Is There Anybody Out There? Tearing Down “The Wall” of Online Teacher Isolation
PLUS: Reflections of an FMEA Past President Embracing Ethnicity Through Music FVA Summer Conference
Using Citation Metrics to Improve Selection Criteria in Developing Symphonic Band and Wind Ensemble Libraries
An Analysis of Your Literature Choices
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2 F l o r i d a
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 (firstname.lastname@example.org)
Contents May 2021
Volume 74 • Number 8
D. Gregory Springer, PhD Florida State University College of Music 122 N. Copeland Street Tallahassee, FL 32306 (850) 644-2925 (office) (email@example.com)
Editorial Committee Terice Allen (850) 245-8700, Tallahassee (firstname.lastname@example.org) Judy Arthur, PhD Florida State University, KMU 222 (850) 644-3005 (email@example.com)
F E AT U R E S
Reflections of an FMEA Past President. . . . . . 7 Using Citation Metrics to Improve Selection Criteria in Developing Symphonic Band and Wind Ensemble Libraries. . . . . . . . . . . . 8 An Analysis of Your Literature Choices. . . . . . 16
William Bauer, PhD University of Florida, Gainesville (352) 273-3182; (firstname.lastname@example.org) Alice-Ann Darrow, PhD College of Music, FSU, Tallahassee (850) 645-1438; (email@example.com) Jeanne Reynolds Pinellas County Schools, Largo (727) 588-6055; (firstname.lastname@example.org) John K. Southall, PhD Indian River State College, Fort Pierce (772) 462-7810; (email@example.com)
Valeria Anderson (firstname.lastname@example.org) 402 Office Plaza Tallahassee, FL 32301 (850) 878-6844
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Valeria Anderson, (800) 301-3632
Is There Anybody Out There? Tearing Down “The Wall” of Online Teacher Isolation. . . . . . . . . . . . . . . . . 26 Embracing Ethnicity Through Music. . . . . . .
FVA Summer Conference. . . . . . . . . . . . . . . 41 FMEA Professional Development Series.. . . .
D E PA R T M E N T S President’s Message. . . . . . . . . . 4
Component News.. . . . . . . . . . 37
Advertiser Index. . . . . . . . . . . . 5
Research Puzzles. . . . . . . . . . . 45
Academic Partners. . . . . . . . . . 24
Committee Reports. . . . . . . . . 46
Corporate Partners . . . . . . . . . 25
Executive Director’s Notes. . . . . 54
2020-21 FMEA Donors. . . . . . . 31
Officers and Directors.. . . . . . . 55 May 2021
With Gratitude and Appreciation:
The Winds of Change
ello, FMEA members. I hope this issue of the FMD
Like you, my life’s book has many chapters. I remember
finds you well and moving forward in your year. I
my fifth-grade band director who inspired me to become
so many differences, challenges, and creative re-imagin-
high school band director who bluntly told me I should
have had some time to reflect on this past year. A year of
ings. The challenges everyone faced, and the successes big and small we achieved. I am very much the optimist that Florida music education will emerge from the pandemic
stronger than ever. I believe all of us will look back and
view the experiences of the past year as another chapter in our life’s book. You kept music in music education, and
the result will be a thriving music celebration in the near future.
a teacher, even at that young age. I remember another never be a music major. I remember my applied lesson
teacher in college who held me to a high standard and
forced me to mature and grow both as a musician and
a person. I remember my first day as a band director in Roanoke, Virginia. While I was petrified, the mentors I found there are still with me today. I remember showing up on the campus of the University of Kansas and learning so much from the brilliant faculty, who continue to
keep me grounded. Then of course I remember getting
a phone call from Cliff Madsen and meeting him for the
first time. And I remember getting the phone call congratulating me on being elected president-elect of FMEA.
Each encounter molded me into the person I am and the one still developing.
All of these experiences should be understood not as
isolated events but as a total experience that is still evolv-
ing. So many people, so many encounters, so much music,
and so many stories. Each chapter made me different. Each success, each failure, the challenges, and the rewards
all shaped who I am, both as a person and as a teacher. I am so grateful for all of them, good and bad, and appreciate the lessons they taught. One of my biggest lessons
from the pandemic is that I hope never to take making music, and the individuals who make the music with me, for granted again. I hope every FMEA member will
have time to reflect and to appreciate some aspect of their
teaching career and life. Teachers make an impact in all they do, and I am optimistic that Florida music educators have had positive impacts on their students this year.
This is my last column as president of FMEA. The
winds of change will bring a very exciting new group of leaders to our organization. Dr. Shelby Chipman
assumes the presidency, with Jason Locker serving as president-elect. The future of our outstanding organization is in very good hands. I want to offer my sincerest
4 F l o r i d a
Steven N. Kelly, PhD President Florida Music Education Association
gratitude to Dr. Kenneth Williams for his commitment to musical quality and artistry in our profession. The
leadership Dr. Williams offered was inspirational and will be long lasting throughout our organization. I am
also most appreciative of Dr. Kathleen Sanz for serving in her multiple roles as executive director of FMEA and as
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.
a national leader in NAfME. Dr. Sanz’s calm, thoughtful
made in the very best interest of our organization. Thank
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perspectives enabled so many important decisions to be you to the mighty FMEA office staff, the most underappreciated group of outstanding professionals I know. I am
grateful to the members of the FMEA Board of Directors
The advertiser in bold provides additional support to FMEA members through membership in the Corporate and Academic Partners program. This Partner deserves your special recognition and attention.
who served during my presidency. These individuals
shared my vision, and when the time came to re-imagine, they stood tall and exceeded all expectations. Thank
you to my family who supported me and was always there. I owe them some time together. Finally, and most
importantly, thank you to all of the members of FMEA. I am most grateful and appreciative of your phone calls,
texts, emails, hugs, and handshakes. Funny, in reflection,
I always seemed to experience a friendly, encouraging moment with a member at just the right time.
We are all still writing the chapters in our books, and
my chapter as FMEA president is closing. I hope each of you will reflect on your past experiences, cherish the cur-
rent moments, and look forward to your future. I celebrate each of you and will always be proud of your work. It has
been my greatest privilege to serve as your president. I appreciate all you do and how you do it. I will continue to
proudly observe your work and the achievements of your
students. Florida music education is moving forward with such enthusiasm and energy. Our next chapter is going to be a glorious experience!
Have a safe and wonderful summer!
Steven N. Kelly, PhD, President
Florida Music Education Association
Florida Music Director reserves the right to refuse any ad not prepared to the correct specifications OR to rework the ad as needed with fees applied. 2020-21 FMEA Membership: You are eligible for membership in the Florida Music Education Association if you are an individual engaged in the teaching, supervision, or administration of music in elementary and secondary schools, colleges, or universities within the state. Visit FMEA.org/membership to learn more about the benefits of active membership.
SUBSCRIPTIONS: Direct correspondence regarding subscriptions to: Hinckley Center for Fine Arts Education, 402 Office Plaza, Tallahassee, FL, 32301-2757. Subscription cost included in FMEA membership dues ($9); libraries, educational institutions, and all others within the United States: $27 plus 7.5% sales tax. CIRCULATION: 4,500 educators. Published eight times annually by The Florida Music Education Association, Hinckley Center for Fine Arts Education: 402 Office Plaza, Tallahassee, FL 32301-2757. FMEA reserves the right to approve any application for appearance and to edit all materials proposed for distribution. Permission is granted to all FMEA members to reprint articles from the Florida Music Director for non-commercial, educational purposes. Non-members may request permission from the FMEA office. SUBMISSIONS: Article and art submissions are always considered and should be submitted on or before the 1st of the month, one month prior to the publication issue to: D. Gregory Springer, PhD, firstname.lastname@example.org.
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Florida Music Director
Frank R. Howes President, 2004-2006 Florida Music Education Association
Who are all you people?!
t was Easter Sunday morning. The sanctuary was full
Perhaps you said, where are all the people? Where are
were excited as the time had come. We were elated to see
have slammed shut on music education, and surely
and overflowing. The choir, orchestra, and organist
so many people in the congregation, and we would seize the day to give our best performance. Our pastor stepped to the pulpit to welcome this gargantuan crowd. As he
my colleagues? Where is my audience? The door could
some have been impacted by the loss of students and programs.
As a retiree, I must say I have been impressed by the
looked out over the group, he stepped back in amazement
leadership of the component associations and FMEA
these words were uttered and have stayed with him for
ways to keep programs going, even if performance took
as he glanced at us and then back to the sanctuary. And
over 40 years … “Who are all you people?!” Some of us laughed aloud as we knew the attendance that day was largely about those who only appear in this place a couple of times each year. Others were taken aback by this
statement, and most likely so offended they were never to be seen in our house of worship again. But to this day, when I greet this former pastor on Facebook or wish him
a happy birthday or Easter, I remind him of that state-
ment, often to his chagrin for saying it. It has lived with him in fame and infamy!
So, what is the point for FMEA? As a past president
of this grand association of music educators and like
many of my retired colleagues, we might wonder, who are you and how are you doing in the current world of
music education? Questions abound! Did Frank Howes just happen to live during the best of times surrounded
by the masters of music education? I would not venture
to drop names. For my purpose they were the individ-
during this time. You did not shut down. You found a back seat during the pandemic. I have been amazed by how well you have worked together for the good of your students and your programs. You are now a new
generation of music educators who will be stronger and tougher because of your ability to adapt during the
most perilous of life and death situations. Something
my generation never had to consider. So, we know who you are! Not by name, not by attendance on a particu-
lar day, but by your commitment to be strong during a pandemic that threatened your life and those you committed to educate. You and your generation will be forever remembered in the history of this association.
The retired members and former leadership salute you for how you have persevered. We may not know you by
name, but you will be remembered as the educators who
gave all you had for the well-being of the young people you served.
These are probably my final words to be written for
uals who impacted my life as a music educator from
FMEA, and you are one of the few who will read these
educator. Those of us who love the profession simply do
one day likely go down the escalator or walk through
1971 to the present. Yes, I still consider myself a music
not finish. Former leadership may step to the sideline, but our interest in who you are and our profession does not disappear.
At our last in-person FMEA conference in 2020, I
looked about at the people in attendance understanding
that I am in the minority of our retired attendees. A retired member, former leader of this conference glancing around wondering, who are all you people? What
is it like to be a music educator during these times?
And then, bam, COVID-19. Wow, could I do what you have been called on to do? Work in almost isolation?
words. I leave you with this thought to ponder. You will the exhibits at the FMEA conference and wonder, why
am I here, what am I doing? But be confident in this. You will always be a music educator, and this is your place; you will always be welcome and belong. Never will you
be a part of someone saying who are all you people, but you can say with confidence, I made this association
better because of my efforts and that of my colleagues during the most perilous of times. You lived it, and you
will not be forgotten. You will be remembered for your commitment to the importance of music education in the lives of our young people. Bravo!
8 F l o r i d a
tation Metrics to Improve Selection Criteria in Developing Symphonic Band and Wind Ensemble Libraries
by Adam E. Berkowitz
Musical works can be divided into the following three categories
based on historical, theoretical, pedagogical, and artistic relevance: literature, repertoire, and canon. For the purposes of this article, literature refers to the vast collection of musical works that have been
written and performed at any point in time. Repertoire, a subsection
of literature, is the collection of musical works that continue to be performed in the present. Canon, a small grouping within repertoire, is the collection of musical works that is considered to be timeless,
exhibits serious artistic merit, and is viewed as a permanent fixture in a musician’s or ensemble’s output of performances. Leading figures
in the fields of music education and performance have been heavily
relied upon for their expertise in determining what musical selections belong in each of these categories. This has and still does meet the needs of both performers and educators. In the case of band music,
however, there are contradicting opinions regarding which works should be labeled canon, and as a result, there exist multiple publications that label a wide variety of musical selections as canon—often
calling these pieces of music “core repertoire” (Allen, 2001; Cardany &
Cummings, 2009; Reynolds, 2009). This can pose an issue for performers and educators, and it also makes the de facto music librarian’s job all the more difficult when developing a collection.
Continued on page 10
Using Citation Metrics Continued from page 9
It is the educator’s responsibility to pro-
determine a numeric value for each work,
ature of artistic significance. Professional
be clear, independently generated lists
vide an opportunity for exposure to litermusic librarians typically do this through
researching authoritative periodicals, bib-
liographies, and reviews, and relying on the reputations of well-known publishers.
dubbing them artistic value points. To
are defined as lists of compositions that have been created in the spirit of research
and learning but disconnected from the influence of large organizations or pro-
In some cases, especially in music librar-
fessional associations. The lists chosen
programs, the acquisition of materials is
that were created by surveying perform-
ies that service the needs of music degree
influenced by the needs of the program’s ensembles and student coursework (Fling,
2008). Music of serious artistic merit, or canonical works, can refer to any pieces
of music that are characterized by historical importance, considered prime exam-
ples of exercising Western music theory,
deemed worthwhile for their pedagogical value, or praised by notable critics for
for analysis in this study include those ers and educators, following specific and
well-defined selection criteria, and the
personal opinions of experts in the field. By using citation metrics to encompass all of these methods, what results is a far more comprehensive means for selecting
works for band and wind ensemble collections.
aesthetics and ability to evoke emotional
Defining the Canon of
er, rely expressly upon the opinions of
The most influential study of this kind
responses. These characteristics, howevexperts in the fields of music performance and education.
Instead of relying on music reviews
and the opinions of a few to determine what should or should not be in a band
program’s music library, there should
be a more comprehensive way to vet new potential acquisitions for collection
development. This article specifically focuses on using citation metrics as the
selection criteria for symphonic band and
Musical Works for Wind Band
was published in 1978 by Acton Eric
Ostling. It is entitled An Evaluation of Compositions for Wind Band According to
Specific Criteria of Serious Artistic Merit. This study was then replicated by Jay
Warren Gilbert in 1993 and was replicated
list of music consisting of serious artistic
subsequent study, the list of music featur-
In creating the survey, Ostling com-
again by Clifford Towner in 2011. In each ing selections of serious artistic merit was
piled a list of 1,481 musical selections
Ostling’s (1978) research consisted of
questionnaire was based on a Likert rat-
evaluated and then updated.
wind ensemble collection development.
a questionnaire in which respondents
tion impact, the definition of which, for
ceived significance. He recognized that
Citation metrics are also known as citathe purposes of this article, is the number of times a published work is cited
or mentioned in other published works (Garfield, 1988). The way this definition was used for this article was to make note
of how many times a published piece
of music was named a work of serious
artistic merit in independently published literature. In doing so, all readily available independently generated lists of compo-
sitions characterized by serious artistic
merit were analyzed and compared to
10 F l o r i d a
would rate pieces of music based on per-
value judgements in music are highly subjective, and that the opinion of one
individual, regardless of that individual’s eminence, would not be suitable for determining the artistic merit of musical selections; however, if there was a collective agreement among a group of reputable
individuals as to which works could be considered music of serious artistic merit, and if the process for determining this was uniformly applied, then what would
result could arguably be considered a
to be included in his questionnaire. The ing scale, a rating system that measures a person’s reaction to a statement or a
topic (i.e., like-dislike or agree-disagree).
By presenting the list of compositions
in this fashion, the collective attitude toward specific pieces of music could be
determined. In doing so, Ostling created
a rating scale ranging from 0 to 5, with 0 indicating the participant is not familiar enough with the selection to give an opinion and 5 indicating the participant
strongly agrees with the notion that the selection consists of serious artistic merit.
