the advice of these experts to get the most out of that event.

As this legislative session comes to a

close, we are already hard at work on next year’s session. Education is changing pro-

foundly, and we are dedicated to being proactive rather than reactive regarding

these changes and challenges. We are committed to ensuring equitable, accountable

funding

for

Florida

schools.

Additionally, we are working on an ambitious plan to incentivize schools for sup-

Executive committee members Dr. Ken

effort. In fact, it is the exact opposite.

ly engaged. FMEA staff member Jenny

through the complexities and nuances

small.

Williams, Dr. John Southall, Dr. Steve

This is the time when we are most active-

aides and can help organizations work

advise on legislative matters large and

the months prior to the session. It is certainly not due to a lack of work and

legislators and legislative

below, generously give of their time to

porting strong music programs with a

fine arts graduation seal and accountabil-

Kelly, Dr. Shelby Chipman and Dr. Kathy

ity points for successfully completing a sequential music program. Every FMEA

ticipate on this committee. Florida is a

member needs to be an engaged, knowledge-

large, diverse state, and we value the

able advocate if we are to meet the Florida

resent you well.

promote quality, comprehensive music

input these colleagues provide. They rep-

Music Education Association’s mission to

Additionally, FMEA is very fortunate

education in all Florida schools.

May 2019

7

Encouragement From Outside the Comfort Zone

by Matthew Williams, PhD

E

Earlier this year, I came across an oppor-

full of students who would have no idea

K-2 students who attended low-income

were unfounded and things are progress-

tunity in our college to teach music to

schools that did not have a music teacher.

The program had a set curriculum with training and supervision provided by

two veteran elementary music teachers,

including one who had served on faculty at the University of Arizona. Viewing

this as an opportunity to teach an age

group I had never taught, using content I

had never used, and with hope it would

what I was saying. Of course, the fears ing, but that is mostly because I was fortunate to have help throughout the process. For those of you who might find

yourself in a similar situation, whether

teaching an unfamiliar class or dealing with an unfamiliar age group, I would

state, or from an expert on the other side

immensely helpful.

just have to find them.

like to offer some suggestions I found

of the world, resources are available—we In some ways, a support network is

better prepare me to work with our pre-

Find Good Mentors

easier to find now than ever before. Many

the young students. While the training

lum designed by two accomplished and

whether area-specific (such as those for

service teachers, I signed up to teach

sessions were fun and the advice seemed

to make intuitive sense, as the first day of teaching approached, I quickly began

doubting myself. I realized I wasn’t even

sure what conversational vocabulary a kindergarten student would know, and I

grew worried I would be teaching classes

8 F l o r i d a

Music Director

I was fortunate to be handed a curricu-

veteran teachers who also oversaw the program and were available for ques-

tions. We may not always have such valuable resources, but the fact that a curriculum is not handed to us does not

mean one is not available. Whether from a colleague in your district or across the

dedicated groups exist on Facebook, band directors or flute teachers) or more

broadly conceived (such as those for music educators). These groups are often

overflowing with questions (and more

important, answers!) from colleagues

across the country. Websites such as TeachersPayTeachers.com or the Amplify

discussion

boards

hosted

by

the

National Association for Music Education (http://community.nafme.org /home) also help unify the community and provide resources from colleagues.

Perhaps most important, though, I

found it immensely helpful to have one or two individuals on whom I could rely for answers to questions. Even with a cur-

riculum in hand, some-

times it was helpful to have

a veteran’s perspective on how to get Continued on page 10 May 2019

9

Encouragement From Outside the Comfort Zone Continued from page 9

the students from Point A to Point B, in

Trust Yourself

sense. For example, how exactly does one

encountered was the affirmation that I

students while maintaining some sem-

mal schooling may have been last year,

simple and straightforward but can be

all have teaching experiences from which

both the metaphorical and literal physical

Perhaps the most difficult leap of faith I

pass out instruments to 25 kindergarten

CAN do this. While our most recent for-

blance of order? The answers are usually

a decade ago or several decades ago, we

elusive without the benefit of experience.

we can draw. We are active musicians

Observe

ing process. We chose to become teach-

elementary experience. The complete

the opportunity to observe another teach-

music-making process with others. What

room, with frowns turning into beaming

ful experience. We bring a much more

do all of these things? I am not recom-

and are more aware of specific things

with dewy-eyed naiveté, but I found it

outside of our comfort zone. How do they

osophical reason for why I was standing

they collect instruments? How do they

is good teaching regardless of content, so

ment, it seems we are increasingly being

and standing in a circle? As I observed

from your comfort zone to the class out-

each circumstance is unique, and the skill

engaged in some part of the music-mak-

Just as when we were undergraduates,

ers to share our joy and love of the

er’s classroom can be a very meaning-

is this new class if not an opportunity to

informed lens now that we are teaching

mending that you approach the course

to look for, especially if we are teaching

did help to be grounded in a broad phil-

get students to sing in canon? How do

in front of those students. Good teaching

transition between students being seated

try to find ways to transfer your strengths

other teachers, I found myself coming

side of that zone.

implemented with great success. While

Take Time to Smell the Roses

they do in conversation, nothing replaces

when we should take time to notice and

Of course, this becomes much harder

to recognize when we are scared and

times ourselves. Some administrators

there can be beauty, and this is perhaps

cially if you are new to teaching a specific

than focusing on the negatives and every-

might be willing to record their class,

important to be purposeful about look-

Video calling apps such as Skype or

musical experiences that students are tak-

reduces the need for travel time and

there were few moments that compared

across the country. While offering a lim-

in the hall coming to my class and hear-

the feed might allow you to converse

they left the room. These are students

observation.

have a formal music class during their

away with concrete steps I immediately

change in demeanor as they enter my

smiles as they walk from the door to

their seat on the floor, warms my heart and provides encouragement when I am

feeling unsure. There are moments like

this in almost every class. We just have to be intentional about finding them.

In our current educational environ-

asked to teach outside of our area. While set each person brings will be important, it is my intention that these suggestions might offer encouragement to those who

we might ask colleagues to explain what

There are often many small moments

the chance to see them in action.

internalize; although, they may be hard

when we are also teaching during those

unsure of ourselves. Even amidst chaos

may allow you to have release time, espe-

most true in a music classroom. Rather

class. If not, then perhaps colleagues

thing that you feel is going wrong, it is

assuming the legalities are observed.

ing for the positives and recognizing the

Matthew Williams, PhD, holds the posi-

Messenger may also be an option that

ing with them. In my years of teaching,

at the University of Arizona, where he teaches

also allows you to observe colleagues

to hearing a couple of students singing

ited-view perspective, the live nature of

ing nearly the entire class singing as

with the teacher afterwards about the

who have never had the opportunity to

10 F l o r i d a

Music Director

are feeling overwhelmed or unsure of how to start. Sometimes it is easy to lose sight of the forest for the trees, especially

when we’ve never seen these types of trees before. Never lose sight of why you

do what you do, and try to see the new teaching as an opportunity to build your

skill set and become a better teacher for all of your students.

tion of assistant professor of music education courses in undergraduate and graduate music education,

supervises

graduate research and

conducts the Outreach Honor Band and Tucson New Horizons Band.

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May 2019

11

Assessment Tools and Feedback in Performing Ensembles

A

by Gregory W. LeFils, Jr., PhD

Assessment in Today’s Performance Ensembles

Chances are many performing arts programs in your district or area

base a substantial part of their students’ grades on non-achievement

types of criteria. These frequently will include attendance, behavior and participation as part of a student’s overall grade (McMillan, 2001). Additionally, you might also find teachers who will grade

on subjective criteria rather than a student’s individual achievement (Johnson, 2008). Although this practice

may be considered traditional and normal for secondary performing ensembles, it poses some rather glaring ethical and practical drawbacks that can also affect your program’s ability to be an effective advocate for itself.

A study by Russell and Austin examined the ethical drawbacks of basing such a large portion of students’

grades on non-achievement. In their survey of 352 secondary music teachers, three important implications regarding the assessment of student achievement were revealed: 1) in general, non-achievement-based grades

received a higher weight 60% of the time; 2) three-quarters of all students received a letter grade of A whereas fewer than 1 in 10 students received a letter grade of C or worse; and 3) music grades were equally weighted against other courses in determining a student’s overall GPA (Russell & Austin, 2010). Upon completion of

their study, Russell and Austin questioned whether or not the practice of basing a music student’s grade pri-

marily on non-achievement criteria was ethical or valid. They suggested that music teachers should use and share with other music teachers various assessment tools built around student achievement.

Common Assessment Tools

In keeping with Russell and Austin’s recommendation, no discussion of the assessment of individual student

achievement would be complete without a brief description of some of the more common assessment tools.

The ensuing section will briefly overview the rating scale, the checklist and the rubric, and the frequent pair-

ing of these tools. Each will be discussed within the framework of using performance and skills tests as the

primary indication of student achievement; however, these assessment tools could also be used for knowledge and other criteria-based assignments (Brophy, 2008; Brophy, 2010; Walters, 2010).

12 F l o r i d a

Music Director

The Rating ScaleTable 1: Rating Scale The rating scale focuses the attention of the assessor on specific skills and

typically provides a numerical rating

as its primary form of feedback. This numerical rating represents the degree to which a student was successful on

the listed skill (see Table 1). For the teacher, this type of assessment tool can be quickly designed and complet-

ed. The teacher simply circles the rating that best represents a student’s performance. The student can then focus on

improving the skills that were rated lower.

The director can use rating scales

when assessing the entire ensemble, sections within the ensemble, indi-

TABLE 1

Performance Rating Scale Skill Assessed Rating Provided Posture 0 1 2 3 4 5 Comments: Your posture was good for the most part. When you breathe, don’t allow your shoulders to rise and fall.

Vowels 0 1 2 3 4 5 Comments: Watch out for the word “arise.” Each time it came up, you sang it like “uh-rise”. Both syllables should contain the “ah” vowel.

Consonants 0 1 2 3 4 5 Comments: Excellent job. Each consonant was appropriately exaggerated.

Dynamics 0 1 2 3 4 5 Comments: You sang a consistent mf dynamic today. Although most of the excerpt is an mf, the second part has both a forte and a piano section.

Phrasing 0 1 2 3 4 5 Comments: Okay, I hear that your four-measure phrasing is developing. Try to start softer to allow for more growth toward the peak of the phrase.

vidual performance/skills tests or

field for comments in which a director

writing detailed feedback for 60 or

Although rating scales are useful in

mance could be improved. Whereas

than the teacher can afford. If this

as student-directed self-assessment. assessing a student’s performance on

a scale, they lack the ability to indicate how the student could improve mov-

ing forward. When designing a rating

scale, it would be useful to include a

more students could take more time

or a peer indicates how the perfor-

were the case, the teacher probably

writing detailed feedback makes the

would not do this type of assessment

assessment more valuable for the stu-

very often, despite how valuable a tool

dent, the amount of time it takes to

it could be for the students and the

complete it could be an issue. Circling

ensemble.

ratings can be done very quickly, but

Continued on page 14

May 2019

13

Assessment Tools and Feedback Continued from page 13

The Checklist

Table 2: Checklist

TABLE 2 Performance Test Checklist

Checklists, similar to true or false statements, provide a brief statement reviewed by the director or an individ-

ual student to determine whether or not a particular skill has been adequately

demonstrated. These statements should be specific in detail, and the target behaviors ought to be clearly observable. By reinforcing the notion that

Musicality / Interpretation

✓

Tone (including vibrato), articulations, tempo, tempo variations, timbre, and dynamics all add to the interpretation of the piece.

Phrasing is excellent (notes lead toward or away from appropriate notes consistently).

✓ ✓

Musical meaning/expression/mood is readily identifiable to the listener.

Musical meaning/expression is appropriate for the piece (sorrowful, peaceful, joyful, meditative, etc.).

performance skill is behavioral, and

tion. Embedded within these catego-

formance skill is “inherited” is dimin-

assessed. See Table 2 for an example of

thus developmental, the idea that perished. This type of checklist can assess

multiple categories of performance.

Pellegrino offers students of music nine

ries are specific features that can be

student which skills need further devel-

opment. Although checklists can be

Similar to rating scales, teachers can

is little if any specific feedback on how

(Pellegrino, 2015).

use this tool to assess for individu-

intonation, rhythm, tempo, style and

by simply checking all the boxes or

technique, and musicality/interpreta-

type of feedback also indicates to the

the musicality/interpretation category

such categories to assess: posture, right-

hand position, left-hand position, tone,

performance. Like the rating scale, this

al student achievement very quickly statements that best reflect a student’s

quickly designed and completed, there

to improve a student’s performance, which raises the question of how often this tool should be used for student development.

Combined Rating Scale and Rubric Rubrics use a set of scoring criteria, in

Table 3: Combined Rating Scale and Rubric

TABLE 3

the form of brief written descriptions, to determine the value of a student’s performance of a task. As rubrics have

evolved, many have combined these descriptions with a rating scale. In this fashion, students receive a numerical rating combined with a behavioral

description representing their perfor-

mance. Students can then use these

descriptions to guide them from where they currently are to where they could

be in the future (Asmus, 1999). Table

3 uses excerpted descriptions from the Florida Vocal Association 2017 Music Performance Assessment rubric

(Florida Vocal Association). It is also an example of a combined rating scale and rubric.

14 F l o r i d a

Music Director

Style and Technique

0 Points Performance seldom exhibits proper tempo and style, or does not follow musical markings.

Phrasing is mostly mechanical or contrived.

Dynamic range is very limited and/or too much contrast is used.

Sensitivity or expression is seldom achieved at any level. There is rarely any dramatic effect.

1 Point Tempo, style and phrasing sometimes follow the composer’s intent. Uses of dynamics, articulations and nuances are sometimes stylistically correct, but contrived. Musical line sometimes achieves a climax, and at times the composer’s markings are followed. Group and conductor sometimes display good communication.

2 Points A musical performance that often exhibits proper tempo and style. Markings are often followed.

Dynamic contrast, artistically shaped musical line and appropriate articulations are present most of the time.

Communication between conductor and singers, and dramatic effect are often evident.

3 Points The composer’s intent regarding tempo, style and markings are consistently followed.

Dynamics, phrasing, articulations and interpretative nuances are artistically executed. There is a consistent feeling of musical line, and a feeling of forward motion.

Sensitivity and expression are evident to convey the composer’s message.

The Menu Feedback Rubric The menu feedback rubric takes many

cues from traditional assessment tools, and its design and implementation are intended to be both fast and specific.

Take, for example, one of the most basic

Table 4: Objective-Based Menu Rubric Assessing Individual Posture TABLE 4 Posture

Circle a numerical score

0 1 3 4

2 5

Did not attempt

Roll Shoulders back

Circle Behavioral Observation

Keep sternum raised

Feet not shoulder width

Move chin parallel to floor

Written comments (optional)

Posture is correct

fundamentals of performance technique,

our students to keep their shoulders

and experience.

simple component of performance, many

them that they need to keep their feet

data with consistent and fair results for

postural balance? Answer, all the time!

recommended to video record the ensem-

posture. Although posture is a relatively directors find their students’ posture is frequently in need of correction. This

feedback is almost always verbal, and yet

there seem to be students who constantly need to be reminded. Perhaps written feedback would have more impact on these students. Consider the rubric in Table 4.

This type of rubric is designed with a

numerical rating scale on the left-hand

side (0-5) followed by behavioral observa-

tions and/or adjustments in the columns

to the right. The numerical rating and

descriptions are designed to be circled quickly by the director as he or she assess-

es a student’s performance. Rather than a lengthy description that is directly related to the numerical rating, the descriptions

reflect common mistakes or adjustments that are frequently observed in a particu-

lar ensemble. The language or jargon used

To capture this type of posture-related

rolled back, and how often do we remind

all students being assessed, it is highly

shoulder-width apart to maintain proper

ble during rehearsal. A video recording

Directors could spend half of their daily

created outside of the student’s normal

rehearsal correcting and giving feedback

rehearsal experience may not provide

related to their students’ posture. In the

valid data. With the video of a normal

real world, directors must at some point

rehearsal in hand, the director can take

give up on the daily posture battles and

the needed time to assess each student’s

focus on the repertoire for the next per-

posture using the menu rubric.

formance. Using an objective-based menu

There are countless other skills and

rubric to provide specific posture feedback, both in terms of observed behav-

techniques that directors can train their

posture with a written assessment that

breathing, bow grip, embouchure, phras-

ensembles to accomplish. Criteria such as

iors and suggestions, reinforces proper

ing, dynamics, vowels and consonants,

takes little time out of rehearsal. In this

and many more can be assessed with a

scenario, directors could even use this

menu rubric such as the one in Table 4.

assessment as a formative grade with the

Directors ought to teach these concepts to

understanding that for some students,

the full ensemble, so shouldn’t they also

if a grade is attached to their posture, it

know if the skill is successfully being

would become a higher priority in their

achieved at the individual level?

performance behaviors.

Take, for example, a high school choral

In this case, the director circled the

must be universally understood by the

rating 4 out of 5. He or she could have

program early in its preparation for a fall

able behavior and be specific enough

descriptors, but for this particular stu-

planned to prepare for the concert, they

students, be based on clear and observso the students can improve. Multiple

descriptors can be circled in each row

according to the performance, and the rating can either be directly related to the number of descriptors circled or not.

The column on the right is reserved for comments by the director. Comments are optional and allow the opportunity to

provide feedback for an observation that was unforeseen.

In the example in Table 4, the teacher

circled “roll shoulders back” and “feet not

shoulder width.” For developing students,

these represent often observed mistakes and common suggestions for their correction. How often do we as directors remind

concert. Of the nine weeks the director

circled a 3 to reflect the two circled

are in their third week and the pitches

dent, a level of assessment differenti-

and rhythms are beginning to solidify.

ation was applied to reflect the devel-

This would be an excellent time to use

opmental level of the student. Perhaps

a menu rubric to formatively assess the

this assessment was the first time the

fundamental components of the music:

director had noticed that the student’s

pitches, rhythms, entrances and releases.

feet were not shoulder-width apart and

The director would start by choosing a

did not want to unfairly penalize the

representative section. Keep in mind that

student for this first offense. On the

the more time a student sings, the more

other hand, if the director had frequent-

time it will take to assess. The next step

ly observed and corrected improper feet

would be to design a form that assesses

spacing, he or she could have circled a 2

what is most important to the director at

to reflect the severity of the continued

that time as well as a form that provides

error. In this manner, the menu rubric

specific feedback to the students so they

provides the assessor freedom to dif-

can develop and improve.

ferentiate the assessment of individual students based on their particular needs

Continued on page 16

May 2019

15

Assessment Tools and Feedback Continued from page 15

Objective-Based Menu Rubric Designed for Speed and Efficiency The rubric shown in Table 5 is designed

to assess four criteria that represent fundamental knowledge of a choral excerpt. Notice the criteria selected for

the assessment were kept to a minimum.