Twenty notable band directors from
different parts of the country were
surveyed in Ostling’s research, and each
Unlike survey-based research, which
gies for determining artistic merit. These
lective attitude toward a piece of music,
the selection must have form; the selec-
completed the survey by rating every
assesses artistic merit based on the col-
note of or rating additional works that
music analysis and evaluation is also an
title Ostling included while also making were not included in the original list of
selections. Ostling then developed a point
system based on the rating scale. It was
determined that if all 20 participants rated a selection at least a 4, then the consensus
would be that all 20 participants agreed this selection consists of serious artistic merit; however, Ostling thought it would be unlikely that all 20 participants would
be familiar enough with all 1,481 titles to rate them objectively. Instead, a collective point system based on the ratings was
devised. Ostling determined that a total of 80 points would need to be received
tion must have melodic, rhythmic, and
acceptable method for determining artis-
harmonic development; the selection
must be beneficial to the audience; the
tic merit. Such is the case as thorough-
selection must demonstrate creativity and
ly demonstrated by Brian Cardany and
vitality; and the selection must be wor-
Paul Cummings in a presentation titled “Exploring the Core Repertoire for High
thy of repeat performances. The criteria
School Band” given at the 2009 Midwest
for determining functional and/or ped-
Clinic, a major conference for primary
agogical merit consisted of 22 aspects,
and secondary instrumental music edu-
each also originating from different pub-
cators and performers. Their study was
lications. These points of criteria include
based on two kinds of criteria: criteria for
the following: the skills featured in the
determining artistic merit, and criteria for
selection must fall within the abilities of
determining functional and/or pedagogi-
the musicians, and the instrumentation must be appropriate for the ensemble
Their criteria for determining artis-
by one work in order for that work to be
tic merit consisted of 45 aspects, each
concerning philosophies and methodolo-
considered a work of serious artistic merit
points of criteria include the following:
in question; the selection should bal-
ance with and lend itself to the other
originating from different publications
selections the ensemble is playing; the Continued on page 12
Using Citation Metrics Continued from page 11
selection should consist of opportuni-
he conducted performances in the United
An Evaluation of Compositions for Wind
should contain a unique characteristic;
such as Tanglewood, Carnegie Hall, the
Artistic Merit: A Second Update (Towner,
ties for expressive playing; the selection learning to play the selection should help
develop musicianship; and the selection should be challenging without being
unattainable (Cardany & Cummings, 2009).
In using these sets of criteria, Cardany
States and Europe at noteworthy venues Lincoln Center, the Maggio Musicale in
Florence, the Tonhalle in Zurich, and the
Holland Festival in the Concertgebouw in Amsterdam.
Furthermore, he has received praise
and accolades from world-class compos-
and Cummings compiled their own list
ers and received an honorary doctor-
requirements and can be considered
course of his life, he has been presented
of musical selections that meet these
works of serious artistic merit. In doing so, they demonstrated a contrasting
methodology to survey-based research. Furthermore, because it follows a strict
list of key aspects a title must exhibit in order to be considered a work of serious artistic merit, objectivity in the selection process is still maintained as it is not
entirely based on opinion. It could be likened to selection criteria found in collec-
ate from Duquesne University. Over the with many awards for his contributions
both to music and education, has been the head of many prestigious music soci-
eties such as the College Band Directors
the field. One such example was produced
by renowned music director H. Robert Reynolds. The following is a description
of his professional activities and achieve-
ments demonstrating his expertise in the fields of music performance and education, thereby justifying using his list,
“Core Full Band Repertoire,” as a reliable
and Publishers (USC Thornton School of Music, 2012).
H. Robert Reynolds’ long list of awards,
riences certainly makes him one of the formance, and most assuredly makes his expert opinion on the artistic merit of
music as fundamentally valuable as any
other resource. Reynolds’ list is divided into two categories. One category denotes
core repertoire for band, and the second category is deemed “core of the core,”
indicating that this list of music features a two-tier measurement for artistic merit (Reynolds, 2009).
bibliography of works for band directors
Using Citation Metrics to
This article features the work of eight
to consider when developing their music Reynolds formerly served as the prin-
cipal conductor of the University Wind
Ensemble at the University of Southern California’s Thornton School of Music.
Prior to this appointment, he was the
director of university bands and the director of the division of instrumental studies
at the University of Michigan’s School of
Music. During the height of his career,
12 F l o r i d a
Cummings, 2009), Best Music for High
School Band: A Selective Repertoire Guide
for High School Bands and Wind Ensembles (Dvorak et al., 1993), “Core Full Band
Repertoire” (Reynolds, 2009), and Great Music for Wind Band: A Guide to the Top 100
Works in Grades IV, V, and VI (Nicholson, 2009). All of these lists were produced
with one of, or a combination of, the methodologies mentioned in the previ-
ly for the purpose of study or to be
world’s foremost authorities on music per-
the opinions of highly reputable experts in
for High School Band” (Cardany &
American Society of Composers, Authors,
of the National Awards Panel for the
The most subjective method for deter-
2001), “Exploring the Core Repertoire
ous section. Furthermore, all of these
accomplishments, and noteworthy expe-
mining artistic merit is relying solely on
2011), “Core Repertoire for Band” (Allen,
National Association, and was a member
tion development policies used by music
libraries in academic and public library
Band According to Specific Criteria of Serious
lists were produced independently, pureused as reference resources, as opposed
to being produced through the efforts of large organizations and professional associations. Published lists of works
by large organizations and professional associations were purposely disregarded in order to avoid any influence from such
institutions during the music selection process. These organizations consider
relationships with publishing companies, the availability of musical works, the cost of music acquisition, as well as the practi-
cality of a work’s instrumentation when devising their bibliographies. These factors impact selection criteria without having anything to do with whether or not a work exhibits serious artistic merit.
After each of these lists was evaluated
Develop a Music Library
for its content and validity, the selections
independently generated lists of musical
large master list that indicates the compos-
selections characterized by music of sig-
nificant artistic merit. These lists include An Evaluation of Compositions for Wind
Band According to Specific Criteria of Serious
Artistic Merit (Ostling, 1978), An Evaluation
of Compositions for Wind Band According to Specific Criteria of Serious Artistic Merit:
A Replication and Update (Gilbert, 1993),
from each list were compiled into one
er’s name, the title of the work, alternate titles of the work, the number of times the
work is listed (i.e., citation impact), and on
which list(s) the work appears, as well as whether or not the work was published
before or after Ostling’s original study.
This final criterion is important to note because works published after the Ostling
Excerpt of the Master List
study obviously cannot receive the full
value points and included titles such as
music considered for evaluation. Upon
Folksong Suite by Vaughn Williams; 16
eight points for appearing in all lists of
completing this master list, 795 titles were determined to possess significant artistic
Lincolnshire Posy by Grainger and English
far more comprehensive than previous-
works received 7 points and included
band program’s music library because it
titles such as Dionysiaques by Schmitt
merit. Using citation impact, a measure-
and Music for Prague by Husa; 12 works
music on the master list could be ordered
A Little Threepenny Opera Music by Weill
ment system was developed so that the
from least significant to most significant.
For every time a piece of music is men-
tioned, it gains one artistic value point. Following this method, the more times a
work is mentioned, the greater the artistic merit a work possesses. In order to compensate for the fact that Ostling would
not have been able to evaluate works pub-
The use of citation metrics proves to be
received 6 points and included titles like and Elegy by Chance; 23 works received 5 points and included titles like Canzona by Mennin and Konzertmusik, op. 41 by
Hindemith; 41 works received 4 points and included pieces such as Ballad for Band by Gould and Fantasies on a Theme by
Haydn by Dello Joio; 42 works received 3
points and included pieces such as Deserts
ly mentioned methods for developing a incorporates all the previously mentioned
methods as opposed to considering each
one individually. Giving attention to artis-
tic value points allows music educators to accomplish the following three objectives: (1) justify the acquisition of new music for
budgetary purposes and prioritize which
works to acquire first; (2) inform educators on which titles should be removed from a band program’s music library should it
be necessary; and (3) provide additional tools that may help educators shape their
lished after he completed his research, the
by Varese and Elegy for a Young American
merit were those published before 1978,
and included pieces like Solitary Dancer
results of all three aforementioned meth-
Krenek; and the remaining 345 works
ria, and expert opinion), a more complete
only titles that were measured for artistic
prior to the publication of Ostling’s study.
As a result, 581 selections were measured on a scale of 1 to 8 for artistic merit. While the remaining 214 works could not be
measured, the number of times each work
was cited in the various publications was still indicated in the master list.
The breakdown of the master list is
as follows: 16 works received 8 artistic
by Lo Presti; 86 works received 2 points by Benson and Three Merry Marches by
each received a single point and included pieces like Toccata for Band by Erickson and Viennese Musical Clock by Kodaly.
An excerpt of the master list has been included in Table 1 for reference. For the
complete listing of works used for this project, click here.
By using citation metrics to unify the
odologies (i.e., survey, acquisitions crite-
understanding of artistic merit in music is revealed. This process allows for the measurement of artistic merit as opposed to the other methods that simply imply or show evidence of artistic merit. In doing
so, those titles with lower artistic value Continued on page 14 May 2021
Using Citation Metrics Continued from page 13
this project resorted to using alternative
names and spellings for certain titles and
composers, which made identifying the work far more difficult and in a couple of
cases, impossible. For those works with inaccurate information or information
that could not be verified, the titles were
not included in the research. In other cases, works were either duplicated or individual movements were listed as if they were separate works. Furthermore,
some selections were not suitable for an ensemble the size of a symphonic band
or a wind ensemble. It was decided that in order for it to be a work that could be considered band literature, the work had to be written for at least 10 instruments—
primarily wind instruments as opposed
to percussion instruments—which is sim-
ilar to the criteria used by Gilbert (1993)
when he replicated the Ostling study and used by Towner (2011) when he replicated the Gilbert study. On occasion, works for
percussion ensemble and brass chamber ensemble were discovered, and those too had to be omitted.
There was also difficulty in identify-
ing the publication dates for some works in determining whether they were published before or after the 1978 Ostling points can be further analyzed to deter-
pare the master list of works created as a
istics of serious artistic merit, while titles
association concert music lists to see if
mine if they truly do possess character-
with higher artistic value points can be
confirmed as works rightfully included in the canon of band music. Conclusion
Upon concluding this review of canoni-
cal works for symphonic band and wind ensemble, there now exists a comprehen-
sive master list of titles constituting all three of the aforementioned methodolo-
result of this project to state bandmaster those states have similar or differing con-
centrations of music featuring significant artistic merit. It would also be worthwhile
to compare state bandmaster association
concert music lists to one another. Perhaps a nationwide comparison would give edu-
cators a bird’s-eye view of how a work of significant artistic merit is defined across the country.
In addition, several discrepancies
gies for identifying music of significant
occurred while aggregating informa-
cussion on this topic should be explored.
made the research difficult to conduct.
artistic merit. Further research and disFor example, it would be useful to com-
14 F l o r i d a
tion to construct the master list, which First, many of the resources used during
study. Resources such as the Wind
Repertory Project and WorldCat were
used; however, many times, it could not be determined if the publication date was
that of the composition or the arrange-
ment. Not every piece listed among the resources used was originally composed
for band. Some works were originally composed for string orchestra, choir, or
symphony orchestra, and then arranged for band at a later date. Furthermore,
some works were originally published in one year, but then edited and republished in another year. These issues, ultimately,
negatively impacted the integrity of the
measurement system (i.e., citation impact and artistic value points) devised for this project.
Despite these difficulties, a working
master list of titles exhibiting serious
artistic merit was successfully created and can be used as a resource for band directors to justify the inclusion of new
music, to prioritize funded music acqui-
sition lists, and to identify which works should be discarded, if necessary. Also,
incorporating collection development
methods used by professional librarians further bolsters and expands best practices implemented by music educators. It is hoped this article will be a starting point
Scientist: Science Literacy, Policy, Evaluation, and Other Essays, 11(44), 354-363. http:// www.garfield.library.upenn.edu/essays/ v11p354y1988.pdf
Reynolds, H. R. (2009, October). Core full band repertoire from H. Robert Reynolds. http:// www.oocities.org/vienna/opera/1276/ hrrlist.html
Gilbert, J. W. (1993). An evaluation of compositions for wind band according to specific criteria of serious artistic merit: A replication and update (Publication No. 9334685) [Doctoral Dissertation, Northwestern University]. ProQuest Dissertations and Theses Global.
Towner, C. (2011). An evaluation of compositions for wind band according to specific criteria of serious artistic merit: A second update (Publication No. 3465178) [Doctoral dissertation, University of NebraskaLincoln]. ProQuest Dissertations and Theses Global.
Nicholson, C. (2009). Great music for wind band: A guide to the top 100 works in grades IV, V, VI. Meredith Music Publications.
USC Thornton School of Music. (2012, February 26). H. Robert Reynolds. https://web.archive. org/web/20120226054045/http://www. usc.edu/schools/music/private/faculty/ hreynold.php
Ostling, A. E. (1978). An evaluation of compositions for wind band according to specific criteria of serious artistic merit (Publication No. 7822438) [Doctoral dissertation, University of Iowa]. ProQuest Dissertations and Theses.
for discussion and research in how music
educators can improve best practices in acquiring works of music and develop-
ing their music libraries, especially by
looking to methodologies and processes promoted in professional librarianship. Adam
supervisory librarian with the Tampa-Hillsborough County
Public Library. He earned the MA in music history and lit-
erature from FAU and the
MA in library and information science from USF. He is a member of the Public Libraries
Committee for the Music Library Association
and reviews project proposals concerning top-
ics in music for Rowman & Littlefield as a library advisory board member. References Allen, F. J. (2001, August 8). Core repertoire for band [PDF]. The School of Music at Stephen F. Austin State University. https://tsmp.org/ band/allen/CoreRep4.pdf Cardany, B., & Cummings, P. (2009, December 17). Exploring the core repertoire for high school band [PDF]. Midwest Clinic. https:// www.midwestclinic.org/clinics/midwestclinicians?year=2009 Dvorak, T., Grechesky, R., Ciepluch, G., & Margolis, B. (1993). Best music for high school band: A selective repertoire guide for high school bands and wind ensembles. Manhattan Beach Music. Fling, M. R. (2008). Guide to developing a library music collection. American Library Association.
Now Accepting Session Proposals and Performance Applications for the 2022 FMEA Professional Development Conference January 12-15, 2022, Tampa Convention Center We strive to promote professional insight that will be most beneficial to the music educators in Florida. It is preferable that your proposal(s) have a connection to the conference theme (Unity in Music Education: Building Communities One Note at a Time) for an overall uniformity of vision. All session proposal submissions should be consistent with current educational trends, promote curricular experiences that lead to a better cultural understanding, and allow educators to create, perform, and respond to music that in turn instills lifelong values for learning and participation.
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Garfield, E. (1988). Can researchers bank on citation analysis? Essays of an Information
An Analysis of Your Literature Choices
Observations of Compositions Selected for MEA Concert Band Adjudications in Florida & South Carolina (2013-2019) by Patrick K. Carney, PhD
Over a typical academic year (COVID-19 has certainly
While teachers of other disciplines individually choose
participate in a state music education association (MEA)
subject, band directors have to choose both the methods of
made things atypical!), band directors across the country concert performance adjudication with their concert
ensemble. Knowing this is part of their responsibilities,
the methods of teaching for the standardized test of their teaching and the test itself—the literature for adjudication.
According to the Florida Department of Education
they are tasked with one of the most important aspects of
(FDOE) website on assessments, “National and interna-
The selection of literature is an important vehicle to
Florida’s students are doing in a variety of subjects at
their job: selecting literature.
educate your students on any number of related aspects.
The composer, historical relevance, social impact, musical phenomenon, and aesthetic responses are all viewpoints
that can be explored. Any number of performance tech-
niques, aural skills, sight-reading exercises, and related
music theory practices can be extracted from the literature selected.
The selection of literature is similar to a textbook adop-
tional assessments provide ... data to evaluate how well different ages and grade levels” (Florida Department of
Education, 2021, para. 1). The FDOE uses a range of assessments, but very little regarding the assessment of music.
In other words, the FDOE manages data through several
state, national, and international evaluations, but there are
limited data collected on music outcomes or procedures altogether.
On the other hand, band directors are all too aware
tion or other course materials selected to teach and codify
that their performance assessment results define their
decision to select a textbook is defined by academic stan-
program’s annual accomplishments. Results from all per-
skills and/or concepts in other academic disciplines. The dards required of any discipline at each level. Yet, in the
concert band world, we select our literature individually
based on criteria and procedures created by members of our appropriate association.
achievements. The results are viewed as a portion of their formance assessment structures (marching, concert, jazz,
solo and ensemble, etc.) are used to evaluate the band director and/or the program’s achievements.
In South Carolina, band directors collect points for
I’m referring to how directors select concert band lit-
various levels of achievement at each performance assess-
disciplines do not face individually. Teachers of other
ble for the Outstanding Performance Assessment (OPA)
erature for adjudication—something educators of other disciplines shoulder that burden collectively through
many standardized test results over an academic year.
16 F l o r i d a
ment event. If they earn enough points, they are eligiaward. At concert performance assessment (CPA, South Continued on page 18
Literature Choices Continued from page 16
Carolina’s version of music performance assessment [MPA]), bands must earn a superior or excellent score to receive max-
of education, level of instruction, and years taught over a career.
What does this illustrate? I believe
imum points dependent on their selected
this may illustrate a belief among some
cation. It should be noted that attempting
than the educational value of the experi-
literature grade level and school classifian OPA is not required of any South
Carolina Band Directors Association (SCBDA) member.
Band directors should approach lit-
erature selection with a critical view of what is being taught rather than targeting
directors that the rating is more important ence. This is not a condemnation of band directors selecting music for adjudication
based on pragmatic elements, but it does reveal there may be stress to achieve first, then to educate.
a desired assessment score. The adju-
The Pressure Mounts
rating based on measurements of prede-
cedures in South Carolina are different in
dicated assessment provides an overall termined musical aspects with statements further explaining the assessments. The
director uses these assessments and comments to affirm or address whatever con-
cepts the director chose to teach through the literature selected. Otherwise, what was the point of selecting literature?
MPA procedures in Florida and CPA proalmost every facet. South Carolina directors, for example, choose their own classi-
by SCBDA members are examined and
minimums for adjudication. SCBDA has a
available to all SCBDA members online,
fication determining their literature grade formal rubric for submitting music to the state list, and a majority of those submitted are added for adjudication.
Each work’s grade level for both state
Do Band Directors Value
lists is determined by a committee.
Yes, of course, they do—just ask them!
inclusion to the committee. These com-
Seriously, band directors are making their choices thoughtfully, but it could be
Unlike Florida, submissions provided
Directors submit proposed literature for
mittees have different procedures for sub-
mitting and grading literature, but they
graded using a specific rubric. The rubric,
outlines the criteria for grade-level content based on the following factors: rhythm, meter, ranges, keys, melodic treatment,
scoring/texture, harmonic treatment, and musical maturity. This allows the director
who is submitting a work for inclusion on the state list the ability to determine its grade level before submission.
Selected members of the Florida
have similar objective music criteria.
Bandmasters Association (FBA) form the
ment over education. Or, it could be that
form the Concert Performance Assessment
mittee annually determines which wind
the assessment system, so it functions as
mittee has an annual review of submis-
argued that some assessment systems of adjudication place pressure on achievedirectors do not understand the intent of “pressure.”
In my 2005 dissertation, I “examined
twelve classified objective elements of
quality and suitability … that influence the selection of wind band literature”
(Carney, 2005, p. ix.). The elements labeled suitable (instrumentation, ensemble expe-
rience level, and available rehearsal time)
were consistently rated higher than litera-
ture quality elements. Survey participants
were 237 FBA middle and high school directors during the 2004-05 academic
year. Participants were grouped by level
18 F l o r i d a
To provide context, SCBDA members
Committee. Similar to Florida, this comsions for inclusion to the South Carolina state festival list. Music is designated a grade level between 1 and 6, with 6
indicating the highest level of difficulty.
Concert Music Committee. This comband literature is acceptable for adjudication and assigns a grade to all of the literature selections. FBA literature is desig-
nated a grade level between 1 and 6, with 6 indicating the highest level of difficulty.
This places significance on the deter-
One small difference is that SCBDA has a
mination processes, particularly if there
is their way of allowing a director to
for a composition. The subjectivity allows
masterworks category of difficulty, which
choose a large-scale work, like Grainger’s Lincolnshire Posy (to be performed in its
entirety) as a substitution for two smaller-scale grade 6 works. For the purposes
of my research, I counted all SCBDA masterwork selections as grade 6 selections.
is no formal rubric to determine a grade for variability by committee members and their values to determine inclusion on the
state list as well. In summation, the FBA Concert Music Committee determines compositions that are suitable for adjudication using a subjective system in which
the selection committee ensures the list
is composed of quality works defined by
mostly objective factors and arranged into
The State Lists
the band director. Directors know the
found regarding the state lists of Florida
suitability factors of their program. For
example, they determine how much time can be dedicated to rehearsing the music before adjudication. They know
the instrumentation challenges and the overall talent level of each musician. They
must find a work that is suitable for their ensemble to perform.
Their classification is based on school
This classification has a tremendous
influence on their suitability issues as
well. They must combine all these features to determine what can be accomplished at MPA. These pressures—clas-
sification minimums, suitability issues, and achievement goals—are all weighed heavily. If not given more importance,
certainly these pressures are given equal consideration to quality factors and edu-
comparison, the SCBDA list shows grades
2, 3, and 4 averaging approximately 23% each, with grade 2 the largest at roughly
24%. Grade 6 is 13% of the total approved
amount of literature approved for adju-
literature on the SCBDA list.
dication. FBA has approximately 1,600
The available and approved composers
compositions ranging from grade 1 to grade 6. SCBDA has approximately 2,400
on the state lists are also very different.
more choices overall than FBA.
cation at all grade levels on the FBA list
The most approved composer for adjudi-
available for selection. SCBDA allows for
is J. S. Bach. Bach is indicative of FBA’s
According to the 2018-19 approved lists,
Carolina at 157 and Florida at 122. SCBDA-
the FBA state list.
5% larger than any other grade level. By
ferent in construction, beginning with the
classification places the minimum grade Minimally, they know where to look on
the grades on the FBA state list, nearly
and South Carolina. They are vastly dif-
the amount of grade 1 literature is rela-
level of music required for assessment.
6. This is the largest percentage of any of
For context, I need to divulge what I
enrollment rather than band program enrollment for participation in MPA. That
23% of the total approved works are grade
alleviate these pressures?
grade designations of 1 through 6.
Here’s where the pressure begins for
toward grade 6 in Florida. Approximately
cational elements. So, what can be done to
emphasis on transcriptions. Certainly, in
comparison, the FBA-approved list for
tively close between the states, with South
MPA includes transcriptions notably more than the SCBDA list. Five of the
approved literature for grades 2, 3, and 4
top eight most-approved works on the
averages 250 more selections available per
FBA list by composer are Bach (54 works),
grade than FBA. South Carolina had 555,
G. F. Handel (34), P. I. Tchaikovsky (30),
533, and 484 approved for grades 2, 3, and
R. Wagner (29), and W. A. Mozart (28), and
4, respectively. Florida had 267, 301, and
all are transcriptions.
235, respectively. The amount of approved
On the SCBDA list, Bach (30) is signifi-
grade 5 literature is similar to grade 1
literature in availability, with 310 in South
cantly behind living composers of origi-
more grade 6 choices than SCBDA (318)
(42), J. Curnow (47), R. W. Smith (43), and
nal works for band including B. Balmages
Carolina and 294 in Florida. FBA (366) has
Sheldon (55), to name a few. The SCBDA
with nearly 50 more available choices.
list is and continues to be a growing Continued on page 20
In terms of percentages, the amount of
approved literature for adjudication skews
Literature Choices Continued from page 19
roster of living composers’ works. The
on these criteria over the past seven
the most selected work for that grade
of the procedures to submit works for
ings to determine the overlap. Table 1
Incantation and Dance earned a ranking
construction of the SCBDA list is a result approval—another difference between the states’ lists.
None of these comparisons matter for
band directors residing in either state;
years. I compared these two top 10 listreveals the literature by grade that was
consistently selected for adjudication from both states’ top 10 list.
For example, Prelude, Siciliano, and
level in that state. For example, Chance’s of 1 in South Carolina for grade 6 and a
ranking of 8 for grade 5 in Florida. This signals that Incantation and Dance was in
both states’ top 10 most frequently selected literature for adjudication.
they only have to consider their state’s
Rondo was selected 78 times in Florida and
assessment. I am presenting these com-
years. Twenty appears small in compar-
times the number of ensembles partici-
importance our profession places on
procedures and policies for performance parisons to display that these differences—and there are many—resulted in several similarities in my collected data. Examining the Data
Since 2013, I have analyzed high school
band director selections for the MEA concert
in both Florida and South Carolina. I have presented my findings every year beginning in 2014 at the National Band
20 times in South Carolina over the seven ison, but Florida has approximately four pating in MPA than South Carolina. If we
multiply the 20 South Carolina selections by the difference in participants (4x), then
we get 80, which is almost the exact number performed in Florida (78). This consistency occurs throughout the comparisons
between the top 10 consistently selected literature between the states.
As Table 1 shows, Prelude, Siciliano, and
Rondo ranks number one in both states for
Conference, and most recently at the
tive, Lo Presti’s Elegy for a Young American
National Association Southern Division
2020 South Carolina Music Educators
Association Conference. Data have dis-
played some interesting trends for both states individually and in comparison over that span.
When comparing the same literature
on both state lists, a difference in difficulty classifications emerges. In gener-
al, a typical SCBDA grade level for the same work is equal to or higher than
FBA, although both use a 1 to 6 grading scale. For example, Chance’s Incantation and Dance is listed as a grade 6 according to SCBDA, while the FBA grade is a 5.
Despite these differences, interest-
ing trends emerge in comparison of the collected data. Table 1 presents the top 10 consistently selected works per
most selected matched works per grade
from both states is to highlight that directors participating in two different perfor-
mance assessment events with distinct procedures and criteria were consistent
in selecting these specific works (see Table 1).
was selected 58 times and was the second
both states, two composers rose above
most selected work over the past seven years at MPA. Elegy for a Young American
was selected only five times at CPA over that same period and ranked fifth as a
selection at SCBDA; however, Elegy for
a Young American tied with seven other works selected five times in seven years
at SCBDA (or 20 times if we multiply for the difference in participants). I did not
of a repeating event per unit of time. In the rest in terms of selection frequen-
cy: Robert Sheldon and Frank Ticheli.
Sheldon has nearly 60 approved works on the SCBDA list and more than 30 on the
FBA list. Ticheli has more than 20 works on the SCBDA list and nearly 20 on the FBA list. Neither composer has the most on either state list.
Over the past seven years, selected
include Elegy for a Young American in the
Robert Sheldon compositions comprised
both states. The cutoff for grade 5 inclu-
Florida MPA and 5% at South Carolina
table because it did not make the top 10 in sion to the top 10 for South Carolina was six times in seven years, which includ-
ed Pageant by Persichetti and Chance’s Incantation and Dance.
Ranks were based on the total number
of selection. Both Florida and South
hundreds of selections each year. In other
20 F l o r i d a
selection. The point of displaying the
Frequency is the number of occurrences
of times a piece was selected over the
Carolina created their own top 10 based
these works. I did not track results, just
selected grade 5 literature. For perspec-
grade level for both states. The top 10
was determined by the total frequency
This trend of recurrence indicates the
8% of the total number of selections at CPA. Selected Frank Ticheli works for
assessment constituted 6% at MPA and 5% at CPA of the total number of selections.
These percentages were the largest for any single composer in both states.
Other composers had similar percent-
past seven years in comparison to the
ages in South Carolina. Brian Balmages,
words, a rank of 1 means that work was
Continued on page 22
Jacob De Haan, R. W. Smith, and James
Ranked Literature for Adjudication in Florida and South Carolina (2013-2019)
Variations on a Korean Folk Song
Chorale and Shaker Dance
Incantation and Dance*
On a Hymnsong of Philip Bliss*
On a Hymnsong of Philip Bliss*
Title Incantation and Dance* Armenian Dances, Part 1 Molly on the Shore Festive Overture
Prelude, Siciliano, and Rondo Symphonic Dance No. 3 – Fiesta Rhosymedre*
American Riversongs Cajun Folk Songs Rhosymedre*
* An asterisk indicates the work was top 10 in two different grade levels. Therefore, the work appears in two places in this table.
Literature Choices Continued from page 20
All grade 3 and 4 composers were also
White males. The living composers listed were in their 60s or 70s.
The composers selected for any state
assessment list are extremely good at their craft. Each composer and his or
her music have been studied, analyzed, and vetted before any decision to add a work to an approved state list can occur.
Their skills have been developed and
honed over years of composing, and the music selected for addition to a state list
has passed some measurement of quality. Their credentials and accolades are without question.
This particular trend illuminates a bias
toward “dead, White guys (composers).”
The data reveals that when choosing wind band literature for adjudication in the past seven years, deceased or older White men Swearingen each covered 5% of the total
nearly 60 on the FBA list and 32 on the
to both Ticheli and Sheldon. This reveals
selected in either state.
number of selections at CPA, comparable
two things: (1) those six composers com-
paragraph, but I believe this is another
A final interesting aspect of this trend
not it was intentional, the data over the
of literature selection similarities between
South Carolina directors seemed to trust
ers (see Table 1). In Grades 5 and 6, all
these six composers for quality assessment literature over the rest of the SCBDA
approved list. There are no other compos-
ers over the past seven years that were close in comparison.
In Florida, Sheldon and Ticheli have
achieved the highest selection frequency over the past seven years than any other composer. Clare Grundman was the closest with 4% at MPA (and 2% at CPA). Pierre La Plante was next at 3% at MPA.
A fascinating aspect of the MPA fre-
quency trend is that Ticheli has only one composition, Cajun Folk Songs, of his many
approved compositions on both state lists, that was consistently selected the most
out of all the literature choices (see Table 1). Robert Sheldon had none. Sheldon had
22 F l o r i d a
I realize the sensitivity of the previous
SCBDA list, but no titles were consistently
prised 30% of the total selections over the past seven years at CPA; and (2)
were selected the most.
these two states was the shared compos-
« John Barnes Chance (d. 1972) « Alfred Reed (d. 2005) « Percy Grainger (d .1961) « Dimitri Shostakovich (d. 1975) « Malcolm Arnold (d. 2006) « Clifton Williams (d. 1976) « Vaughan Williams (d. 1958) « John Zdechlik (d. 2020) « Vincent Persichetti (d. 1987)
composers were deceased White males:
The grade 3 and 4 composers were
all living, with two exceptions: Clare Grundman
« Pierre La Plante (b. 1943) « Frank Ticheli (b. 1958) « David Holsinger (b. 1945) « Jacob de Haan (b. 1959)
Williams (d. 1958):
important trend to display. Whether or past seven years reveals this trend. I
believe similar trends would be found if selected literature for performance assess-
ment was examined from any time frame or any state.
The importance our profession places
on literature for education speaks to our values. Music education has made strides in increasing opportunities for female and minority composers, and while there
has been a recent uptick in including com-
positions by minorities on approved state lists, it will take time for these composers to reach the status of any of the aforemen-
tioned composers. I hope that happens sooner rather than later.