Although the director in this example

was rehearsing the ensemble with text

in the first three weeks, and could have

assessed many topics involved in the text, narrowing the focus of the rubric

reinforced the rehearsal priorities of the director at that time. Doing so provided

feedback that was specific and related to what was currently being taught and

was not overwhelming for the students.

In this example, the criteria entranc-

es, releases, pitches and rhythms were

assessed. As in the previous rubric, the basic design has remained consistent.

The numerical ratings are on the left,

descriptors of suggestions and observa-

tions are in the center and an optional

Table 5: Objective-Based Menu Rubric Designed for Speed and Efficiency

TABLE 5

Beginning Women’s Choir

9/17/17

Objective(s): Individual students will sing ______________ and will be assessed for entrances, releases, pitches and rhythms.

Entrances

Circle a numerical score

0 1 2 3 4 5

Missed entrance completely

Circle Behavioral Observation

Not counting

Entrance too early ______

Missed release completely

Circle Behavioral Observation

Not counting

Release too early ______

Did not attempt

Did not attempt

Consonant not on release ______

Written comments (optional)

Releases are correct

Circle Behavioral Observation

7 or more errors Missed accidental(s)

Written comments (optional)

5-6 errors

3-4 errors

1-2 errors

Missed descending skip(s) ______

Missed step(s)

______

Missed ascending skip(s) ______

7 or more

5-6 errors

3-4 errors

1-2 errors

Perfect Rhythms

Missed dotted rhythm __________

Sustained too long

Sustained too short

Subdivide the beat

Syncopation incorrect

__________

__________

__________

__________

Circle a numerical score

0 1 2 3 4 5

Release too late ______

Pitches

Circle a numerical score

0 1 2 3 4 5

Written comments (optional)

Entrances are correct

Releases

Circle a numerical score

0 1 2 3 4 5

Consonant started too late ______

Entrance too late ______

Rhythms

Perfect Pitches

______

Circle Behavioral Observation

Written comments (optional)

area for written comments is on the

is offered. Finally, a statement at the

mended to obtain a video recording of

and organized. An additional compo-

objective of this assessment. If admin-

ple, students might make recordings

right. All criteria are clearly delineated

nent of this rubric is the option to

write in measure numbers indicating where certain observations or necessary adjustments were noted. For each

of the behavioral observations, lines are provided for the director to write

in a measure number corresponding to

the error or suggestions. If the director

top of the form is included to list the istrators ask to see the rubrics used to grade performing students, these forms need to be clear about what is being

assessed. In practice, however, parents and students also want to know exactly

how the musicians’ performances are being graded.

Directors often do not have enough

wants to assess a longer excerpt of

time to assess individuals, in person,

or rhythms, these cells in the rubric

throughout the semester. In order to

music for the criteria of pitches and/ might need to be larger to allow for

multiple measures to be documented.

Also notice that the option of assessing a perfect performance of the criteria

16 F l o r i d a

Music Director

one at a time, on multiple occasions give individual students specific feedback for improvement, without taking time out of rehearsal or precious lunch

and planning times, it is highly recom-

each student’s performance. For examat home and share their videos with

the director via email or cloud-based storage. Alternatively, videos might be

recorded during the school day in a practice room using a library camera or class-issued iPad. The latter seems to be a path of least resistance in regard

to consistent video quality, format and

availability of technology. Whether the

recordings are gathered one at a time during rehearsal or other times during

the school day, a director can then assess each student’s performance at

a time and location of the director’s choosing.

Conclusion

Performance assessments have consistently been shown to be a valuable tool in

music performance classes. By using ele-

ments of various assessment tools, the menu feedback form can be used to quick-

ly assess and provide specific and related feedback for individual musical achievement. As the director becomes more com-

fortable with developing the form and assessing for individual achievement,

additional means of assessment could be developed to accommodate the changing needs of the program. The information

gathered through multiple formative assessments, like the menu rubric, can enlighten the director as to the learning

process of the ensemble and to the effectiveness of the rehearsal instruction. In the end, if directors can show they can use the ensemble approach while teaching to

Goolsby, Thomas. “Assessment in Instrumental Music.” Music Educators Journal 86, no. 2, September 1999): 31-50.

Green, Susan, and Connie Hale. “Fostering a Lifelong Love of Music Instruction and Assessment Practices that Make a Difference.”

Music Educators Journal 98, no. 1 (January 2011): 45-50.

Scott, Sheila. “Using rubrics to assess skill acquisition in general music classes.” Canadian Music Educator, 44, no. 1 (2002), 18-21.

Scott, Sheila. “Evaluating tasks for performance-based assessments: Advice for music teachers.” General Music Today 17 no.2, (2004): 17-27.

Johnson, Anders, and Gunilla Svignby. “The Use of Scoring Rubrics: Reliability, Validity and Education Consequences.” Educational Research Review 2 (2007): 130-44.

Shuler, Scott C. “Assessment, Part 2: Instructional Improvement and Teacher Evaluation.” Music Educators Journal 98, no. 3 (March 2012): 7-10.

Johnson, Randall. “Overcoming Resistance to Achievement-Based Unit Grading in Secondary Physical Education.” Journal of Physical Education, Recreation & Dance 79, no.

4 (2008): 46-49.

Simon, Samuel H. “Using Longitudinal Scales Assessment for Instrumental Music Students.” Music Educators Journal 101, no. 1 (January 2014): 85-92.

Lehman, Paul R. “Grading Practices in Music.”

Music Educators Journal 84, no. 5 (May 1998): 37-40.

Tierney, Robin, and Marielle Simon. “What’s Still Wrong with Rubrics: Focusing on the Consistency of Performance Criteria across Scale Levels.” Practical Assessment, Research and Evaluation 9, no. 2 (2004): 1-7.

McMillan, James H. “Secondary Teachers’ Classroom Assessment and Grading Practices.” Educational Measurement: Issues and Practice 20, no. 1 (2001): 20-32.

the individual student, the value of our

References

Pellegrino, Kristen, Colleen M. Conway, and Joshua A Russell. “Assessment in Performance-Based Secondary Music Classes.” Music Educators Journal 102, No. 1 (August 2015): 48-55.

Asmus, Edward. “Music Assessment Concepts.”

Music Educators Journal 86, no. 2 (September 1999): 19-24.

Russell, Joshua A., and James R. Austin.

“Assessment Practices of Secondary Music Teachers.” Journal of Research in Music Education 58, no. 1 (April 2010): 37-54.

Hanna, Wendell. 2007. “The New Bloom’s Taxonomy: Implications for Music Education.” Arts Education Policy Review 108, no. 4: 7-16.

Mertler, Craig A. “Designing Scoring Rubrics for Your Classroom.” Practical Assessment, Research & Evaluation 7, no. 25 (2001): 1-8.

education is elevated.

Perrine, William M. “Music Teacher Assessment and Race to the Top: An Initiative in Florida.”

Music Educators Journal 100, no. 1 (January 2013): 39-44.

Walters, Darrel Lee. A Concise Guide to Assessing Skill and Knowledge: With Music Achievement as a Model. Chicago: GIA, 2010.

Wesolowski, Brian C. “Understanding and Developing Rubrics for Music Performance Assessment.” Music Educators Journal 98, no.

3 (March 2012): 36-42.

Wesolowski, Brian C. “Documenting Student Learning in Music Performance: A Framework.” Music Educators Journal 101, no.

1 (September 2014): 77-85.

Brophy, Timothy S., and Kristen Albert, eds.

Assessment in Music Education: Integrating Curriculum, Theory, and Practice. Chicago: GIA, 2008.

Brophy, Timothy S., and Frank Abrahams. The Practice of Assessment in Music Education: Frameworks, Models, and Designs. Chicago: GIA, 2010.

Gregory W. LeFils, Jr., is a visiting assistant professor

Chappuis, Jan, Richard Stiggins, Steve Chappuis, and Judith Arter, Classroom Assessment for Student Learning: Doing It Right – Using It Well, 2nd ed. Boston: Pearson, 2012.

student teachers. Dr. LeFils holds a PhD in music education

Cooper, Bruce S., and Anne Gargan. “Rubrics in Education: Old Term, New Meanings.” Phi Delta Kapan 91 (2009): 54-55.

DeLuca, Christopher, and Benjamin Bolden.

“Music Performance Assessment Exploring Three Approaches for Quality Rubric Construction.” Music Educators Journal 101, no. 1 (January 2014): 70-76.

Duke, Robert. Intelligent music teaching: Essays on the core principles of effective instruction. Austin, TX: Learning and Behavior Resources, 2005.

Florida Vocal Association. “MPA Adjudicating Sheets: Choral Performance.” accessed March 29, 2018. https://floridavocal.files.wordpress. com/2011/02/adj_choral_performance_yellow.pdf

of choral music education at Stetson University. His duties include teaching music education classes and supervising

from Florida State University. His professional experience

includes directing two secondary choral music programs in

Florida, conducting The Orlando Chorale and the Orlando Chamber Choir and singing/soloing with the Festival Singers of Florida. His research interests include teacher effectiveness,

music teacher curriculum and training, and choral history.