The Alleviation of Pressure
Returning to the pressures on band directors often associated with selecting literature for MPA, the question remains,
what can be done to alleviate this pres-
should assist the director’s educated plan-
A quick examination of the top 10
ning for the future.
sure? Considering a director’s achieve-
selected literature for assessment from the
ing suitable literature for each ensemble
will provide a clear picture of what is val-
literature FBA values through repetitive
If by chance you’ve recently performed
find similar composers and literature
ment goals for his or her ensembles, findand factoring in classification minimums,
quality literature, and educational elements can be overwhelming. Let’s consider the trends in the data:
1. Recurrence. Knowing which compositions are consistently selected allows
the director to choose valued selections for adjudication from a much smaller list than the entire state list.
2. Frequency. Knowing which composers are frequently selected allows the
director to choose valued composers for adjudication from a much smaller list than the entire state list.
White, male composers are revered in
our profession due to their amazing compositional skills and outstanding
artistry for wind bands. I am not
societal issues with his or her students with confidence.
Understanding the data and the subse-
quent trends found within provides two advantages. The first advantage is time.
records; use your resources!
ness and to provide opportunities to teach
list to investigate, and that saves time.
The second advantage is knowledge.
history, empathy, and understanding.
Good luck with your next MPA event.
selection period for MPA allows you to
I sincerely hope your time and knowl-
is valued by your colleagues in total.
for your program, your community, and
edge foster outstanding achievements
our profession. Let’s continue to grow
Recurrence and frequency are clear indi-
cators of value. Knowing the literature valued by FBA directors for assessment reduces some of the pressure of the
Dr. Patrick K. Carney’s
Knowledge of the trend in demograph-
Research Perspectives in
Music Education, Florida
In the medical profession, when a person
Instrumentalist, and the Missouri Journal
knowing the risks, details, benefits, and
of Research in Music Education. He has
expected outcomes of each treatment,
presented his research at conferences for
this is known as “informed choice.” In
CBDNA, NBA, NAfME, and music education
our profession, we must research and
association conferences in Alabama, Florida,
determine the information ourselves and
Georgia, South Carolina, and Tennessee.
then choose the best option. This is not informed choice, but educated planning.
Knowing the trend in composer demo-
Demographics will have very little, if any,
in recent years. FBA maintains excellent
Furthermore, it allows you to raise aware-
they are valued, but it is a much smaller
quality literature by examining which
(frequency) have been selected the most
lar compositions or composer techniques.
You still must investigate why and how
graphics does not negate any choice made
compositions (recurrence) and composers
tinuing your students’ education on simi-
your ensemble. Again, this saves time.
As an FBA participant, you can decrease your time spent selecting suitable and
adjudication literature choices or for con-
the entire list of available literature for
is given options to choose treatments,
number of musical, educational, or
use in preparation for your selected FBA
informed decision rather than analyzing
based on genetics. I am stating that
the director’s choice to address any
adjudication, they would be excellent to
This is a much better position to make an
ics allows for a more enlightened choice.
this knowledge could positively affect
works are not on the current state list for
ing place to find comparable literature.
implying that any composer should
be selected over any other composer
bles. Even if those similar composers or
ensemble, at a minimum you have a start-
be conscious of your choice versus what
adjudication. Many of these older,
spectrum of diversity in your ensem-
ticular grade level are unsuitable for your
living or deceased, allows the directhe trends in literature selection for
that are more representative of the broad
them all, or if all of the top 10 in your par-
Knowing these trends before your next
tor to make an informed choice on
selection for adjudication allows you to
ued by the majority of your association.
3. Demographics. Knowing which com-
posers on a state list are White men,
In other words, understanding what
past five, seven, or even 10 years of MPA
Carney, P. K. (2005). Rankings and ratings of literature selection criteria among Florida public school band directors (Publication No. 3216579) [Doctoral dissertation, Florida State University]. ProQuest Dissertations and Theses Global.
in selecting literature for assessment. impact on your ensemble’s assessment;
Florida Department of Education. (2021). Florida participation in national and international assessments. https://www.fldoe.org/ accountability/assessments/nationalinternational-assessments/
however, learning the recurring compo-
sitions’ traits and frequent composers’
styles of selected literature for assessment
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Is There Anybody Out There? Tearing Down “The Wall” of Online Teacher Isolation by David Ramos
“Alright, folks, last time. Can anyone tell me the
difference between a quarter note and a whole note?”
The teacher stared at his computer screen for what seemed like hours, waiting for one of his students to respond. He was sharing his desktop with 72 beginning band students, displaying a PowerPoint he eagerly put together the weekend before, meant to teach his students how to count rhythms. No one responded.
Come on everyone, he thought, I’m practically giving the answer away. Just look at the screen! He called students’ names at random. “OK, Mary, help us out. between a quarter note and a whole note?” No answer.
What is the difference
A quarter note is worth one beat, and a whole note is worth four, the teacher thought to himself. His eyes flitted around the corners of his home office, anxiously searching for reassurance from a mentor or a friend. Of course, no one was there to help him. He was alone. “Jordan, how about you? Do
note?” No answer.
you remember the difference between a quarter note and a whole
A quarter note is worth one beat, and a whole note is worth four! The teacher practically screamed the answer in his mind. His eyes darted from his bookshelf lined with various texts on music education to his university degree, certifying him as a K-12 music teacher. Why aren’t they answering? Why is this so hard? This isn’t teaching; this is torture.
“Hello? Anyone?” he said pleadingly. “Is there anybody out there?”
Continued on page 28
26 F l o r i d a
Online Teacher Isolation Continued from page 26
Goodbye, Blue Sky (Hello, Blue Light)
On March 9, 2020, Florida Governor Ron DeSantis declared a state of emergency, prompting the Florida Department of
Education (FDOE) to publish best practices for what would soon be the adopted form of education (Corcoran, 2020). Because
of COVID-19, teachers across the state of Florida quickly transitioned to e-learning to keep students and themselves socially
distanced. Since then, in-person rehearsals, scheduled performances, and face-
to-face conversations with students have been replaced with virtual meetings and
online lessons. Students now learn from
home, isolated from friends and peers, and illuminated by the high-energy visible display screens on their laptops, tablets, and smartphones. This is the new normal—goodbye, blue sky; hello, blue light.
Another Brick in the Wall
To many, social isolation is an unfamiliar and unpleasant experience. According to Usher et al. (2020), forced separation from
friends and family can have a detrimental impact on an individual’s overall sense
of connectedness and mental health (p. 2756). These negative effects have been
observed worldwide during the pandem-
ic. According to research conducted in India, “The pandemic and subsequent
teachers (Sindberg & Lipscomb, 2005).
due to professional isolation. Research
are considered a minority of the entire
of isolation and ineffective teaching for
In most public schools, music teachers
teaching staff (Sindberg, 2011, p. 8). Music
is often sequestered from the academic curriculum (Sindberg, 2011, p. 189), which
further separates the music teacher from the rest of the school. Even when teaching
was in person, managing a classroom full of students for nearly a whole school
day made it difficult for teachers to reach out to and support their friends and col-
isolation has been observed in relation to teacher burnout (Schlichte et al., 2005),
and in some cases has caused teachers in their first few years to seriously con-
sider leaving the profession altogether (Sindberg & Lipscomb, 2005).
new level entirely. In this format you, the
just another brick in the wall of professional isolation, providing music teachers with an additional hurdle to grow their professional and social networks. (Un)Comfortably Numb
Professional isolation, unfortunately, is not uncommon for music teachers. Some teachers have become comfortably numb to the reality that their subject, and the
work that comes with it, socially separates them from others. This concept was
observed by Flinders (1988), who found that teachers tended to describe their
Online teaching has taken isolation to a teacher, are completely alone, left to work with nothing but your wit, laptop, and
any resources you may have at your dis-
posal. Your students have been replaced by square boxes containing their names or
initials. Some turn on their cameras, some do not. Often it is difficult to believe there
is another human being on the other side of the screen. After countless attempts
to get feedback of any kind from your
online students this school year, you have
no doubt been tempted more than once to turn off your computer and call it a day.
During these moments, it is crucial for
work in terms of a series of tasks (e.g.,
teachers to realize that no matter how
tions on the board, acquiring materials,
show must go on. Whether online or in
stapling/grading papers, writing instrucetc.). Flinders asserted that
This tendency to describe teaching in
terms of tasks that are typically performed without collegial assistance
suggests professional norms that
1196). Similar findings of increased screen
encourage teachers to accept isola-
time due to isolation were reported in
tion as inherent to the nature of their
other international countries such as
work. (1988, p. 22)
China (Xiang & Zhang, 2020) and the
Whether they have grown comfort-
Prior to the pandemic, isolation has
able or uncomfortable with their lonely
cation (Dodor & Hausafus, 2010), as well
beginning music teachers — are put at
28 F l o r i d a
field (Sindberg & Lipscomb, 2005). Social
education, teaching through a screen is
the isolation” (Majumdar et al., 2020, p.
as a reality for many public-school music
music teachers with low experience in the
The Show Must Go On
has become standard procedure in music
ance on digital use presumably to escape
been a major concern in the field of edu-
has shown a correlation between feelings
leagues (David, 1986). Now that e-learning
lockdown resulted in … increased reli-
United Kingdom (Smith et al., 2020).
lifestyles, music teachers — specifically serious risk of several negative outcomes
difficult online teaching may seem, the
person, your students need teachers to provide them with the best education
they can get. Isolation may seem like an insurmountable wall impeding you from being the very best you can be, but it is
one you can and must tear down for the sake of yourself and your students.
Teaching From “Outside the Wall”
One of the ways teachers can surmount isolation is by using technology to their advantage. Instead of viewing your com-
puter or laptop as a wall, think of it is as a window. The internet has provided
nect with teachers
humans with virtually infinite means
itive effects that peer visitation can have
lets such as Facebook Messenger and
is especially helpful for those interested
ing them with professional development
evening “happy hours” with friends to
to stay connected with each other. This in starting a relationship with a men-
tor. Connecting with an experienced
teacher can be a great way to “help you get through the tough times that will
inevitably come” during virtual teach-
ing (Kraemer & Kraemer, 2016, p. 223). According to Drago-Severson and Pinto (2006),
In addition to preventing turnover, mentoring
al learning in that it often involves
sharing reflections among colleagues,
which can lead to changed ways of thinking about work and life. (p. 143)
Virtual teaching has also made it eas-
ier for peers and colleagues to visit your online classroom and comment on your teaching. Rouser (2009) observed the pos-
WhatsApp. Schedule virtual hangouts or
on high school teachers, such as provid-
regain much needed strength and energy.
through the form of peer feedback and
This connection, whether in person or vir-
allowing them to be more reflective about
tual, will help you effectively engage your
their own teaching practices. Thanks
students during the school day.
to online formats such as Zoom and
Of course, remember to continually
Microsoft Teams, inviting fellow teachers into the classroom is possible from virtu-
foster and build relationships with your
form of peer visitation allows for instant
According to Schlichte et al. (2005), “Even
students, especially those who are online.
ally anywhere and at anytime. This new
one extremely supportive relationship
feedback from a trusted colleague as well
with a student can inspire [an educator] to
as a sense of connectedness between col-
stay on the job” (p. 37). Despite everything
online music teachers deal with, the rea-
While navigating online teaching,
son they log online every day is because
make sure to find a balance in your life
of their students. The ones who roll out of
between the demands of the job and
bed looking forward to virtual music each
spending time with family and friends
morning, knowing their favorite class is
(Hamann & Gordon, 2000). If you feel
just a click away. This is what lies outside
dejected or need someone to talk to, find
the wall. Not isolation—a reason to stay
someone to listen (Schlichte et al., 2005,
p. 38), and stay in contact with them
regularly through social messaging out
Continued on page 30 May 2021
Online Teacher Isolation Continued from page 29
“… Is there anybody out there?” The teacher’s eyes darted to the Chat icon. Realizing he had not checked what his students had been discussing online since class started, he quickly opened the chatroom and scanned the most recent messages. Mary [9:58 AM]: Did Mr. Ramos ask something? John [9:59 AM]: don’t know, can’t hear him. Julia [9:59 AM]:
I think he muted himself again
lol I’ll tell him
Alex [10:00 AM]: Someone tell Mr. Ramos he’s muted, I can’t hear him! :(
Mr. Ramos clicked Unmute. He took a deep breath. “Yes,
“You muted yourself.”
Mr. Ramos chuckled to himself. “Thank you, Frank,” he smiled. “Sorry about that, everyone; let’s try that again. Raise your hand if you know the answer: what is the difference between a quarter note and a whole note?”
raised their hands.
“Mary, what do you think the answer is?” Nearly the whole class Mary turned her microphone on, “A quarter note gets one beat, and a whole note gets four!” Mr. Ramos nearly jumped out of his chair. “That’s it! That’s correct, thank you, Mary!” Mary smiled through her screen. The students laughed.
Mr. Ramos laughed.
Note: This narrative was based on the
author’s personal experiences teaching
band online. The title and overall concept for this article were inspired by the 1979 Pink Floyd album The Wall. David Ramos is a graduate
of Florida State University with the BME in instrumental music education. He is an active member of the National Association for
Music Education and Florida
Music Education Association. After complet-
ing his internship in fall 2020, David accepted
a position as an instructor of residence life at the Interlochen Arts Academy in Interlochen, Michigan, where he currently resides. References
Corcoran, R. (2020). Best practices for distance learning. Florida Department of Education. http://www.fldoe.org/em-response/ distance-learning.stml Davis, T. B. (1986). Teacher isolation: Breaking through. The High School Journal, 70(2), 72-76. https://www.jstor.org/stable/40365045
30 F l o r i d a
Dodor, B. A., & Hausafus, C. O. (2010). Breaking down the walls of teacher isolation. Journal of Family & Consumer Sciences Education, 28(1), 1-12. http://ww.w.natefacs.org/Pages/ v28no1/v28no1Dodor.pdf Drago-Severson, E., & Pinto, K. C. (2006). School leadership for reducing teacher isolation: Drawing from the well of human resources. International Journal of Leadership in Education, 9(2), 129-155. https://doi. org/10.1080/13603120500508080 Flinders, D. J. (1988). Teacher isolation and the new reform. Journal of Curriculum and Supervision, 4(1), 17-29. https://eric. ed.gov/?id=EJ378724 Hamann, D. L., & Gordon, D. G. (2000). Burnout an occupational hazard. Music Educators Journal, 87(3), 34-39. https://doi. org/10.2307/3399661 Kraemer, J. M., & Kraemer, M. (2016). The band director’s guide to success: A survival guide for new music educators. Oxford University Press. Majumdar, P., Biswas, A., & Sahu, S. (2020). COVID-19 pandemic and lockdown: Cause of sleep disruption, depression, somatic pain, and increased screen exposure of office workers and students of India. Chronobiology International, 37(8), 1191-1200. https://doi.org/ 10.1080/07420528.2020.1786107 Rouser, S. S. (2009). Behind closed doors: A case study of the impact of peer visits to combat isolation and develop reflective practice in high school teachers (Publication No. 3344523) [Doctoral dissertation, Capella University]. ProQuest Dissertations and Theses Global.
There they are.