Dr. LeFils has presented research and educational clinics

throughout the region including the annual conferences of music education associations in Alabama, Mississippi and Florida, and other workshops for music educators in Central

Florida. His dissertation is entitled The History of the Stetson University Concert Choir.

In addition to his roles as researcher and educator, Dr. LeFils maintains an active agenda as a speaker, clinician and adjudicator across the region.

May 2019

17

18 F l o r i d a

Music Director

F L O R I DA E L E M E N TA R Y M U S I C E D U C AT O R S A S S O C I AT I O N DISTRICT 6

Take Time to Reflect and Plan

by K. Kristi White-Jones

as confident social butterflies. Knowing

how music affected us, how it affects each individual so deeply, is it not worth every

single minute spent in reflection and planning to help shape our own students’ musical futures?

Maybe you need reminding that others

believe in you. Perhaps your pursuit and

passion need revitalization. Review your

I

capabilities, talents, strengths, weakness-

t’s May. This school year is officially

et al., 1997). Researchers Christopher M.

es and current personal goals. Do some

Collectively, we sigh.

ed that students in high-quality school

ative. After reflection, are you left with

on standardized tests compared to stu-

Find the success and ask yourself “How

Johnson and Jenny E. Memmott conclud-

revising without dwelling on the neg-

music education programs score higher

feelings of meaning? Of accomplishment?

dents in schools with deficient music edu-

do I do more of that?!”

economic level of the school or school

create achievable goals. Use this oppor-

an article for PBS Parents, Laura Lewis

remind yourself of your purpose.

of the Early Childhood Music Department

tion—fight that good fight because we

Hopkins University, who said, “There’s

and our future.

involved in music have larger growth of

K.

training. When you’re playing an instru-

Elementary School in Santa

brain” (Brown).

FEMEA member in District 6.

personal, social and motivational out-

music speaks to students in a way that

References

know that as students’ confidence grows,

retention for at-risk students. With ade-

DONE.

Deeply.

Let’s be real. You’re skimming through

this mess of words thinking about your

upcoming summer, or maybe the nev-

er-ending checklist of loose ends to be

tied up. Whatever’s on your mind, let us agree that the year’s end grants a perfect

opportunity for music educators to set

intentions for the coming year. Honest reflection and setting future intentions can provide genuine revitalization of passion and purpose for ourselves and the

lives we touch on a daily basis, galvanizing us as advocates for music education.

Music bridges the gap culturally,

socially, mentally, economically and emo-

tionally. Numerous studies show that

involvement in music leads to positive comes. From our own experience, we so does their feeling of ease in expressing their ideas; alternatively, aggres-

sion or antisocial behavior diminishes.

A research team explaining the link

between music and intelligence report-

ed that music training is far superior

to computer instruction in enhancing children’s abstract reasoning skills (Shaw

Now it’s time to set intentions and to

cation programs, regardless of the sociodistrict (Johnson & Memmott, 2007). In

tunity to revive your passion and to

Brown quoted Dr. Eric Rasmussen, chair

Continue advocating for music educa-

at the Peabody Preparatory of The Johns

know just how valuable music is to us

good neuroscience research that children

Kristi

White-Jones

neural activity than people not in music

is the music teacher at Jay

ment, you have to be using more of your

Rosa County. She is an

As music educators, we know that

Brown, L. L. (n.d.). The Benefits of Music Education.

Retrieved April 2, 2019, from PBS Parents: http://www.pbs.org/parents/education/ music-arts/the-benefits-of-music-education/

other subjects cannot, and assists in

quate reflection, we learn what music

Johnson, C. M., and Memmott, J. E. (2006).

Examination of Relationships between Participation in School Music Programs of Differing Quality and Standardized Test Results. Journal of Research in Music Education, 54(4), 293-307.

itself means to each student, not just aca-

demically, but individually; this allows us to help shape each student’s musical

goals. Music educators have the privilege of witnessing some students begin the

Shaw, R. L. (1997, February). Music training causes long-term enhancement of children’s spatial-temporal reasoning. Neurological Research, 19.

school year reserved, closed tightly in the

proverbial cocoon, only to end the year

May 2019

19

ComponentNews W

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Rosemary Pilonero, President

ow, it is hard to believe it’s almost

FEMEA president-elect, Joani Slawson.

more difficult to believe that my term

woman of District 8 to complete Joani’s

end. FEMEA has much to celebrate as

tion. All terms begin officially on July 1,

summertime already! It’s even

as FEMEA president is coming to an we look back at this school year. We had a stellar conference in Tampa. In addi-

tion to our fabulous clinicians and ses-

sions, our All-State Elementary Chorus and All-State Elementary Orff Ensemble had outstanding experiences and performances. Much of our success is due to

the diligent efforts of the FEMEA board, and we are fortunate to have such dedicated people representing and working

diligently for the children of Florida. As a result of FEMEA elections in Tampa,

we are happy to report that Lesleigh Howard-Zeno (District 7) was reelect-

ed to serve as district chairwoman. We welcome several new board members: Pauline Latorre (District 1), Meghan

Alfaro (District 3) and Jenny Chambless

(District 5). Congratulations to our new

Eldean Hagans has been appointed chair-

term as she moves into her new posiwhen Ernesta Chicklowski moves into the role of president and I move into the

role of past president. Claudia Lusararian

(District 1), Jennifer LeBlanc (District 3),

Sondra Collins (District 5) and Marie Radloff (past president) will be completing their terms as of July 1. We thank

them very much for their service and wish them the very best.

Congratulations to our Dorothy Land

«« Anita Travaglino, District 3, won for Past President’s Grant winner:

Start ’Em Young, Train ’Em Right, a ukulele program.

Thank you to all of our FEMEA mem-

bers for making these dreams possible. I

hope you will take advantage of seeing and hearing about these fabulous projects

at our FEMEA Curriculum Fair at the

2020 FMEA Professional Development Conference.

FEMEA is very excited and proud to

announce 2019 FEMEA Regionals! Due

Congratulations to our Janice Lancaster

to popular demand and wonderful feed-

«« Kate Nadolny, District 4, will attend

«« Northern Regional

Professional Development Scholarship winners:

Orff Level II at George Mason

back, we will be hosting three events this year:

Saturday, October 19, at

«« Tara Sperry, District 1, will attend «« Southern Regional University.

Orff Level II at Florida International University.

Florida State University Saturday, October 19, at

«« Central Regional

Florida International University Saturday, November 2, at

University of South Florida

Further information will be included

in the all-state packets available online

as of May 1. We will periodically send out information as needed. Please don’t hesitate to contact your FEMEA executive board members at any time if you have

questions. We are happy to serve and assist in any way possible.

 T hank you! 

Finally, I am honored to have served as your president. Thank you for the opportunity and privilege to lead this wonder-

ful organization. Whether you plan to travel, learn something new, enjoy time with family and friends or just chill with

a good book, I wish you the happiest of

20 F l o r i d a

summers. You deserve it!

Music Director

FLORIDA COLLEGIATE NAFME

Collegiate Advocacy Day 2019

Jennifer Luechauer, President

by Katherine Attong-Mendes

O

n Wednesday, March 27, I had the privilege of attending the FMEA

Collegiate Music Education Day at the

Capitol in Tallahassee for the first time.

While there, I was able to speak with Florida senators, representatives and leg-

islative aides about the importance of music education in schools, and how

specific bills and legislation can have an impact on music students throughout the

state. As music education students, we

are so often told to take initiative, to pur-

“My experience at the FMEA Advocacy Day was eye-opening. This was my first

can to create a positive experience for our

where these individuals work. The experience went beyond the meetings and

but we often forget that we are not only

me to have a role in it. There is a great sense of pride that comes with advocating

ents, other teachers in our schools, com-

two elements of my experience that I enjoyed the most were hearing what these

one we come into contact with about the

group of equally passionate individuals speak on why music education is import-

Being able to attend Advocacy Day for

political and music community with the power to create change.”

sue our goals and to work as hard as we

time directly meeting with legislative officials, and it was quite endearing to see

students. We do all of this extremely well,

also created an understanding of the workplace. It humanizes politics and allows

teaching students; we are teaching par-

for your profession, especially when it’s one you haven’t necessarily started. The

munity members, legislators and every-

individuals think about music, including their personal experiences, and having a

vital importance of music in a child’s life.

ant. Advocacy Day has allowed me the opportunity to feel actively engaged in my

the first time was so exciting and mean-

– Mavel Morales, incoming parliamentarian, University of Miami

ingful, and it was a joy to share the expe-

rience with some of our other FCNAfME executive board members who were also attending for the first time. > > >

The collegiate music education stu-

dents are beyond grateful for this won-

derful opportunity that FMEA hosts for us. We are so excited to continue to advo-

cate for music education for years to come and to see what the future holds!

Katherine Attong-Mendes is a junior music education major at the University of Miami. She is a Miami

native and has been playing the oboe for 10 years.

Katherine serves as the drum

major for the Frost Band of

the Hour marching band and

as the incoming president of the Florida Collegiate NAfME State Executive Board.

“It was a great experience meeting and conversing with colleagues, peers and professionals that work for music education at the state level. Talking with people about why music was important to us really seemed to strike a chord in the listeners’ ears.

All of the people we spoke to seemed very receptive to advocate for music on our behalf because we took the time to visit them and explain what it means to us and students alike. Advocacy Day was a great opportunity, and I will not hesitate to attend again next year!”

– Julian Grubb, incoming president-elect, Florida Gulf Coast University

May 2019

21

ComponentNews T

oday was my first day back to school after spring break. I know that many

of you spent vacation time at state solo/ ensemble and jazz MPAs or working in

time. Yes, I was somewhat frustrated that

when you need it.

squirrelly than I had hoped today. Then

you, willing to lend a hand or an ear right

We are all in the midst of the spring

sprint to the finish. There are recruitment

formances or special event concerts out

end-of-year concerts and a myriad of

of state. For me, I started off by continuing my quest to tour all 50 state capitol buildings, checking #18 (Arkansas) and

#19 (Mississippi) off my list. What’s inter-

esting is that I also spent time with band director friends in both states, talking

shop and visiting band rooms. It’s just who we are and what we do. That’s what

makes our profession so amazing. No

matter what your situation, you have a

Cathi Leibinger, President

network of people who are deep in it with

the band rooms of colleagues who were putting polishing touches on district per-

FLORIDA BANDMASTERS ASSOCIATION

and retention activities, spring field trips,

other things we must do to finish this school year as well as set up our pro-

grams for success in the next one. Some are transitioning into new positions or even new adventures like graduate school

or retirement. It seems we often struggle

to live “in the moment” because we’re always focused on the next deadline on

the horizon. I challenge you to find ways

to appreciate the little things from time to

my beginning students were a little more

I remembered that our first day back fell

on April 1. Not one of them tried to fool me because they were just excited to be back in class and playing together again.

Bonus points for my clarinets playing over the break with ease as well as pret-

ty decent intonation. Seven months ago, they didn’t know how to put a reed on

their instrument. Rather than be focused on what we weren’t getting accomplished

today, I marveled at all the things we had accomplished since day one. A little perspective goes a long way.

I would be remiss if I didn’t ask you to

pull out your calendars, though. I want to

make sure you are aware of some great FLORIDA ORCHESTRA ASSOCIATION

Jason Jerald, President

T

ime is surely ticking away as we come out of the MPA season and start preparing for our spring concerts, banquets, etc. I’m sure we can agree that it seems our job never

ends. It was an honor to hear your orchestras at State MPA. I would like to thank our state concert judges and clinicians: Dr. Mark Laycock, Dr. Gail Barnes, Dr. Robert Gardner, Prof. Anthony Hose and Prof. Thomas Sleeper. I hope you and your students were able to gain wisdom through the State MPA experience. Our goal is to serve the needs of our amazing students and educators.

As we conclude the school year and prepare for next year’s calendar, be sure to remember our exciting Fall Conference in Orlando, September 26-27, 2019. Our keynote speaker will be Deborah Baker Monday.

It’s hard to believe this is my last article as FOA president. These past two years have certainly been an amazing journey. I’m proud of the direction FOA is taking toward our mission. I’m honored to have worked alongside outstanding colleagues and want to thank you all for making my tenure an enriching experience. I am looking forward to continuing in service as past president. Thank you to Valerie Terry for her outstanding service these past six years. I look forward to assisting our new FOA Executive Committee as we welcome our new leadership with incoming President Matthew Davis.

This is your FOA. As always, we welcome your input to our conference planning and handbook updates, and encourage you to contact me or any other board member with any questions or concerns you may have. As the school year is coming to an end, take time to reflect on the good of this year with your students. I hope you remain encouraged with the truth of our profession; impacting lives daily through music. Thank you again for the opportunity to serve, and enjoy your summer break.

22 F l o r i d a

Music Director

events and opportunities on the horizon

that I hope you will make every effort to attend. First, there is FBA State Concert

MPA running from April 22 through May 4 across four different sites. I plan

on making it to as many performances at the south site as possible and am even

hoping to take some of my middle school students. What a great way for their young ears to be focused on their musical futures!

In

addition,

our

FBA

Summer

Conference will be here quickly. The

conference is June 24-26, 2019, and we return to the Daytona Hilton, a great vacation destination for the whole family.

We are excited to have Alfred Watkins as our keynote speaker. The Nine Star

Honor Band will be conducted by our

current past president, Jason Duckett.

Doug Phillips and the Southern Winds will present another amazing concert,

and we are able to bring back the Florida

All Star Community Band as well. Please plan on joining us. I would love to get to know some new faces and reconnect with familiar ones.

FLORIDA VOCAL ASSOCIATION

Thomas Jomisko, President

I

have reached the end of my tenure as president of the Florida Vocal

Association. I never thought at the begin-

ning of my career that I would be elected

programs that give our students a self-

in our class develop positive character

match.

place. Very few of our students are going

on a daily basis is allow our students

as stellar musicians, dutiful members of

perfect opportunity to bring these attri-

the organization and master classroom

technicians I could only hope to emulate in my teaching career.

I have spent the last 14 years navi-

gating through various positions on the

board (culminating in my presidency),

and I will tell you that those qualities I thought qualified my predecessors for the

position of FVA president pale in comparison to the people they are. Being blessed

to serve under the great presidents before

all, but they are all going to be a mom or a dad, an aunt or an uncle, a friend or a

mentor—we should be training them to

butes to the forefront of their education.

be role models for those around them. We

Integrity, honesty, passion, transparency,

have the power and the opportunity to do

empowerment, patience, humility—these

that during the time we spend with our

are traits that we in the choral (and any

students. And the best part is we get to do

music) classroom have a distinct oppor-

it through the amazing conduit of music.

tunity to discuss and, more important,

Thank you again for trusting me with

experience with our students. Because

of this we are held to a higher standard.

your organization. Thank you for your

power comes great responsibility,” right?

for your caring for others in our organiza-

patience with me when I needed some,

Even Spiderman knows that “with great

tion, for your dedication to your students

Remember every day that you have an

opportunity to help the students in front

themselves to better our organization.

opportunity to help the young minds

This is something I considered greatly

perhaps even sing after high school at

to grow in leadership, and we have a

me, I learned they are amazingly humble, caring and loving people who gave of

to go on to be music majors in college, or

What we do in our choral programs

to this office. I saw the presidents of FVA

as giants in our field. I looked up to them

traits that will make this world a better

worth no academic achievement can

and for your love of choral music. FVA is

a wonderful group of people, and I am

of you grow as people. We have a unique

when I was so graciously elected to the

thankful for you all.

presidency. I have tried to use this oppor-

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

qualities and to infuse them into our

Stacie Rossow, DMA, President

tunity to make evident some of those organization. During the last two summer conferences, we were able to offer

sessions that displayed master teachers

and how they connect with their students.

Character is something we cannot test

for and therefore is often not includ-

I

can hardly believe another semester is gone. Spring 2019 is in the books! It has

been a busy academic year. As we close this one, I encourage you to begin mak-

ing plans for 2019-20. That includes making sure your membership is renewed in

September. And encourage your collegiate colleagues to do the same. Often infor-

mation is missed because it only goes out to current members. Make sure you are

ed in any discussion of a STEM curric-

in the know!

public education is failing our students

book.com/groups/342061629617972/). As soon as we

know to be great people. I’m not talking

be posted there. If you have an idea for the conference,

talking about the character attributes that

have any ideas or topics you believe we should address,

ulum. Because of this, I truly believe

Take the time to join the FCMEA Facebook page (face-

by not teaching them what they need to

have a date and location for the Fall Conference, it will

about their SAT scores or their GPAs; I’m

please reach out as I would love to hear from you. If you

will allow them to be great leaders in any

please do not hesitate to contact me.

there is no way to test for them, we should

John Ash will take over in July. I will now begin the task, designated in January, to

the MPA ratings (which are obvious-

pleasure to serve you and our state organization.

field they choose. I believe that although

highlight our strengths that go beyond

ly quantifiable) and put on full display

With this article, my tenure as your FCMEA president is coming to an end.

work on parliamentary proceedings for the organization. It has been my distinct All my best wishes for a restful and productive summer.

the qualitative aspects of our exemplary

May 2019

23

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

RESEARCH COMMITTEE CHAIRMAN

Don D. Coffman, PhD University of Miami

What is the financial impact of music booster clubs on school music programs nationally?

T

his month’s column summarizes a recently released study in

$1,000,000; at least 31 raised over $500,000; and at least 723 raised

Adam Grisé1 sought to find out how much money booster orga-

this is a conservative estimate because they used only the finan-

the Journal of Research in Music Education. Kenneth Elpus and

nizations raise. Because no national database of music booster organizations exists, they relied on data from the IRS, with sup-

plemental information from Guidestar.org, a service that keeps track of nonprofit organizations.

This process relied on some careful and complex key word

searches of IRS records of not-for-profit organizations filing taxes in 2015. Assuming that the names of booster groups used

music words (e.g., band, choir, choral, orchestra, music, etc.),

over $100,000 each” (p. 6). The authors prudently observe that

cial data from the 2,072 organizations reporting revenue details;

for the remaining 3,503 organizations, all that can be said is that they raised amounts somewhere under $50,000. Furthermore,

these researchers recognize that some booster groups operating

in 2015 might not have attained official IRS recognition, might

not have registered as not-for-profit or might not be incorporated entities.