Schlichte, J., Yssel, N., & Merbler, J. (2005). Pathways to burnout: Case studies in teacher isolation and alienation. Preventing School Failure: Alternative Education for Children and Youth, 50(1), 35-40. https://doi.org/10.3200/ PSFL.50.1.35-40 Sindberg, L. (2011). Alone all together—The conundrum of music teacher isolation and connectedness. Bulletin of the Council for Research in Music Education, 189, 7-22. https:// doi.org/10.5406/bulcouresmusedu.189.0007 Sindberg, L., & Lipscomb, S. D. (2005). Professional isolation and the public school music teacher. Bulletin of the Council for Research in Music Education, 166, 43-56. https://www.jstor.org/stable/40319279 Smith, L., Jacob, L., Trott, M., Yakkundi, A., Butler, L., Barnett, Y., Armstrong, N. C., McDermott, D., Schuch, F., Meyer, J., LopezBueno, R., Lopez Sanchez, G. F., Bradley, D., & Tully, M. A. (2020). The association between screen time and mental health during COVID-19: A cross sectional study. Psychiatry Research, 292. https://doi. org/10.1016/j.psychres.2020.113333 Usher, K., Bhullar, N., & Jackson, D. (2020). Life in the pandemic: Social isolation and mental health. Journal of Clinical Nursing, 29, 27562757. https://doi.org/10.1111/jocn.15290 Xiang, M., & Zhang, Z. (2020). Impact of COVID-19 pandemic on children and adolescents’ lifestyle behavior larger than expected. Progress in Cardiovascular Diseases, 63(4), 531-532. https://doi.org/10.1016/j. pcad.2020.04.013
FLORIDA MUSIC EDUCATION ASSOCIATION 2020-2021 DONORS
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Our donors support specific causes by donating to the FMEA funds of their choice: FMEA Scholarship Fund Music Education Advocacy General Fund
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Frederick Schiff Kathy Shepler D. Gregory Springer Harry Spyker In Honor of Fred & Marlene Miller Gregory St. Jacques In Honor of Bobbie & Byron Smith Jeannine Stemmer In Memory of Barbara Kingman & Lauren Alonso Valerie Terry Leiland Theriot In Memory of Clayton Krehbiel Robert Todd In Memory of Gary Rivenbark Richard Uhler David Williams Kenneth Williams
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32 F l o r i d a
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Embracing Ethnicity Through Music by Pauline Latorre
s music educators, a whole new world
Embracing Our Own Ethnicity
opens up when we embrace our
For years I disassociated myself from my
a personal level, it can help make connec-
the “melting pot” generation of the 60s
ethnicity and cultural backgrounds. On
tions to who we are and where we came from. On a professional level, as we share what we know about our own cultures
in the music room, we make ourselves vulnerable and approachable and open
up opportunities for our students to make their own connections that can have a positive effect on their lives.
34 F l o r i d a
Filipino culture. Why? Being a product of
and 70s might have had something to do with it. It was not a purposeful thing,
nor was I trying to be disrespectful to the culture of my parents; it was the world I grew up in.
The melting pot was the concept where
immigrants came to the United States ready to shed their cultural heritage
and practices in exchange for becoming
a member of this new land of opportunity (Hirschman, 1983, p. 397). This,
of course, was an assumption and was promoted as a way to blend different cultures into one new one, essentially strengthening the idea of America being
the land of opportunity and legitimizing the “Americanization” of immigrants (Hirschman, 1983, p. 398). To succeed
in their new home, immigrants would
learn how to assimilate into the dominant
culture by learning how to look, speak, act,
The connection to my ethnic back-
ation by word of mouth. Nothing was
over 15 years of teaching) when I was
share these songs with my students. I
and believe the way people in the United
ground came a few months ago (and after
unfathomable, yet society bought in to
thinking about my formal observation
States do (Holohan). Today, this seems
this concept. The result was often a loss of
self and culture. My parents were no dif-
ferent. They gave us “American” names,
spoke only English to us, and chose not to teach any dialects of their home country,
the Philippines. They were not trying to be mean or to deny the customs of their home country; they were merely trying to help their family members adapt to their
new country. Their idea of success for
their children included appearing more “American” than “Filipino.” Fortunately for us, my parents’ support systems and
coping mechanisms were other Filipinos who helped our family stay connected to
written down. I pondered how I could
couldn’t speak the language; I grew up in
New York, not the Philippines. Did I even
and what I would teach. I purchased a col-
have the right to teach these songs? Yet
lection of Filipino folk songs (Barry, 2021)
they represented my childhood and my
compiled by the talented educator Tiffany
Filipino heritage. I was finally at the point
Unarce Barry. As I thumbed through
in my life where I was ready to embrace
the book, I recognized many songs my
that part of my life.
parents would sing to us when we were
younger. I was amazed to see those songs in print. How did another music teacher
Creating a Safe Space for Students
I was the only music teacher who knew
As educators, we find ways to commu-
know those songs? I narrowly thought
to Make Connections
nicate our lessons in a way that will be
them, but how awesome was it for Ms.
engaging to our students. For this lesson
Barry to take the time to research and
I found a picture of my father when
organize the material? These songs were passed down from generation to gener-
Continued on page 36
the rich traditions and habits (and food) my parents grew up with.
So, why embrace our own ethnicity
when it comes to teaching music? For starters, our ethnicity is part of who we
are. I have at times separated that “side” of myself and focused on the formal
music training I received from first grade
through college. It is the formula I knew best. Scales, rhythmic drills, notation,
repetitive practice. That is how my first year of teaching went. When I took my
first Orff level class with Jim Solomon and Karen Medley, a world I was unfamiliar
with opened up. Music without notation? Expressive movement? (I wasn’t a trained dancer.) Yet through that class as well
as other professional development work-
shops, I began learning about music from
non-Western origins. Music did not have
to be written in a score in order for it to be legitimate. The songs my parents sang when I was younger and the dances that
accompanied them were just as worthy to be taught in a music classroom. I began to
realize the way I was trained as a music educator in the 1980s was not the end-all.
Embracing Ethnicity Continued from page 35
he was a little boy that was relevant
effect on their success in the classroom.
about how they grew up in their home
presentation. When my students saw a
formed songs from countries that reflect-
rassed to talk about how they walked
to the song and added it to my slide
picture of my father in front of a tradi-
tional Filipino hut, they sat up, started asking questions, and were thoroughly engaged. Immediately students were
raising their hands, not just asking questions about what life was like for my dad, but wanting to share what life was like
for them before they left their country. They shared stories from their parents
and grandparents and spoke with pride about the homes they left, many of them
from developing countries. I realized we
would not have time to actually sing this wonderful Filipino folk song that day! When we finally got around to singing
the song the next day, it was sung with
How many times have we taught or pered our student population? The excitement, engagement, and sense of pride
are palpable. Parents and grandparents
are filled with pride and sentiment when they hear and see familiar songs and
dances performed by their children. We are no longer just the music teacher to their families, but someone who took the time to honor and celebrate their
culture. Using music to celebrate diverse
I shared this part of myself with my students, I realized I had created a safe space where they could also share their
diverse backgrounds and that we were
creating shared memories and connections to each other. It was powerful.
Culturally Responsive Teaching Helps Bridge the Gap
Unlike the educational trends when I was in elementary school, we now
know that recognizing and celebrating
the different cultures and ethnicities
of our students has an impact on how
we communicate as teachers and how information is received and processed by our students (Bird-Hutchison, 2019).
Culturally responsive teaching “helps to bridge the gap between home and school” (Ladson-Billings, 1995, pp. 466-
467). In other words, including elements
of our students’ home and community
life into our teaching can have a positive
36 F l o r i d a
Suddenly a Filipino folk song was no longer a cute song about nipa huts or vegetables (Barry, 2021, pp. 8-9); it was a song that brought my students into my world,
and they were just as excited to be there ... with me.
to our own cultural backgrounds can
individuals involved (Ladson-Billings, 1995, p. 466).
song became a snapshot into my life, and
myself and the land of my parents. As
father walking around without shoes.
can provide a sense of validation to all
it was a journey in learning more about
country because they saw pictures of my
learning meaningful and authentic and
understanding and more feeling and
my students happily joined me. For me
around without shoes in their home
cultures, including our own, makes the
Embracing Our Ethnicity Opens
excitement than I ever expected. The
countries. They were no longer embar-
Doors for Our Students to Do the We are fortunate to be teaching during
a time when equity and social justice
are important. One of our Florida music
As music teachers, making connections be a powerful thing. It is another way
to identify who we are and reminds us
of the richness and wealth of cultural information we can share with our stu-
dents. In turn, our students are invited into our world where an exchange of cultural experiences can be shared and celebrated.
standards is “Through study in the arts,
Pauline Latorre is the
worlds in which they live(d)” [MU.4.H.1].
Foster Elementary in Fort
we learn about and honor others and the As I shared my cultural background through music, my students became curious, asked questions (one student even
asked if things really looked black and white back then, referring to the picture
of my father), and formed connections. My school includes a large population of students from Latin America, many
of whom speak little or no English. To be able to honor their cultures through
music helps to validate who they are. It also creates a safe space for them to
embrace their cultures as they sing and play music that reflects their cultures as
well as learn about other cultures. As I shared music of my parents’ homeland,
they became excited to share their experiences. Students who may have been too shy to speak during other music classes
were raising their hands and talking
music teacher at Stephen Lauderdale. She received the
MME from Boston University. She is the chairwoman of FEMEA District 1 and a for-
mer BCEMTA president. She can be reached at firstname.lastname@example.org. References Barry, T. U. (2021). Songs of the sun. Bridgewater, Beatin’ Path Publications, LLC. Bird-Hutchison, S. (2019). Assimilation vs. Acculturation [Video]. Retrieved April 5, 2021, from https://coe.ksu.edu/about/ publications/journey-to-refuge/refugeeexperience.html Hirschman, C. (1983). America’s melting pot reconsidered. Annual Review of Sociology, 9, 397-423. Holohan. (n.d.). Assimilation. Retrieved from Norwalk Community College Library: https://norwalkcc.libguides.com/c. php?g=572609&p=3998124 Ladson-Billings, G. (1995). Toward a theory of culturally relevant pedagogy. American Educational Research Journal, 32(3), 465-491.
FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION
Ernesta Chicklowski, President
Stay the Course, Steady the Course, and Chart a New Course in Elementary Music Stay the Course
Congratulations, elementary music educators! We’ve made it! We’ve done it! We’ve created new ways of doing things! As we
round the final curve of the 2020-21 school year, it’s time to reflect on how we are doing and what we’ve done. Each week
of this tumultuous school year has been “anchored” with chal-
and technology challenges, all while traveling room to room.
The beginning of the school year was a bit unpredictable for
each instrument daily because our students need us! We are
lenges and changes in our classrooms and music programs.
most, but today we can celebrate that we stayed the course. This
is a phrase used in the context of a war or a battle, meaning to pursue a goal regardless of obstacles or criticism. Many of our lesson plans were altered to meet our new teaching platforms
and COVID guidelines, but we did it. Despite the “waves,” we
continued to learn new software and create digital lessons to
We are steady … even if making music means wiping down steady … even if we are constantly making adjustments to each
and every lesson. We are steady … because what we share with
our students is important. Congratulations on not letting the challenging “current” take you off the course of meeting your students’ needs.
ensure our students had great musical experiences each week.
Chart a New Course
more than ever to share ideas and resources.
students in your classroom lessons, performance ensembles,
Our community of elementary music educators rallied together
Steady the Course
Keeping the steady beat and singing joyfully (masked) is the
highlight of our students’ day. We are the constant and reliable part of their week. They look forward to the magic created in
your classroom or whenever you show up in their classroom for a lesson. We continued to steady the course, staying focused
and ensuring each class was filled with meaningful musical experiences.
Those smiling eyes and little masked faces are so glad you
showed up and gave it your best despite the planning pivots
Kudos to you for creating new musical experiences for your and concert events this school year. Charting a new course takes
thoughtful planning, purposeful performance opportunities, and navigating new ways of connecting with our students and
their families. We remain optimistic, determined to see and
understand the possibilities of what can still happen in our
music classrooms despite the unique challenges we face today. We will continue to ride the “waves of change” with grace,
tenacity, and creative ways to make music education an essential part of our student’s growth.
It’s smooth sailing from here! Stay in the boat! We’re almost
there … full steam ahead!
can’t believe it’s already May! With the
FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION
Marc Decker, DMA, President
In preparation for today’s article, I read
delicious coffee, there were always a few
ment and retention. Although there are
chance for us to communicate about all
warmer weather comes the promise of
through the latest research on recruit-
year. Like so many of you, I’m already
many factors outside our control, there is
summer and anticipation of a new school deep into planning for the upcoming
school year. There is something about
picking performance dates, selecting repertoire, and planning road trips that breathes new life into me, and fuels these
last few weeks of school. As I plan for the new school year, I often think about
recruitment and retention of students. All of our programs would benefit by
improving participation, not only because we want to instill a love of music in
today’s youth, but because we know the
activity of music making is a crucial component to a well-rounded education.
much we can do to encourage students to continue in our ensembles. Maintaining regular contact with parents, encouraging
the students verbally, visiting feeder programs, and working toward a clear pro-
gression from one year to the next are all beneficial. But equally important is rec-
music with more individuals is a personal goal I know many of you share.
and grow an ensemble’s sense of com-
munity by making our music halls safe places, both welcoming and encouraging.
Another vital component of recruit-
itive working relationship with school the teachers’ break room was next to the administrative offices. Every day at 7:15 a.m. — after zero hour jazz band —
I made my way there to brew the first pot of coffee for the day. As I waited for that
The Florida Music Education Association values the broad human diversity in the state of Florida. We are distraught and frustrated by the continued injustice and violence toward Black people in our country. Social inequality and violence, in any form, must not be tolerated in our nation. FMEA sees, hears, and supports the struggles of our teachers and students in the Black community. We are with you, and together we can and will do better to end discrimination while advocating for equality.
38 F l o r i d a
were great allies and were able to work
magic with the academic schedule, keeping many students enrolled in my music ensembles over the years.
My final thought on recruitment and
that “success breeds success.” As simple
academic counselors. In my first job,
ing friendships. Sharing the artform of
performance. The academic counselors
this is a powerful force. We can encourage
identity around making music and that
But it’s also an outlet where students from diverse backgrounds and form last-
lenges to the students’ most recent MPA
retention echoes the words of one my
ment and retention is to foster a pos-
can interact with like-minded individuals
sorts of things, from scheduling chal-
ognizing that students craft their social
It benefits the students socially and emo-
tionally, and it improves reasoning skills.
minutes to talk with everyone. It was a
mentors, Gary E. Smith, who often says
as that might sound, it’s important in setting priorities with recruitment and
retention. Students want to be in successful music programs. The more success
we achieve, the more students will want to participate, which means our primary
focus should always be on building qual-
ity with what we have. As you continue
building quality in your programs, I wish you all the best. Let’s finish the year strong.
Stay safe and teach well!
FLORIDA MUSIC SUPERVISION ASSOCIATION
Harry “Skip” Pardee, President
nce again, Florida’s educators have
what we do in all of Florida’s schools has
motivated to help in any way possible.
tions to ensure a high-quality arts edu-
leadership this year have changed young
honors of my career to serve as presi-
gone above and beyond expecta-
cation for our students. In a year of so much uncertainty, through your classes
students in need, and a common goal
regardless of whether or not a district has
comes as no surprise to music educators that the act of music making has healing
qualities, and undoubtedly those ben-
Association these past two years. I am
Association (FMSA) is committed to
to which students can steadily strive. It
dent of the Florida Music Supervision
lives for the better. Hats off to you!
and ensembles, you provided access to positive, creative outlets, safe spaces for
Friends, it has been one of the highest
no limit, and surely your teaching and
forever indebted to the music program
leaders in our state for allowing me to
serving all music educators in our state,
serve this great organization and through representation on the FMEA Board. Have
central office representation in a program
a wonderful remainder to your school
leader. If our organization can be of any
help to you in your school district, we are
efits surfaced this year in your classes
and ensembles. Innovation in our arts classrooms is at an all-time high, where
FLORIDA ORCHESTRA ASSOCIATION
teachers and students are engaging in standards-based lessons either through
Matthew Davis, President
in-person instruction, virtual classes, or a hybrid model. Remembering just a calen-
dar year ago, where the status of schooling across the country was so uncertain, it is hard to believe we are completing the
academic year having celebrated so many common victories.