Finally, Elpus and Grisé took their analysis further, using the

school words (e.g., elementary, high school, etc.) and organization

ZIP Codes and U.S. Census data on median incomes. They found

and Grisé began their search with a listing of 1.03 million orga-

household incomes:

words (e.g., boosters, friends of, parents association, etc.), Elpus nizations in the 2016 IRS Publication 78 of not-for-profit organi-

zations (whew!). Several steps later (see their article for details), their search yielded 5,575 confirmed music booster organiza-

tions. They used ZIP Codes to identify booster group location

by state and region. Florida had 267 groups in this final data set, following Texas (846), California (594) and Ohio (431).

Elpus and Grisé then categorized booster groups according to

the revenues they reported to the IRS; groups (n = 3,503) raising

under $50,000 submitted Form 990-N, groups (n = 1,527) report-

ing revenues between $50,000-$199,999 filed Form 990-EZ and groups (n = 555) reporting revenues over $200,000 used the full

Form 990. You can surmise that more information about each

group’s revenues and expenses could be gleaned from the full

Form 990 and 990-EZ and that no specific financial information was available from Form 990-N (the “e-Postcard” return).

They determined that music booster groups raised at least

$215 million nationally in 2015: “At least four groups raised over Email your questions and feedback to d.coffman1@miami.edu

that total booster revenues were associated with local median Each additional $1,000 of local median household income

was associated with an additional $305 for booster groups filing IRS form 990-EZ (“short form”) and with an additional

$1,637 in revenue for booster groups filing the full IRS Form

990 (p. 6)… . This evidence strongly suggests that successful music booster groups are contributing money to the music

education programs of schools that are serving the students living in wealthier communities (p. 19).

Much more detail is available online for NAfME members. I

encourage you to dig deeper into another well-designed and executed study.

Endnote

1 Elpus, K & Grisé, A. (2019). Music booster groups: Alleviating or exacerbating funding inequality in American public school music education? Journal of Research in Music Education, 67(1), 6-22. https://doi. org/10.1177/0022429418812433

with a subject heading Research Puzzles.

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

24 F l o r i d a

Music Director

Florida Orchestra Association & Florida ASTA Fall Conference 2019 Thursday and Friday, September 26-27, 2019 Keynote Speaker: Deborah Baker Monday Helpful sessions with information you can use now!

FOA and FLASTA Business Meetings New Music Reading Session (bring your instrument and stand) Vendor Exhibits & Networking

6001 Destination Parkway Orlando, FL 32819 (1-888-488-3509)

Resort fee entitles you to: • 15% discount at all hotel restaurants (except the Tropics Restaurant)

• Free wireless, local phone calls, domestic long distance & 800 numbers

• 50% off the $20 daily self-park fee

Ask for the FOA room rate: $169.00 (single or double); $12.50 per day resort fee Hotel reservations must be made by Saturday, Sept. 5, 2019!

Preregistration Fee: $75.00 Orchestra Teachers/ASTA Members; $35.00 Spouse; $45.00 Retired Teachers/ASTA; $15.00 Collegiate On-Site Registration Fee: $100.00 Orchestra Teachers/ASTA Members; $50.00 Spouse; $60.00 Retired Teachers/ASTA; $20.00 Collegiate Preregistration must be postmarked by Sept. 15, 2019.

Session details and additional information can be found at www.myfoa.org!

Name

Home Phone

Address City

State

School Name

Email

ZIP

Please place the quantity of those registering in each appropriate box: FOA Member

ASTA Member ASTA Retired

Spouse

FOA Retired

Collegiate

Make checks payable to FOA (Cash and POs are not accepted) Mail registration form and payment by check to: FOA Executive Director • 220 Parsons Woods Drive • Seffner, FL 33584 May 2019

25

CommitteeReports No Music Student Left Behind:

DIVERSE LEARNERS COMMITTEE Alice-Ann Darrow, PhD, Chairwoman

Saluting Brenda Robbins Rice

I

first met Brenda Robbins Rice 35 years

intellectual disabilities. Parents started

position at the University of Kansas. Our

PL 94-142 made public school available to

ago when I interviewed for a faculty

mutual passion for teaching music to stu-

dents with disabilities created an instant bond. I recommended that she intern in Leon County Schools with Jane Hughes,

who had recently initiated a music therapy program in the school district. I had

observed Jane, an amazing music thera-

pist, during my doctoral work at Florida

State University and knew it would be a

good placement for Brenda. Little did I know how good. Brenda was so impres-

the school during the late 1960s, before students with severe disabilities. Today

the school has approximately 200 students with moderate to severe intellectual, physical and social-emotional disabilities whose needs cannot be success-

fully met in a traditional school setting.

The school serves students from Leon County and the six surrounding counties

of Gadsden, Jefferson, Taylor, Wakulla, Liberty and Franklin.

An accomplished violinist, pianist and

ever learned from me. She is a master at

uate degree in music education at Boston

more complex a student’s disability, the

sive that she was hired at the completion

singer, Brenda completed her undergrad-

who at the time was another music edu-

University. After teaching for two years,

of her internship. She met her husband, cator in the district. Their son is now a music major at FSU.

For the past 33 years, Brenda has taught

at Gretchen Everhart School. Gretchen

Everhart is part of Leon County Schools and serves students ages 3 to 22 who have

she knew she wanted to work in special education, and went on to the University of Kansas to complete her master’s degree in music therapy. Even though I was

Brenda’s advisor for her graduate degree, I have learned more from her than she

adapting instruction for any student. The more creative she becomes. She is ever joyful, positive, animated and passionate about teaching.

Among her many recognitions are a

national teaching award from the Council on Exceptional Children, the professional organization for special educators,

and a presidential award from AMTA, the professional organization for music

Brenda sets up a supportive, productive environment for her students every day. She has built amazing rapport with each person who enters her room. She manages a room elegantly, allowing for just the right amount of silliness. Brenda has brought the joy of music to so many people who otherwise may not have been given the chance.

Matthew LaFollette conducts the group in a spirited rendition of We Wish You a Merry Christmas.

26 F l o r i d a

Music Director

– Emily Offenkrantz

Brenda Rice is a phenomenal music educator and music therapist. She intertwines her skills of music therapy and music education so effortlessly in her general music classroom.

Having experienced her teaching first hand through a music education practicum in my undergrad, I was able to see her in action and to soak in every bit of her musical brilliance. She makes it her mission to spread joy and knowledge through music each and every day. Brenda Rice has taught me how to care for and how to masterfully execute the lessons that I plan for my own students. She encouraged me to be creative in any musical environment and to engage every student while in the classroom. Through her teaching, I have learned how to make music accessible for any student, no matter the circumstance.

Brenda Rice is truly a gem to our profession.

– Valerie Parrish

Katy McBride performs a solo portion of White Christmas.

therapists. She has published in the

My special education colleague was so

others will simply enjoy listening and

chapters and given numerous profession-

special needs and had a passion for work-

for individuals with disabilities. Many

Journal of Music Therapy, contributed book

al presentations to both music educators

ing with these children. I too began to feel

In 2003, I returned to FSU and was

more about how I could combine my love

and music therapists.

fortunate to work with Brenda again. We

have collaborated on research projects and grants, shared practicum students and coordinated a cooperative program between at-risk students and students

with disabilities. Most rewarding for me

is seeing how excited my FSU students are after working with Brenda as interns

and practicum students. Some of their

education?

When I first began teaching music in the Newton Public Schools, I was asked to teach a class of students who were in a special education class. At the time, my knowledge of students with any behavioral, educational and physical challenges was limited. Boston University did not address this in the curriculum, so I

was very apprehensive about the whole

perform in local music productions and perform in bands in Tallahassee and trav-

el to other cities in Florida. Others are

colleague informed me that there was a

valued members in their church choir

career called music therapy. Although she

or community choirs. We cannot deny

did not know much about it, she encour-

the power of music! The power of music

aged me to look into it. Soon after, I found

can also engage, challenge and motivate

myself at the University of Kansas ready

students to make educational gains in

to find out more about music therapy.

intellectual disabilities?

music to students in special

performers. Many of my students now

students with disabilities. My wonderful

eyes, I had a few questions for her, despite

1. What drew you to teaching

music training may become outstanding

for music education and also work with

2. Why do you think arts educa-

knowing her for many years.

students with the proper guidance and

that love and passion. I wanted to know

comments are seen here in pull-out boxes.

Seeing Brenda through my students’

appreciating music. This is no different

informative about her students and their

academic, behavioral and physical motor

skills. For others, the act of working as a team and making music togeth-

tion is important for students with

er with their classmates fosters friendships, boosts their confidence and brings

I believe everyone is entitled to an arts

sheer joy. Everyone can experience music

education. Some will become performing

in their own unique way when given

musicians, others will sing in church

choirs or perform in ensembles while

Continued on page 28

Brenda is an incredible instructor who always frames her instruction in positive and encouraging ways. Her aim is not simply the rote teaching of music, but the personal musical exploration of everyone in her ensembles. She truly touches a group of people who may not normally have access to music instruction otherwise. Working with her has been a great professional experience but also an amazing personal one!

– Kevin Waldeman

experience but willing to give it a try.