For some, however, successes were less
frequent, and even employment status
in our beloved profession was, or still is, in question. While we all know the
immense pressures placed upon our lead-
ers to administer a balanced curriculum
his was not the year we expected, but I believe we are beginning to see the
light at the end of the tunnel. I am very proud of how we as an organization
continued to move forward, strengthening our commitment to bring high-level string education to the orchestra students of Florida. It may have looked differ-
ent, but solo and ensemble and concert MPA performances happened, concerts happened, and most important, music was made. You provided connection
and beauty to students, families, and their communities. Congratulations to
each of you for fostering hope by making music possible during this time of uncertainty!
Mark your calendar for a fantastic Fall Conference September 23-24 at the
and budget, it is always difficult to hear of
Hilton Orlando. We will host two very special guests this conference — com-
and student-centered educators are mis-
sessions this year. We will also feature two new music reading sessions, so bring
situations where hard-working, talented, placed in a district’s priorities.
What then, can we do as a profession
that moves us forward? Be involved both as an educator and as a citizen in your
poser Soon He Newbold and master teacher Brenda Brenner will each present
your instrument and stand. There will be vendors, as well as a great chance to reconnect and network with others in our profession after such a long time apart. Hotel reservations and preregistration must be made by September 10.
As I round out my two years as your FOA president, I want to thank the
community. Ask questions respectfully,
many colleagues who have given me their support and friendship. This was not
legislation and communicate with those
in moving forward. I want to offer a sincere thank you to the FOA Executive
but with fervor. Read up on proposed who attach their names to it. And in the
words of a mentor of mine, “The world is changed by those who show up.” I have no
doubt in times like these, where the only
certain thing is uncertainty, arts educators
will do just that. The life-long impact of
the presidency I expected, but I am truly glad I could assist the organization Committee: Don Langland, Jason Jerald, and Carol Griffin. And a special thank you to Valerie Terry, our clinics/conference chairwoman, for all the support and advice she has given me these past two years. FOA is in excellent hands as Carol begins her term as president. I know great things lie ahead for string education in Florida!
FLORIDA VOCAL ASSOCIATION
Jason Locker, President
“My life flows on in endless song, above earth’s lamentations …” I have learned a great deal throughout my career from this
Hall of Fame, Roll of Distinction, and Choirs of Distinction. I am
tune to know and to count as friends. I have learned from the
executive board member alongside whom I have had the plea-
association and from the colleagues I have had the good forHead’s House of Music choral panoramas, FVA summer confer-
ences, and FMEA professional development conferences I have attended. I have learned from the many district and state solo
and ensemble and choral concert MPA adjudicators who have provided feedback. I have learned from the many distinguished
all-state conductors whose work with our students I have been fortunate enough to observe.
“… I hear the real, though far-off hymn that hails a new creation …”
It has been my great honor and privilege to serve as president of the Florida Vocal Association over the past two years. When
I consider the dedicated leaders who have served in years past, I am truly humbled. Our association is a living, constantly evolving organism. During my tenure, we began the work of
preserving our history through the institution of a new standing committee, the Legacy Committee. At the same time, the board
began grappling with difficult questions and casting a vision for the future. We adopted a new mission statement, which has
become the basis for the organizational soul searching and goal setting that will eventually become the first FVA Strategic Plan.
We have also expanded the FVA Awards Program beyond the
proud of the work we have done and give my thanks to every sure of serving over the past two years.
“… through all the tumult and the strife I hear its music ringing …”
Nobody expected that our entire world would shut down last year as the result of a global pandemic. We were all caught off
guard, and we certainly did some mourning for the many things
we had to sacrifice over the past year. In an instant, we faced previously unthinkable decisions about canceling MPAs, conferences, and honor choirs. Each member of your Executive Board
has displayed incredible leadership, creativity, and compassion
throughout this crisis. I could not be more proud to serve alongside each one of them over the past two years. We have navigated these unprecedented times together and have done our very best
to maintain the financial health of our association while continuing to provide (albeit in very different formats) the programs
and services needed by the choral music educators and students
of Florida. And we all look forward to better days ahead as we begin to emerge from the pandemic.
“… it sounds an echo in my soul.”
As I said before, the Florida Vocal Association is a living thing, constantly growing and changing. As one term comes to a close, another begins. We can never say thank you enough to J. Mark
Scott for his incredible service as our executive director. He has been the steady hand that has guided us for over a decade. With his retirement, we welcome Michael Dye as our new executive
director. We also thank Tommy Jomisko and Elizabeth Phillips for their service on the Executive Committee and welcome David
Pletincks and Michelle Tredway to their new roles. And I can’t tell you how excited I am for the leadership and vision Jeannine
Stemmer will bring to our association as she assumes the pres-
idency! Thank you for allowing me the privilege of serving as your president. It has truly been an honor. I remain as optimistic for the future as I have ever been, so …
“How can I keep from singing?”
40 F l o r i d a
SILVER LININGS SILVER LININGS DR. JUDY BOWERS DR. JUDY BOWERS
DR. AMANDA QUIST DR. AMANDA QUIST
DR. TIM BRENT DR. TIM BRENT
FLORIDA VOCAL ASSOCIATION FLORIDA VOCAL ASSOCIATION SUMMER CONFERENCE
DR. PETER STEENBLIK DR. PETER STEENBLIK
DR. JEFFERY REDDING DR. JEFFERY REDDING
JULY 23-24, 2021 JULY 23-24, 2021 HILTON ORLANDO/ALTAMONTE SPRINGS HILTON ORLANDO/ALTAMONTE 350 NORTHLAKE BLVD, SPRINGS 350 NORTHLAKE BLVD, ALTAMONTE SPRINGS, FL. ALTAMONTE SPRINGS, FL. BLOCK CODE: CHPANO BLOCK CODE: CHPANO May 2021
FLORIDA BANDMASTERS ASSOCIATION
Ian Schwindt, President
ere we are coming to the end of the
will always have a ceiling. No matter how
great place to start. Every child deserves
so many great things have happened and
no matter how long I work, no matter
approached every episode as if he were
2020-21 school year. Whew! While
continue to happen, this year has definitely taken a toll on me. And this toll some-
times causes me to struggle with finding the motivation to keep doing what I am
doing. This is especially true when I do
not seem to be reaping the same results
I have had in the past. Ensembles do not sound the same, ensembles cannot make
a true ensemble sound because the play-
ers are not all there, we cannot play the
hard I work, no matter how smart I work,
how much help I get, my groups will
never be even close to the U.S. Marine
Band. Believe you me, my groups sound much better now than when I started,
and I will always strive to be better for
I loved music. And I still love music, but
along the way I have found that my music
to just us!
So, are we doing the same thing in our
students to push buttons and blow air
with the making music why.
The new why is the individual stu-
revelation was watching a documentary
“why.” I started in this profession because
Mr. Rogers’ Neighborhood? He was talking
why had grown and developed in concert
But when I take a moment to look at
number one motivator in my life, my
of us could feel that when we watched
classrooms? Are we teaching bands, or are
with that realization, I discovered a new
dent’s growth and development as a
this list, I realize I have lost sight of the
talking to a single child. And how many
them, but there is still that ceiling. And
same type of music as in the past, and the list goes on and on.
our absolute best. Fred Rogers said he
human being. What brought me to this
about Mr. Rogers. He was an unassuming
man who simply believed every child
is special, important, and deserves to be treated as such. When we talk about
diversity, inclusion, and equality, what a
we teaching individuals? Are we teaching
and strike instruments to produce sound effects, or are we teaching each and every
student that they are important individuals? Are we teaching every student that
they matter? Are we teaching every student that their feelings, thoughts, and
emotions are important and part of the shared human experience? Are we teaching every individual how to use those
feelings, thoughts, and emotions in positive ways? Are we eventually channeling
all of that education into empathy for their
fellow human beings regardless of their similarities and differences?
This is my why. I want great music to
be made in my room, and it is the vehicle
I am using to try to help every single student to be a better, happier, more well-ad-
justed human being. That is the ultimate goal of my classroom. While some students have graduated high school and
gone on to careers in music, it is not the norm. That cannot be our number one goal because it is simply not realistic. We want to help students realize their full
potential as human beings. And this is what we can do in music education that
makes us unique and absolutely critical to our kids. That is a goal for every
student, and that why will propel us through whatever hardships we have to deal with as we begin the rebuilding
42 F l o r i d a
process. Music Director
FLORIDA NAfME COLLEGIATE
Alexis Hobbs, President
Coping With Anxiety by Allison Yopp
usic education is a beautiful profes-
sion to enter. I have watched hun-
dreds of students be positively affected
by music and the educators involved, and I have seen these same educators benefit
from their students’ learning and devel-
opment in their classrooms. It was these
types of educators who prompted me to
major in music education when I began my college career. The passion that music
provided launched me into becoming a music educator; however, I had not been
privy to the negatives of the music edu-
cation field, and nothing had been mentioned by current music education majors
there will be stressful times with multi-
their own armor. The more we perform,
imizing the stress, anxiety, and burnout
our lives, and it’s OK to scream a little
a performance is less than stellar, it can
about anxiety and burnout. I am not minin today’s teaching profession, but “... it has been reported in previous empirical
studies that although depression, anxiety, and stress have been prevalent among
students in higher education, music edu-
cation students are in a more disadvantaged position with regards to depression, anxiety, and stress compared to other col-
lege student populations” (Oğuz-Duran &
ing comes solidification in our abilities
taking a break is OK! “Music structures
through until we succeed. Our love of
and music is an effective memory aid”
out as we traverse our music education programs and enter the world of education?
The obvious answer is students must
think of the bigger picture and allow themselves to fully enjoy the college music major experience (though no one
informed us the experience includes seven classes, four ensembles, and two lessons a week). As music majors, we
must be prepared for those sometimes overwhelming semesters, understanding
(Demirbatir, Bayram, & Bilgel, 2012). Every
music placed us in this program, and we
time we schedule classes, field experienc-
have to keep that love foremost in our
es, or student internships, we see a sched-
ule chock-full with music, music, music
Performance anxiety is the bane of
it alongside our many colleagues who
So, how do we cope with this anxiety
time in a way that we can understand
and our talents as we strive to push
factor in students not completing their
and prevent ourselves from being burned
Another idea we must embrace is that
in that minor key. With this understand-
many musicians. While earning cred-
still yield another piece of armor.
when we can’t get that triplet run or sing
Demirbatir, 2020). Within the colleges of
music education, this has become a major
the stronger that armor becomes. Even if
ple responsibilities taking precedence in
from sunup to sundown. Music majors and directors must take a step back and
its in music education, we are doing
breathe sometimes, which is an anomaly in this field, but it is necessary to calm the
have the same talent and level of musi-
anxiety and prevent burnout. Whenever
cianship, which can cause much anxiety.
we get a chance to take a step back and
“Performance anxiety can be explained
work on our own mental health, we are
as a failure anxiety that occurred before
able to find a new love and appreciation
presentation of any skill to any group
for the gift we were granted. By taking
of people or occurred during the perfor-
these short breaks, whether it be an hour
mance” (Talsik, 2014). Music majors have
or a day, we clear our minds and allow
to perform multiple times throughout the
ourselves to refocus on what is important
semester, and with other students per-
so we can become the best music educa-
forming alongside them, there is a need to
tors we can be.
play or sing to the best of their ability. To
We must also be introspective and
overcome this anxiety, we must remem-
ber that every performance adds one
true to who we really are. Music educa-
and everyone on stage with us is building
Continued on page 44
tion must be a calling, part of the fabric
more piece of our “performance armor,”
ComponentNews FLORIDA NAfME COLLEGIATE
Continued from page 43
of our past, present, and future. If we continually feel as if we are in the wrong
profession as music educators, we prob-
ably are. Don’t become a music educator because it is “easy money,” you will “get
summers off,” or because you were in
band your entire high school career and
feel as if music is the only thing you know.
References Demirbatir, E., Bayram, N., & Bilgel, N. (2012). Is the healing force of music far away from the undergraduate music education student? International Journal of Academic Research in Business and Social Services, 2(1). Oğuz-Duran, N., & Demirbatir, R. E. (2020). The mediating role of shyness on the relationship between academic satisfaction and flourishing among pre-service music
teachers. International Education Studies, 13(6), 163. https://doi.org/10.5539/ies.v13n6p163 Swanwick, K. (1999). Music education: Closed or open? Journal of Aesthetic Education, 33(4), 127. https://doi.org/10.2307/3333725 Talsik, E. (2014). Learning performance and social anxiety in music education. International Journal of Academic Research, 6(5), 67-72. https://doi.org/10.7813/20754124.2014/6-5-B.10
“[W]hen music sounds—however elementary the resource and techniques
may be—the teacher is receptive and
FLORIDA NAfME COLLEGIATE
Mark A. Belfast, Jr., PhD, Advisor
alert, is really listening and responsive and expects students to be the same”
(Swanwick, 1999). No one wants to get into a classroom and feel as if it is not the
place for them. Not only will such feelings negatively affect a teacher’s outlook, but
it will also have a negative effect on the students’ outlook on music as a whole. As
That’s a wrap!
ust like that, we put a button on another collegiate academic year! After all
we’ve experienced since last spring, I find it quite remarkable to be writing
you this evening having just returned from a series of all-county music festival
a result, the students may lose their love
performances. Although there has been a great deal of uncertainty throughout
affect the entire music profession.
pandemic is capable of stopping people from teaching, learning about, and
for music participation, which in turn will As we end our spring semester, some
may be graduating, some persevering
the last year, of one thing I am certain: teachers will teach. Not even a global making music.
As we look forward to the next academic year, there is much to be excited
in music education programs, and some
about. We continue to develop plans for a face-to-face Florida NAfME Collegiate
accept that anxiety is real in our profes-
incoming freshmen who have not yet been able to attend a Fall Conference in
or a sprained ankle. We cannot ignore it,
specifically designed to meet the needs of people like you (i.e., preservice music
passion for music to counterbalance these
across the state, and where you can engage in fellowship with members of other
lege programs as well-rounded, passion-
tunity for professional development at an extremely reasonable price. Be on the
just finishing their first year. We all must
Fall Conference this October. I am so excited for our rising sophomores and
sion and must be treated just like a cold
person. It that’s you, just imagine a conference where ALL of the sessions are
or it will overcome us. We must use our
educators), where you get to meet and interact with music supervisors from all
anxieties so we can emerge from our col-
NAfME Collegiate chapters. The Fall Conference is always a wonderful oppor-
ate, and excited music educators.
lookout for additional information from your Executive Board.
At this time of year, we also say farewell to a number of our component
members as they complete their degree programs, accept positions as in-ser-
Collegiate. She is a junior
FEMEA, FVA, etc.). The leadership and activity of those members has helped to
where she plays trombone in
you, graduating seniors, for your dedication to NAfME Collegiate and the music
as the fundraising chair on the SEU NAfME
again in Tampa!
spring 2023 and plans to teach for a few years
able summer. Do not hesitate to contact me if I can be of assistance to you and
dent-elect of Florida NAfME
vice educators, and become members of their specialty area components (i.e.,
at Southeastern University
shape Florida NAfME Collegiate over the last four or five (or more?) years. Thank
many ensembles and serves
teaching profession. We wish you all the best and look forward to seeing you
Executive Board. Allison will graduate in before obtaining her master’s and doctoral degrees.
44 F l o r i d a
I pray all of you will have a wonderfully relaxing, rejuvenating, and remark-
your chapter as you begin making plans for the fall semester. Be well.
ResearchPuzzles FOR MUSIC TEACHERS
This on-going column seeks to stimulate awareness of research issues for FMEA teachers and researchers.
“I Made Myself Fit In”:
or this last column I direct you to a recent narrative inquiry research study by
RESEARCH COMMITTEE CHAIRMAN
Don D. Coffman, PhD University of Miami
Taking a moment to reflect on Research Puzzles 2007-2021 This month’s column marks the 112 appearance of “Research th
Puzzles” and my last contribution because I am stepping down as research chair in May.
From July 2007 to May 2013,
my predecessor and friend Victor
Fung (University of South Florida) established and prepared 48
installments of this column, with the
hope that readers would have a better
understanding of the research process through reading the column over an extended period of time.
Tami J. Draves and Jonathon E. Vargas (2021). They purposed to:
re-story the experiences of a first-year music teacher with regard to race and
class. Johny was a first-year high school guitar teacher in the southwestern
United States who identified as Hispanic and was raised in a family with a
lower income. He was also a first-generation college student whose path to university study was atypical because of his major instrument, musical background, little high school music class participation, and entrance to postsecondary music study at a community college. Johny’s story is a work of critical
storytelling and is interpreted through an intersectional framework. His story compels us to thoughtfully attend to curriculum, musical knowledge, equity, and how music educators can serve an increasingly diverse student population in schools of music. Issues for consideration include (a) increased support of
nontraditional students, including those from marginalized populations, such as students with lower incomes, first-generation students, and community col-
lege transfer students, and (b) promoting meaningful and collaborative change across multiple areas in schools of music.
In the article’s suggestions for practice, the authors elaborate on these consider-
ations while acknowledging the challenges that would be encountered to make sig-
nificant shifts to support future music teachers who are nontraditional in a variety of ways. One recommendation I noted in particular was to consider allowing students
to work part-time during the student teaching semester. Recognizing that many
music teachers put in long hours outside of the contracted school day, the authors speculate that perhaps student teaching could be four days per week, for more hours
I became research chair in 2013 and
the subsequent 64 columns, posing
the article for free through the NAfME website—use the Research tab and locate the
shifted the column’s direction for
questions that reflected the findings of published research studies.
I thank you all for reading. It’s meant
a lot to hear from you when you found something particularly meaningful.
The authors do a fine job of giving us food for thought. FMEA members can view
Journal of Research in Music Education link. Or, click HERE Be well and take care.
Reference Draves, T. J., & Vargas, J. E. (2021). “I made myself fit in”: Johny’s story. Journal of Research in Music Education. https://doi.org/10.1177/00224294211001876
DIVERSE LEARNERS COMMITTEE Alice-Ann Darrow, PhD, Chairwoman
Let’s Read and Make Music This Summer! ject matter (Hulme & Snowling, 2016).
to read, pairing music with reading is an
academic success. It is the primary and
have had little exposure to print material
all subjects taught in school, particularly
children—especially those born in pov-
Why Music and Reading?
jobs—may not have been read to or even
workshop with Alfred Balkin, then a pro-
eading is the single most import-
ant activity involved in children’s
most effective vehicle for learning nearly
in the secondary grades. Reading opens children’s imaginations as well as doors
to the world around them. Many children are fortunate enough to have had parents
who acquainted them with books and read to them long before they were able to
read themselves. We know that children
who have had early literacy experiences advance more rapidly in their vocabulary,
reading skills, and learning of other sub-
Unfortunately, some young children
or to bedtime and laptime reading. Some
erty to parents who must work multiple
looked at or played with books before they entered school. Children from homes where their parents’ English skills are
limited or reading abilities and practices are low are at increased risk of reading
failure. Children with certain disabilities such as hearing loss or speech and lan-
guage delays also experience difficulties
in learning to read (Lyon, 2000). Perhaps
most negatively affected are children with reading disabilities.
Reading disabilities are neurological
learning differences that can include problems with phonological processing, reading fluency or speed, and reading
comprehension. Children with reading disabilities may have exceptional oral
language abilities, above average intelligence, and parents who gave them early and frequent interactions with literacy activities. Nevertheless, these children
may have a problem with spelling, read-
ing words accurately and quickly, or with understanding what they are reading. Another general and frequently used
term for reading disabilities is dyslexia; however, dyslexia is specific
to understanding how letters and
sounds interact. Children with dyslexia have difficulties break-
ing down words into separate
speech sounds. They also have trouble figuring out what letters
effective way to ignite their interest in
Many years ago, I attended a summer
fessor at Western Michigan University. He was primarily a composer of songs
for children, but he was also committed to children’s literacy (Balkin, 1999a). He spoke about music being a powerful tool
to support our students as they learn to
read. I was inspired to use that tool and subsequently found that I loved using music to support reading objectives. At
that workshop Professor Balkin gave us
an article he had written, and I still have it all these many years later (Balkin, 1999b). In it, he wrote (p. 1):
The class music teacher might ask: “Is it my job to teach literacy as well
as music? Is this what I was trained to do?” My answers are: “You have
been trained to teach children. Your
specialty is music. You use that specialty and your talent to teach whatever (along with music) fundamental
knowledge that children must pos-
sess in order to function successfully in school and life. You are first and
foremost a teacher, one who holds
the magic of music in your hands, head, and heart. This magic can move
children in so many varied ways that will energize them to learn almost anything. Why would you want to deprive them of this magic tool?”
As a teacher and being trained both as
have made those sounds (Hulme
an elementary music educator and music
who may have difficulty in learning
to address reading or other nonmusical
& Snowling, 2016). For children
therapist, I had no issues using music
goals. I taught in a special education cen-
and slide), words that can be adjectives
2012). Some of the key connections are:
tual disabilities, learning differences, and
phy (the city of San Simeon in California).
found in both music and reading, includ-
ter with classes for children with intellecvarying degrees of hearing loss. All of
these children required special instruc-
tion in language, reading, and speech.
Music was indeed a magic tool, and I used
it to its full advantage. We sang songs that contained students’ grade-level sight
words, spelling words, and speech objectives.
Our school speech pathologist told me
students in one of my classes were learn-
ing to produce and recognize the “s” sound. I composed a song, Sammie the
Singing Snake, in which Sammie “sang as he slowly slithered and slid down the
slimy sidewalks of San Simeon.” We made
elements, and auditory memory; (2) the
note and the shortest note. We played
development of visual decoding process-
the song on colored bells as we sang. We
es found in both music and reading,
drew pictures of Sammie. We planned a
including knowledge of letters and words,
trip to San Simeon and how we would get
and how these come together to create
there. I eventually tired of Sammie, but
sentences, as well as notes’ duration and
students never seemed to. They began to
pitch levels, and how these come together
think Sammie was a real snake slithering
to make measures and phrases in music;
around somewhere on the sidewalks of
(3) the ability to follow written lines of
San Simeon. I like to think my students
text and musical notation from left to
learned more than how to read the song
right and from line to line; (4) the ability
lyrics, or to produce and recognize an “s”
to decipher vocal inflection, volume, and
and made them slowly slither and slide as
the various connections between music
(Sammie), reptiles (snakes), verbs (slither
between similar and differing auditory
song and the lowest pitch, the longest
Music and Reading Connections
we sang. We talked about proper nouns
ing phoneme awareness, discrimination
We determined the highest pitch in the
snakes in adapted art class and took them to the sidewalks outside the music room
(1) the development of auditory processes
and verbs (singing snake) and U.S. geogra-
stress in music and language learning; (5)
the use of visual memory to read ahead
and take in all the visual elements in
A number of authors have addressed
a naturally remembered way such that
reading both texts and musical lines is Continued on page 48
and reading (Hansen, Bernstorf, & Stuber,
2004; Kimball & O’Connor, 2010; Tarbert,
CommitteeReports Diverse Learners continued from 47 executed smoothly; (6) the advancement
of the underlined word that is the
in reading and singing songs, assuming
adjectives for adjectives, etc.) to create
same part of speech (verbs for verbs,
of vocabulary when children are engaged
a new song.
teachers attend to and address unfamiliar
words; and (7) fluency in word reading
Depending on what the classroom
and music reading as an important part
teacher is working on in reading, stu-
of learning to sing rhythmically and read
Some Favorite Music/Reading Activities
One of my favorite activities to address
the reading or language goals for a class is to use the students’ favorite song by a
popular artist to practice various literacy skills. Students might simply write out the lyrics and then read them aloud to
practice writing and reading fluency, or depending on what reading objectives
their classroom teacher is working on, I
« compile might:
a list of new vocabulary
words from the lyrics and have stu-
« create a reading comprehension test based on the lyrics; « take out every nth word of the lyrics to dents define them;
create a word bank that students use
« underline selected words and ask stuto fill in the blanks; or
dents to write another word in place
48 F l o r i d a
dents might be asked to find and circle in
« synonyms or antonyms for selected words « rhyming words « words with suffixes or prefixes « contraction words « slang words « words with specific short and long vowel sounds « examples of alliteration, simile, metaphors, etc. « multiple meaning words (bow and bow) « proper names « nouns « adjectives « helping verbs « action verbs « adverbs « conjunction words « prepositions « correct number of purposely misspelled words « repeated words or phrases
« Students select a favorite popular song Other popular song activities are:
and recording and follow the written
lyrics along to the recording. When the music stops, students circle the last
word sung. This activity encourages students to follow and attend to the lyrics and encourages word decoding
and auditory attention.
match the song lyrics to
illustrations, or to notated rhythms of
« Students find examples of grammatical rules studied in class in the lyrics. « Students in groups or individually selected words or phrases.
write their own song lyrics, making sure to address spelling and word meanings.
Raps are a popular medium for learn-
ing numerous literacy concepts. With thanks to Julie Novak Harrison at the Colorado School for the Deaf and Blind,
one of my favorite raps, best performed with a rhythmic backbeat, is: This is the opposite rap, You say the opposite when I snap, I say north, you say ______ (south), I say up, you say ______ (down), etc.
reading and learning about music. Several
« Can You Hear It? by William Lach « Listen to Music From Around the World by Marion Billet « Giraffes Can’t Dance by Giles Andrene
can be sung as a refrain or chorus by the
ter has value in its own right and is not
and short, or more advanced, such as
to play the rhythms of repeated words or
though, that music, and songs in partic-
rap (small and little, hard and difficult,
with children while learning about music
experiences for all students, especially for
Books about music or musicians are
particularly valuable tools for practicing
and Guy Parker-Rees
Music as core curriculum subject mat-
of these books have repeated phrases that Opposites can be simple, such as tall
class. Classroom instruments can be used
just a tool for literacy education. We know,
rural and urban. It can also be a synonym
phrases. My favorite books for reading
ular, can greatly enrich literacy learning
etc.). Dena Register, a music therapist, has
can all be found on Amazon.com:
« This Jazz Man by Karen Ehrhardt and R. G. Roth « Zin! Zin! Zin! A Violin by Lloyd Moss and Marjorie Priceman « I Know a Shy Fellow Who Swallowed a
those who may have reading challenges.
created numerous raps for literacy, such as raps for alliteration and rhyming words. For the first rap below, children think of an adjective, and if they can, a verb that
alliterates with their name. For the second
rap below, they look at the word card they
have been given and determine if their word rhymes with the word (or image) the teacher is holding up to the class.
Hey everybody who’s in town, Let’s all stop (wait) and look around, It’s daring Darrow dancing around, It’s musical Michael moving around, etc. Teacher: It’s rhyme time, it’s rhyme time, Who has a word that rhymes with mine?
Teacher: It’s … Students: rhyme time, Teacher: It’s … Students: rhyme time, Teacher and students: Who has word that rhymes with mine?
Summer reading programs are often a part of the school curriculum. Why not
make it a winning partnership between reading and music? Let’s make music and read this summer!
Cello by Barbara Garriel and
« Why Beethoven Threw the Stew by Steven Isserlis « Why Handel Waggled His Wig by Steven Isserlis « Never Play Music Right Next
Balkin, A. (l 999a). Tune up to literacy: The song way to learning language. Hilton Head, SC: New View Music. Balkin, A. (l999b). Music and literacy: A partnership. Massachusetts Music News. Hansen, D., Bernstorf, E., & Stuber, G.M. (2004). The music and literacy connection. Reston, Virginia: The National Association for Music Education.
to the Zoo by John Lithgow and
« What a Wonderful World by George David Weiss and Bob Thiele « I Got Rhythm by Connie SchofieldMorrison and Frank Morrison « Music Is for Everyone by Jill Barber and Sydney Smith « Manuelo, the Playing Mantis by Don Freeman « Singing in the Rain by Tim Hopgood « What Makes Music? by Betty Ann Schwartz and Dona Turner « 88 Instruments by Chris Barton Leeza Hernandez
Hulme, C., & Snowling, M. J. (2016). Reading disorders and dyslexia. Current Opinion in Pediatrics, 28(6), 731-735. Kimball, K., & O’Connor, L. (2010). Engaging auditory modalities through the use of music in information literacy instruction. Reference & User Services Quarterly, 49(4), 316-319. Lyon, G. R. (2000, January/February). Why reading is not a natural process. LDA Newsbriefs. Learning Disabilities Association of America. Tarbert, K. (2012). Learning literacy through music. Oneota Online Reading Journal, 2012. Retrieved from https://www.luter,edu/ oneota-reading-journal/archive/2012/ learning-literacy-through-music/
STUDENT DEVELOPMENT COMMITTEE
Michael Antmann, EdD, Chairman
focus; solid fundamentals are the basis for musical growth and achievement.
This may mean taking a step back, being thorough, and moving slowly. Repetition
leads to consistency, and consistency is the foundation of success. Skills Progression
The best teachers I know have a clear curriculum plan and progression of student skills. Outline what your students should
ultimately know when they leave your
program, and then create a step-by-step plan to get there. Maybe they won’t be
where they normally would at this time, but with a clear plan, you can find them s I reflect on what has been a challeng-
beginning to make plans to return to a
by so many people in our profession and
has continued for more than a year, so
ing year, it’s hard not to be amazed
the lengths to which we’ve all gone to provide high-quality music education to our students, even in the most difficult
of circumstances. While it’s impossible to know what will happen next, it’s hard not to feel at least a little hopeful that some
more traditional format. The pandemic
the transition may not be like “flipping
enrollment, long-term and short-term,
foundation for success. What are the tra-
of the most critical factors in student
achievement, but in many cases the teach-
er and students have been miles apart. It’s also important to remember the interper-
sonal aspect of music programs, which has been diminished or absent for many
music students throughout the pandemic.
The good news is these challenges led
The culture of a music program sets the ditions, values, and behaviors that are
most valuable? Students who are new this year may not have experienced these yet. Some events or procedures may take
more preparation or explanation than in
the past. Some traditions that are typically run by students may take extra support.
This may also be a good time to alter or eliminate less-desirable activities.
to incredible collaboration among music
different, students continued to learn
and anxiety in students, and other factors
educators, and while it may have looked music.
Now, as we head toward the summer
and a new school year, many of us are
50 F l o r i d a
students achieve success and to help our
finding a way to keep kids engaged and
us the student-teacher relationship is one
students feel successful and can create
Recruiting and Retention
decided to focus on four areas to help
learning from a distance. Research tells
Measurable, reasonable goals can help
a switch.” In my own preparation, I have
sort of normalcy is on the horizon.
The challenge over the past year was
where they are and move them forward.
The disruption to regular routines, stress
may have led to inconsistencies or the ero-
sion of some fundamental skills in music
students. This will need to be a primary
Many of us are worried about program
after the pandemic. One of the greatest
factors in retention is student success; do they feel good about what they are doing?
Focusing on fundamentals and individual skills is a great first step, but it may
also be wise to find ways to bring in new
students. Maybe it’s time for a high school beginning band or orchestra? What about an open-choir night at school for new
students to come see what it’s all about? Maybe an instrument “petting zoo” for 7th graders not already in the music pro-
The past year has been challenging,
but challenges do provide opportunities.
Many of us have learned new technol-
ogies or techniques to reach individual students. With new resources, new technology, and a collaborative spirit, we have
the opportunity to come back even better than before.