May 2019

27

CommitteeReports DIVERSE LEARNERS COMMITTEE

continued from page 27

I am very proud to have Brenda Robbins Rice recognized for the numerous opportunities and experiences she has provided to countless individuals with special needs. In addition to her work as a teacher at our school, Brenda provides weekly music experiences for adults who have graduated from Gretchen Everhart. She also takes a group of middle school students to Elder Day Services every other week. The experience is wonderful for our students and for the elderly by providing a source of new friendships, communication partners and opportunities to share music and dancing with each other. We can all learn some valuable lessons about life and what truly matters from her!

opportunities to do so. We as music therapists and music educators provide the

key to unlock the hidden talents of our students.

3. How do you think your degrees

in music education and music therapy support your work?

My degrees in music education and music

therapy have supported my work well for

33 years. My music education training

was outstanding, teaching me how to

– Jane Floyd Bullen (principal, Gretchen Everhart School)

find quality age-appropriate music and how step by step to write creative and fun learning activities for diverse classes

of students in kindergarten through 12th

grade. We studied different approaches to teaching music, and we wrote plans

to reach the struggling students as well

to challenge the gifted. As a music thera-

pist, I have used all that I’ve learned as a music educator to provide music learning experiences for my students. However,

not only do I work on music skills, I also work on nonacademic skills. I’ve learned to look at the general education curric-

ulum and materials and adapt lessons for my students with various learning

challenges. Having that knowledge as

The chorus of Gretchen Everheart School entertains the crowd.

a music educator has made me a better

school-based music therapist, and having

Brenda Rice is a tremendous music therapist, music educator and woman. She brings joy and kindness to every aspect of her professional and personal life.

My time working as her intern at Gretchen Everhart School is among my fondest memories, and she is the epitome of an extraordinary clinician, supervisor and friend.

made me a better music educator. I have

– Caroline del Rey

28 F l o r i d a

that knowledge as a music therapist has the best of both worlds!

4. What do you find to be most rewarding about your work?

It is so rewarding to see the joy of music in the eyes of my students. It’s really not that hard to see that if we look beyond

the disability, we will see the awesome

abilities that lie within every child. As I

watch my high school students graduate each year, I take great comfort in knowing that they have developed a love and

appreciation of the arts that will be with them the rest of their lives.

Music Director

Brenda was such a great leader for me. She’s a perfect example of combining music therapy and music education. It was amazing to watch her work with children with special disabilities. Her ability to get them to open up, have fun and achieve more than they thought they could was magical. I’m still influenced by her teachings as I do music therapy to this day.

– Sarah Thorpe

YOUR STUDENTS COULD BE PART OF AN ENSEMBLE EXPERIENCE OF A LIFETIME!

The 2019 All-National Honor Ensembles Gaylord Palms Resort & Convention Center Orlando, Florida November 7-10, 2019 Brenda Rice accompanying the singers.

Brenda Rice is an extraordinary teacher who makes sure each student receives individualized attention, while also promoting socialization and independence.

Basing her lessons plans around current events, time of year and holidays, Brenda Rice brings the world to her students, helping each student reach their full potential during every class. I am so grateful that I have been able to observe and co-lead lessons with Brenda Rice as she has truly helped me to understand the best and most effective ways to teach music to students with disabilities.

– Kaylin Berner

5. What advice do you have for music educators

who want to work with ESE classes in their schools?

Seek help when needed. Contact your school’s special education teachers, physical and occupational therapists and any

other professionals who work with your students enrolled in ESE classes. Consult music therapists for specific music strat-

egies. To find music therapists in your area, contact the American Music Therapy Association (MusicTherapy.org).

Reach out to your local universities, especially if they have a

music therapy or a special music education program.

Remember that all students learn in different ways and at

Audition Deadline: May 3, 2019, 11:59PM ET

of your students with learning challenges, both big and

Learn more: nafme.org/ANHE

different rates. Marvel in all of the remarkable achievements small. Watching our students grow and learn to love music as much as we do gives us the greatest joy as teachers and therapists!

May 2019

29

30 F l o r i d a

Music Director

May 2019

31

CommitteeReports C

PROFESSIONAL DEVELOPMENT COMMITTEE

Carolyn Minear, Chairwoman

ongratulations! As we close another

no better way to share our commitment

pation in regional and all-state student

your accomplishments. If you are a new

membership in our professional orga-

for teachers’ as well as students’ growth.

academic year, take time to reflect on

teacher, pat yourself on the back because

you survived! If you are an experienced teacher, pat yourself on the back because

you were able to reinvent yourself once

again to accommodate your students’ needs and the academic requirements set

to musical excellence than through active

nization, the Florida Music Education Association. If you have not already, it

is time to check out the summer growth opportunities and to renew your membership for 2019-20.

Unlike some professional organi-

before you. If you began a new chapter

zations, FMEA is composed entirely of

because you remained a crusader for

other’s growth. One unique benefit of

in retirement, pat yourself on the back

quality music education for all. No matter our age or stage, we all share the passion

for music, teaching and learning. There is

music educators designed to support each

FMEA and component membership is the opportunity to apprentice with respected colleagues in our field through partici-

events. These events are valuable vehicles What are your students’ strengths and

challenges? Our students are our mirrors!

Another benefit of FMEA and compo-

nent membership is the opportunity to apprentice with respected colleagues in our field through participation in music performance assessments. As a participant and judge for many years, I have

come to realize that the feedback provid-

ed by colleagues is a quality real-world tool for growth as a teacher. Read and

listen to feedback carefully as you plan for your own learning journey. Use it to

create a specific plan to improve in at EMERGING LEADERS COMMITTEE

Mary Palmer, EdD, Chairwoman

Y

ou’re not too late to nominate candidates for the FMEA Emerging Leaders program! Nominations from district music supervisors and any music educa-

tor are encouraged and welcomed. Self-nominations are accepted and welcomed

as well. More information about the program is here: FMEA.org/programs/ emerging-leaders/. Please be sure to include the candidate’s resume/vitae with your nomination.

2019 Emerging Leaders need to be able to (and will WANT to!) attend the

FMEA Emerging Leaders Drive-In to Leadership one-day conference on Saturday, June 8, at the University of Central Florida in Orlando. (Special thanks

to Dr. Kelly Miller, our host.) Keynote speaker Jeff Redding, an Orange County Public Schools choral director and a 2019 Grammy Award-winning music educa-

tor, will inspire us to be all that we can be. Beth McCall, a Marion County school board member and recipient of the 2019 FMEA School Board Member of the Year,

along with other Florida leaders will share their leadership journeys. Jeanne Reynolds, a past president of FMEA and the preK-12 performing arts specialist in Pinellas County, will help us build the necessary skills to advocate effectively for

music and arts education, and Dr. Steve Kelly, FMEA president, will be on hand to

share his vision for FMEA. Yes … a cavalcade of visionary, caring and committed, successful leaders will be on hand to inspire us all.

One of the highlights of the day will be the opportunity to meet and build

relationships with outstanding Emerging Leaders from throughout our state. All past Emerging Leaders are invited to join us for this conference.

Questions? Please contact Dr. Mary Palmer, mpalmerassoc@aol.com.

32 F l o r i d a

Music Director

least one facet of your professional life.

Students’ growth is dependent on the

teacher’s growth because MPA results are a mirror of what happens every day in our classrooms.

Belonging to FMEA allows us the

opportunity to cultivate a lifelong network of friendships and growth expe-

riences. It has been a joy to serve on the FMEA board with so many smart and talented servant leaders under the passionate leadership of President Ken

Williams. Thanks for the opportunity. I look forward to watching, encouraging and supporting our new board led by

incoming President Steve Kelly as we

all work together to realize Vision 20/20.

Have a joyous summer!

AWARDS COMMITTEE

Debbie Fahmie, Chairwoman

I

t’s that time of year when I ask you to

consider who in your sphere of influ-

ence is deserving of recognition by the

FMEA Awards program. Each year I am so inspired by the nominees in each cat-

egory, and I also think about all those unsung heroes of music education that are

out there throughout our state. As we all

think about whom to nominate this year,

I’d like for you to hear from this year’s Florida Music Education Association’s School Board Member of the Year.

Marion County School Board mem-

ber Beth McCall was named the FMEA

of the Year for FMEA and will contin-

represent you among my school board

in Marion County have the opportu-

in the state.

peers and others that have influence

ue to work to ensure that all students nity to have music be a part of their

I wish you all a joyous summer, and

academic learning. I will advocate that

music should not be considered an

I urge you to get working on appli-

of the core education of every child.

Nominations. Applications are com-

cations for the 2019-20 FMEA Call for

elective or special class, but as a part

pleted online at https://flmusiced.org/

As we all know and research proves,

FLmusicApps/Awards/. You can also

music can help with reading, math,

find samples of successful applications

team work and confidence.

on the website to guide you through the

Thank you, FMEA, for this honor,

process.

and I will continue to advocate and

School Board Member of the Year this past January. She attended an FMEA awards breakfast to support one of her principals several years ago and left determined to

MULTICULTURAL NETWORK Bernard Hendricks, Chairman

improve and grow the music programs in her county. Within just a few short months,

the county staffing plan for the following school year included the first-ever Marion

County K-12 fine arts coordinator, giving

a much-needed voice for arts programs

W

ho’s ready for some testing? As I write this, our most favorite time of

year has arrived. In the midst of our prep for end-of-the-year perfor-

at the district level. It was wonderful to

mances and events, we have to deal with all sorts of testing, missed rehearsal

as well as other efforts that have signifi-

nature of what we do. So, my encouragement is to have fun, be flexible and give

be able to recognize Ms. McCall for those cantly impacted the quality of music edu-

cation in Marion County. Ms. McCall has recently joined the Florida School Music Association Board of Directors, where her influence will be felt throughout the state.

days, senioritis, spring fever and anything else you can think of. That is just the

your students the most memorable and educational experiences you can create.