Debbie Fahmie, Chairwoman
FMEA Awards Categories « Leadership Award for Music
his article is my swan song for the Awards Committee. It has been my privilege to serve as
chairwoman since 2009. Over the course of 12 years, I have had the amazing opportunity to meet and cele-
brate some of Florida’s most dynamic heroes of music
« Music Educator of the Year « College Music Educator of
education. Year after year, I’ve been inspired by the
work I have witnessed being done in support of music
education throughout the state. It has made me very proud to
be a part of music education in Florida. Without my involvement
« Administrator of the Year « Superintendent of the Year « District School Board/School
on this committee, I probably would not be as aware as I am about the exceptional
things we have going on for our music students. The FMEA Awards Program does an exceptional job of honoring some of the folks who contribute to the success of our music programs. Additionally, it provides advocacy for the field by holding up
great models for others to emulate. This year’s award winners provided us a unique
Board Member of the Year
« Distinguished Service Award « Exemplary Model
glimpse into their minds and hearts by recording video footage of themselves that was presented as the Awards Ceremony during the 2021 FMEA Virtual Professional Development Conference. I certainly hope you had an opportunity to check it out.
We once again turn to our membership as we look ahead to the 2022 FMEA
« Hall of Fame « Middle/High School Music
Awards. Nominations depend on the active involvement of our members. Who do you know who is deserving of recognition in one of the major award categories? If you haven’t had a chance to read about the 2021 FMEA awardees in the February/
March issue of Florida Music Director, I encourage you to take a few moments to do
« Music Education Service
so. This can help inspire you to think of the music education heroes in your sphere
and submit a nomination for them. All applications are completed online (CLICK HERE
Award (Includes 50-Year Membership Award)
). You can also find examples of successful applications on the website to
guide you through the process.
As I close out my final FMEA column, I’d like to leave you with this thought. I
encourage each and every one of you to become actively involved in our association.
I’ve served in some capacity on the FMEA board since 2002. Prior to that, I was very active with FEMEA. My entire career has been guided in some way by FMEA.
I can honestly say my career would not have been nearly as fulfilling had it not
been for my interactions with FMEA, its leaders, and its members. The friendships I have made, both personally and professionally, have made a significant mark on
my development as a music educator. I have learned and grown so much through the leadership and guidance I’ve been given as part of FMEA. If you have not yet
stepped up to become actively involved in some way, I highly encourage you to do so. It will be the best gift you can give to yourself and your career. Wishing you all a joyful summer. Stay well.
o you need a little more time? In these challenging times, sched-
ules seem as crowded as ever, maybe even more crowded! That’s why we are
extending the deadline for applications to the 2022 FMEA Emerging Leaders Program. Now due by May 10, please CLICK HERE
to apply or to nominate a
music teacher leader. District arts leaders,
please encourage and nominate teachers
EMERGING LEADERS COMMITTEE
Mary Palmer, EdD, Chairwoman
Emerging Leaders will have oppor-
tunities to be part of the inner work-
ings of the annual FMEA Professional Development
Leaders have a special opportunity to
present ideas as part of the Emerging
Leaders conference sessions as well as to assist in various ways to help the conference run smoothly. The
who are destined for leadership in their
Summer Conference will once again
support of this program will help us
Saturday, June 5, from 9 a.m. to 12 noon.
schools, communities, and beyond. Your
build a strong future for music education.
be offered virtually. Plan to join us on
We will include a focus on incoming
Communities One Note at a Time. Some of our past Emerging Leaders will be on hand to share their learning journeys in leadership. Informed advocates for music
education in our schools are more critical than ever before. Some of our expert
advocates will share tips on what’s needed to be an effective advocate … from the ground up!
We look forward to welcoming YOU to
our growing group of FMEA Emerging Leaders!
How Does the TEACH Act Help With Virtual Music Education During the COVID-19 Pandemic? As music educators across the country are engaging in distance learning, it is important that they understand the copyright laws in this environment.
The Technology, Education, and
Copyright Harmonization (TEACH) Act provides certain protections for music education while distance learning.
NAfME, in collaboration with the NFHS, has created a new resource to
help teachers better understand the copyright implications of using music in a distance learning environment, providing analysis on the TEACH Act as well as addressing some frequently asked questions. CLICK HERE to download the document entitled Copyright Guidancce for Distance Learning.
Florida Music Director
theme, Unity in Music Education: Building
Facilitator Role & Artistic Community: Building an Anti-Racist Pedagogy presented by Alysia Lee May 17, 2021 7:00-8:00 PM EDT Free for FMEA members
F M E A Professional Development Series
Diversity, Equity, Inclusion, & Access in the Music Classroom The Professional Development Committee is hosting a four-part mini-series designed to lay the foundation for more inclusive music classrooms in Florida schools. As part of this series, participants will explore the elements of diversity, equity, inclusion, and access as a way to encourage intentionality toward meeting the goal of music education for ALL students. Each of the four sessions will be 60 minutes long and will include opportunities for interactivity.
Session 1 Feb. 22, 2021 7:00 PM EST
Session 2 Mar. 30, 2021 7:00 PM EDT
Session 3 Apr. 19, 2021 7:00 PM EDT
Session 4 May 17, 2021 7:00 PM EDT
Visit fmea.org/programs/webinars to register to attend. Registration is free for all FMEA members.
Let’s Keep Moving Forward
hen I wrote my May 2020 column, the COVID-
FMEA Executive Director Kathleen D. Sanz, PhD
19 pandemic was in full force in our state as well as around the world. Now we have vaccines for teachers and older teenaged students as we come
to the close of the 2020-21 school year. We cannot overstate the stress that has been put on teachers and
in Music Education: Building Communities, One Note at a Time. The deadline for proposals is quickly
approaching. The portal for session proposals is open until May 11, 2021. We look forward to seeing the fantastic session proposals for 2022.
The Professional Development Committee is host-
of the Florida
students. As we end this school year and begin plans
ing “Diversion, Equity, Inclusion, and Access,” the
Association is to
together to maintain the strides we have made so we
equity, inclusion, and access, on May 17, 2021, from
for the 2021-22 school year, let’s continue to work
Music Education promote quality,
comprehensive music education in all
can keep moving forward. It has been encouraging
to witness our music teachers building relationships
and offering one another assistance throughout this
7 p.m. to 8 p.m. EDT. Be sure to register for this free webinar through the FMEA website.
challenging year. In addition, FMEA and FSMA are
Resources for Teachers and Schools
way into the future.
hosting a Leadership Symposium, July 18-21, 2021, to
developing resources to assist us in navigating our
Elementary and Secondary School
Emergency Relief Fund (ESSER II) I want to draw your attention to possible fund-
The Florida School Music Association (FSMA) is assist in developing leadership for up-and-coming
secondary component members of FBA, FOA, and FVA.
ing to assist school districts and schools. The U.S.
the Elementary and Secondary School Emergency
will provide a session wrap-up in the next edition of
Congress set aside approximately $13.2 billion for Relief Fund (ESSER II). The purpose of this fund is to provide local districts with emergency relief funds to
address the impact COVID-19 continues to have on
elementary and secondary schools across the nation.
These funds are available to school districts through the Florida Department of Education. Each school
district will apply for the funds. Take the time to
find out and become involved in how the funds will be allocated in your school district. You can access a Frequently Asked Question document HERE . Professional Development Opportunities for
Members As a reminder, the 2021 Virtual FMEA Professional Development Conference sessions are still available for members who have registered. Remember to take
advantage of the many sessions that are available for viewing until June 1, 2021. If you did not register
for the conference sessions, you can still register
The 2021 Legislative Session recently ended. FMEA
Florida Music Director. In addition, the Government
Relations Committee, under the leadership of Jeanne Reynolds, will be providing information to the membership throughout the summer. The Legislature
will convene again in January 2022. Please be sure
to make appointments with your legislators to meet with them over the summer. If you need assistance, please call the FMEA office.
Membership Renewal Time
Each year beginning on April 1, we open the mem-
bership registration process. The membership year for FMEA is July 1, 2021, to June 30, 2022. Joining is
easy and online. If you need assistance, please call the FMEA office.
As we complete the 2020-21 school year, let’s con-
tinue to work together to maintain safety for teachers, students, families, and our communities.
through the FMEA website.
Conference and All-State Concerts’ theme is Unity
Kathleen D. Sanz, PhD
The 2022 FMEA Professional Development
fourth and final session of the series on diversity,
Florida Music Director
F LO R I DA M U S I C E D U C AT I O N A SSO C I AT I O N
Officers and Directors
EXECUTIVE BOARD President
Steven N. Kelly, PhD
Florida State University; College of Music, KMU 330 Tallahassee, FL 32306 (850) 644-4069; email@example.com Past President
Kenneth Williams, PhD
Douglas Anderson School of the Arts 2445 San Diego Road; Jacksonville, FL 32207 (904) 346-5620; firstname.lastname@example.org President-Elect
Shelby Chipman, PhD
Florida A&M University, Department of Music Foster-Tanner Music Bldg., Room 318 Tallahassee, FL 32307; (850) 599-8165 email@example.com FBA President
Titusville High School 150 Terrier Trail S.; Titusville, FL 32780-4735 (321) 264-3108; firstname.lastname@example.org FCMEA President
Marc Decker, DMA
Florida Atlantic University 777 Glades Rd.; Boca Raton, FL 33431 email@example.com FEMEA President
Roosevelt Elementary School 3205 S. Ferdinand Ave.; Tampa, FL 33629 (813) 272-3090 firstname.lastname@example.org Florida NAfME Collegiate President
Southeastern University email@example.com Florida NAfME Collegiate Advisor
Mark A. Belfast, Jr., PhD
Southeastern University 1000 Longfellow Blvd.; Lakeland, FL 33801 (863) 667-5104; firstname.lastname@example.org FMSA President
Harry “Skip” Pardee
Collier County Public Schools 5775 Osceola Trail; Naples, FL 34109 (239) 377-0087; email@example.com FOA President
Harrison School for the Arts 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 499-2855; firstname.lastname@example.org FVA President
Orange County Public Schools 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; email@example.com Member-at-Large
Silver Trail Middle School 18300 Sheridan St.; Pembroke Pines, FL 33331 (754) 323-4321; firstname.lastname@example.org
FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION
Historian/Parliamentarian & Executive Director....................................................Kathleen D. Sanz, PhD Hinckley Center for Fine Arts Education 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793; email@example.com
President......................................................................... Marc Decker, DMA Florida Atlantic University; 777 Glades Rd.; Boca Raton, FL 33431 firstname.lastname@example.org
Editor-in-Chief.....................................................D. Gregory Springer, PhD FSU College of Music; 122 N. Copeland St.; Tallahassee, FL 32306 (850) 644-2925; email@example.com
President...................................................................................Alexis Hobbs Southeastern University; firstname.lastname@example.org
FSMA President ........................................................................Valerie Terry email@example.com
FMEA COMMITTEE CHAIRPERSONS
FLORIDA NAfME COLLEGIATE Past President...........................................................................Julian Grubb Florida Gulf Coast University, firstname.lastname@example.org
FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION
Awards.................................................................................... Debbie Fahmie email@example.com
President..................................................................... Ernesta Chicklowski Roosevelt Elementary School; 3205 S. Ferdinand Ave.; Tampa, FL 33629 (813) 272-3090; firstname.lastname@example.org
Budget/Finance, Development.................................. Steven N. Kelly, PhD Florida State University, College of Music, KMU 330 Tallahassee, FL 32306; (850) 644-4069; email@example.com
Past President...............................................................Rosemary Pilonero firstname.lastname@example.org
Committee Council............................................................... Debbie Fahmie email@example.com
Executive Director............................................................. Jennifer Sullivan 1750 Common Way Rd., Orlando, FL 32814 (321) 624-5433; firstname.lastname@example.org
Conference Planning Committee.............................John K. Southall, PhD Indian River State College; 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810; email@example.com
FLORIDA MUSIC SUPERVISION ASSOCIATION
Contemporary Media................................................... David Williams, PhD University of South Florida; 4202 E. Fowler Ave., MUS 101 Tampa, FL 33620; (813) 974-9166; firstname.lastname@example.org Diverse Learners.....................................................Alice-Ann Darrow, PhD Florida State University, Music Education and Music Therapy 123 N. Copeland St.; Tallahassee, FL 32306 (850) 645-1438; email@example.com Emerging Leaders............................................................ Mary Palmer, EdD 11410 Swift Water Cir.; Orlando, FL 32817 (407) 382-1661; firstname.lastname@example.org
President.....................................................................Harry “Skip” Pardee Collier County Public Schools; 5775 Osceola Trail; Naples, FL 34109 (239) 377-0087; email@example.com Past President............................................................................Scott Evans firstname.lastname@example.org Treasurer......................................................................................... Ted Hope Hillsborough County Public Schools, School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4861; email@example.com
FLORIDA ORCHESTRA ASSOCIATION
FMEA Corporate & Academic Partners....................................Fred Schiff All County Music; 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; firstname.lastname@example.org
President................................................................................Matthew Davis Harrison School for the Arts; 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 499-2855; email@example.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; firstname.lastname@example.org
Past President...........................................................................Jason Jerald email@example.com
Multicultural Network...........................................................Bruce J. Green (407) 927-3141; firstname.lastname@example.org Professional Development........................................................Scott Evans Orange County Public Schools; 445 S. Amelia St.; Orlando, FL 32801 (407) 317-3200; email@example.com Research...................................................................... Don D. Coffman, PhD University of Miami; firstname.lastname@example.org Secondary General Music.............................................................Ed Prasse Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; email@example.com Student Development.............................................. Michael Antmann, EdD Freedom High School; 2500 W. Taft-Vineland Rd.; Orlando, FL 32837 (407) 816-5600; firstname.lastname@example.org
PROFESSIONAL DEVELOPMENT CONFERENCE Exhibits Managers email@example.com Local Chairperson Ted Hope—(813) 272-4861; firstname.lastname@example.org
FLORIDA BANDMASTERS ASSOCIATION President...................................................................................Ian Schwindt Titusville High School; 150 Terrier Trail S.; Titusville, FL 32780-4735 (321) 264-3108; email@example.com Past President..................................................................... Cathi Leibinger Ransom Everglades School; 2045 Bayshore Dr.; Miami, FL 33133 (305) 250-6868; firstname.lastname@example.org Executive Director......................................................................Neil Jenkins Florida Bandmasters Association P.O. Box 840135; Pembroke Pines, FL 33084 (954) 432-4111; Fax: (954) 432-4909; email@example.com
Executive Director............................................................. Donald Langland 220 Parsons Woods Dr.; Seffner, FL 33594 (813) 502-5233; Fax: (813) 502-6832; firstname.lastname@example.org
FLORIDA VOCAL ASSOCIATION President.................................................................................. Jason Locker Orange County Public Schools; 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; email@example.com Past President.....................................................................Tommy Jomisko firstname.lastname@example.org Executive Director....................................................................J. Mark Scott 7122 Tarpon Ct.; Fleming Island, FL 32003 (904) 284-1551; email@example.com Business Manager..................................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; firstname.lastname@example.org
CENTER FOR FINE ARTS EDUCATION
402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 President..................................... Kathleen D. Sanz, PhD (email@example.com) Director of Operations........................Valeria Anderson, IOM (firstname.lastname@example.org) Technology Director......................................Josh Bula, PhD (email@example.com) Public Affairs & Communications Coordinator..................................... Jenny Abdelnour, CAE (firstname.lastname@example.org) Marketing & Membership Coordinator................................. Jasmine Van Weelden (email@example.com)
Business Manager..................................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; firstname.lastname@example.org
SAVE DATE THE
The official publication of the Florida Music Education Association. Featured in this issue: Tearing down "The Wall" of Online Teacher Isola...
Published on Apr 30, 2021
The official publication of the Florida Music Education Association. Featured in this issue: Tearing down "The Wall" of Online Teacher Isola...