Always remember to contact your local area’s important people … i.e., parents, community leaders, school board personnel, etc. They love to come out and support your programs, even if it’s just having their faces seen.

For your summer professional development, the FMEA Multicultural Network

I was inspired by Beth McCall’s reflective

once again will host a one-day summer workshop. This summer’s event will

I know you will be, too.

in-service will have several sessions to cover multiple aspects of a complete and

thoughts after the awards ceremony, and Beth McCall writes:

Music fills my soul; it is the heartbeat

of who I am. Music took a very shy young lady by the hand at the age of 9

and helped lead and guide her to the

confident, strong leader she is today.

That young lady was me, and I attribute so many of my skills to music.

I was honored and humbled to be

chosen the 2019 School Board Member

be held on Thursday, June 13, at Ocoee High School in Orange County. This diverse music education program. Registration is on the FMEA website.

On June 30, my term as chairman of the Multicultural Network will come to

an end. It has truly been an honor to serve the music educators and students of

Florida in this capacity for the past several years. We have achieved a lot during

this time, but there is still a lot to be done. I’m pleased to pass the torch to a good friend and colleague, Chandler Wilson, who will take the organization to even greater accomplishments. Thank you all for the support over the years, and I look forward to meeting more of you at our summer workshop on June 13.

Keep quality music education for ALL Florida students a number 1 priority.

God bless!

May 2019

33

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

The mission

of The Florida Music

Education

Association is to promote quality, comprehensive

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

education.

Summer!

Time to Reflect, Recharge and Renew A

s the 2018-19 school year comes to a close, it is a good time to reflect upon the numerous

accomplishments that you and your students made in your programs.

I want to take this opportunity to thank Dr. Ken

Williams for his leadership of FMEA for 2017-18 and 2018-19. We have seen growth in our association with new

and innovative programs and fiduciary oversight that con-

NAfME NEWS

To increase interest in research, the NAfME board

has voted to make the Journal of Research in Music Education digital edition available to all NAfME members at no additional cost.

Don’t miss the 2019 NAfME National Conference,

Amplify 2019: Opening Doors for All Students, to be

held November 6-10 at the Gaylord Palms Resort in Kissimmee.

tinue to make our association prosper as we promote quality, comprehensive music education in all Florida schools.

ADVOCACY/GOVERNMENT RELATIONS

As I write this, the 2019 Legislative Session is scheduled to end on May 3. We will send an eblast

All-National Honor Ensembles

impact on your music program. Please read Jeanne

ed in conjunction with the 2019 NAfME National

with information about the bills that may have an Reynold’s article in this month’s magazine and visit your legislators in their home districts this summer.

PROFESSIONAL DEVELOPMENT

2019 Summer Professional Development

«« Component Summer Conferences Opportunities

• Florida Bandmasters Association Summer

Conference – June 24-26 at the Hilton Daytona Beach Oceanfront Resort

• Florida Vocal Association Head’s House of

Music Choral Panorama – July 25-26 and Summer Conference – July 26-27 at the Hilton

«« Summer Institute – June 3-5; a leadership conin Altamonte Springs

ference for invited members at the University of

«« Emerging

South Florida in Tampa

Leaders Drive-In to Leadership

Conference – June 8 at the University of Central

34 F l o r i d a

«« Multicultural Network Summer Workshop –

The All-National Honor Ensembles will be host-

«« Emily Threinen Conference:

«« «« «« «« ««

University of Minnesota Concert Band Soo Han Baldwin Wallace Conservatory of Music Symphony Orchestra Tesfa Wondemagegnehu St. Olaf College Mixed Choir Todd Stoll Jazz at Lincoln Center Jazz Ensmble Bill Swick Las Vegas Academy of the Arts Guitar Ensemble Scott Burstein Little Kids Rock Modern Band (new this year)

Florida in Orlando

Societies and Councils

June 13 at Ocoee High School in Orlando

support the music education field in areas of specific

Music Director

The societies and councils of NAfME were created to

Advertiser Index

focus. Go to the NAfME website (About, NAfME

Societies and Councils) to learn more about these

«« Society of Research in Music Education «« Society of Music Teacher Education «« Council for Band «« Council for Choral Education «« Council for General Music «« Council for Orchestra «« Council for Innovations «« Council for Jazz «« Council for Guitar «« Council for Music Composition «« Council for Program Leaders groups and the work taking place:

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

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

ADVERTISERS Breezin’ Thru Inc..........................................................................................................BC International Trumpet Guild Conference....................................................................11 Lynn University Conservatory of Music.................................................................. IFC Smoky Mountain Music Festival................................................................................. 20 Temple University............................................................................................................ 6 University of South Florida........................................................................................ 18 Advertisers shown in bold provide additional support to FMEA members through their membership in the Corporate and Academic Partners program. These advertisers deserve your special recognition and attention.

2018 NAfME Collegiate Advocacy Summit

NAfME Advocacy

NAfME has three registered lobbyists who advo-

cate for music education on Capitol Hill. NAfME also has staff that supports state music education

associations’ advocacy efforts, and educators from

state MEAs participate in monthly updates as part of the Advocacy Leadership Force or ALF. This provides an opportunity for the state MEA representatives to inform the national association of

events taking place in the states. Coming up soon is the NAfME Collegiate Advocacy Summit, June 17-19 in Washington, D.C.

Thank you once again for another successful

school year! We look forward to having you join or renew as a member for the 2019-20 school year.

Have a wonderful and musical summer!

Kathleen D. Sanz, PhD

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

CIRCULATION: 4,500 educators. Published eight times annually by The Florida Music Education Association, Hinckley Center for Fine Arts Education: 402 Office Plaza Tallahassee, FL 32301-2757. FMEA reserves the right to approve any application for appearance and to edit all materials proposed for distribution. Permission is granted to all FMEA members to reprint articles from the Florida Music Director for non-commercial, educational purposes.

Non-members may request permission from the FMEA office.

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

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

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

2018-19 FMEA Membership: You are eligible for membership in The Florida Music Education Association if you are an individual engaged in the teaching, supervision or administration of music in elementary and secondary schools, colleges or universities within the state.

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

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GOLD

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

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

Florida Music Director

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

PARTNERS

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

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

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

GOLD PARTNERS

SILVER PARTNERS

Florida International University

BRONZE PARTNERS

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

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

Partners as of April 1, 2019.

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

38 F l o r i d a

Music Director

F L O R I D A M U S I C E D U C AT I O N A S S O C I AT I O N OFFICERS AND DIRECTORS EXECUTIVE BOARD President..............................Kenneth Williams, PhD 3610 Beauclerc Rd.; Jacksonville, FL 32257 (904) 521-7890; kenwms@fmea.org Past President........................John K. Southall, PhD Indian River State College 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810 johnsouthall@fmea.org President-Elect....................... Steven N. Kelly, PhD College of Music, FSU 128 Housewright Bldg.; Tallahassee, FL 32306-1180 (850) 644-4069; Fax: (850) 644-2033 skelly@admin.fsu.edu FBA President.................................. Cathi Leibinger Ransom Everglades School 2045 Bayshore Dr.; Miami, FL 33133 (305) 250-6868; president@fba.flmusiced.org FCMEA President..................... Stacie Rossow, DMA Florida Atlantic University 777 Glades Rd.; Boca Raton, FL 33431 (561) 297-4230; srossow@fau.edu Florida Collegiate NAfME President.......................Jennifer Luechauer Florida State University, 2220 Sandpiper Street Tallahassee, Florida 32303 (954) 643-1149; jll14e@my.fsu.edu Florida Collegiate NAfME Advisor................. Shelby R. Chipman, PhD FEMEA President.......................Rosemary Pilonero The Villages Elementary of Lady Lake 695 Rolling Acres Rd.; Lady Lake, FL 32159 (352) 751-0111; rosemary@femea.flmusiced.org FMSA President......................................Scott Evans Orange County Public Schools 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; scott.evans@ocps.net FOA President........................................Jason Jerald Blake High School 1701 North Blvd.; Tampa, FL 33607 (813) 272-3422; jason.jerald@sdhc.k12.fl.us FVA President.................................Thomas Jomisko Manatee High School 902 33rd Street Ct. W.; Bradenton, FL 34205 (941) 714-7300; jomiskot@manateeschools.net Member-at-Large....................................Ted Shistle Douglas Anderson School of the Arts 2445 San Diego Rd.; Jacksonville, FL 32207 (904) 346-5620; shistlet@duvalschools.org EX-OFFICIO MEMBERS Historian/Parliamentarian Kathleen D. Sanz, PhD Hinckley Center for Fine Arts Education 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 kdsanz@fmea.org Executive Director...............Kathleen D. Sanz, PhD Hinckley Center for Fine Arts Education 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 kdsanz@fmea.org

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

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

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

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

PROFESSIONAL DEVELOPMENT CONFERENCE

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

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

FLORIDA MUSIC SUPERVISION ASSOCIATION

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

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