Florida Music Director - May 2023

The Joy of Failure Techniques for Cultivating Trust, Self-Efficacy, and Goal-Setting in the Elementary Music Classroom

Text Analysis

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Executive Director Florida Music Education Association Kathleen D. Sanz, PhD

Hinckley Center for Fine Arts Education

402 Office Plaza Tallahassee, FL 32301 (850) 878-6844 or (800) 301-3632 (kdsanz@fmea.org)

Editor-in-Chief

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

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

Advertising Sales

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

Official FMEA and FMD Photographers

Contents May 2023 Volume 76 • Number 8

F E AT U R E S

Session/Performance/Product Showcase Proposal Applications.. . . . . . . . . . . . . . . . . .

9

A Look Back at Collegiate Music Advocacy Day. . . . . . . . . . . . . . . . . . . 10 The Joy of Failure: Techniques for Cultivating Trust, Self-Efficacy, and Goal-Setting in the Elementary Music Classroom . . . . . . . . . . . . . . . . . . . . . 14 Promoting Social and Emotional Well-Being in Choir. . . . . . . . . . . . . . . . . . . . 20 Text Analysis: Constructivism in the Choral Rehearsal. . . . . . . . . . . . . . . . . . . . . . 24 FVA 2023 Summer Professional Development Conference. . . . . . . . . . . . . . . . 28 FBA 2023 Summer Conference. . . . . . . . . . . . . 42

Bob O’Lary Amanda Crawford

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

Circulation & Copy Manager

Valeria Anderson, (800) 301-3632

Copy Editor

Susan Trainor

D E PA R T M E N T S President’s Message. . . . . . . . . . . 4

Committee Reports. . . . . . . . . .

36

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

Academic Partners. . . . . . . . . . .

43

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

Corporate Partners. . . . . . . . . 44-45

2022-2023 FMEA Donors. . . . . 12-13

Executive Director’s Notes. . . . . . 46

Component News.. . . . . . . . . . .

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

29

Research Puzzles. . . . . . . . . . . . 34 May 2023

47

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President’sMessage

Shelby R. Chipman, PhD President Florida Music Education Association

The CYCLE of MUSIC Never Ends!

G

reetings, colleagues!

Wow! It’s AMAZING that two

years have passed. I am elated to have

eral sessions and by including health and

happier, singing or playing a musi-

I’m encouraged that much has been

immensely. Research reminds us of the

wellness activities.

served as the FMEA president, promot-

accomplished during the past two years;

Building Communities One Note at a Time.

be emphasized in terms of meeting the

ing the theme Unity in Music Education,

I would first like to thank each of the Florida music educators, their students, and the support systems of Florida music programs for your tremendous progress toward building onto music’s importance.

I’d like to acknowledge the outstanding

members of the Florida Music Education

however, I realize so much more must

needs of our members who are struggling in their communities with funding,

resources, mental stability, student/par-

ent engagement, political power, administrative support, advocacy, and student interest.

I’m happy to turn the gavel over to

President-Elect Jason Locker,

Association and the Executive

who will be an amazing FMEA

Committee, Board of Directors,

president, and certainly thank

and the Tallahassee (CFAE)

Steve Kelly, our FMEA immedi-

office staff for their unwaver-

ate past president, for his wis-

ing support of FMEA’s mis-

dom and foresight during my

sion to promote quality, com-

tenure. Kathy Sanz, our FMEA

prehensive music education in

executive director, always pro-

all Florida schools. Each com-

ponent president, committee

Locker

chair, member, and so many

vides valued insight and sup-

port on so many levels.

No organization can exist

unsung heroes have contribut-

ed to the success of our great

without dedicated members

Florida MEA is the largest in

ing of its philosophy. I’ve met

who contribute to the well-be-

association. It’s no wonder our

so many individuals over the

the country. This is due to the

years, visited some of your

valued interest we in leadership provide our members and

our conviction that everyone

Kelly

schools, and have been amazed

by your social media perfor-

should have a voice with DEIA (diver-

mances. Keep music alive in your respec-

activities and recommendations of pre-

can. It’s IMPORTANT.

sity, equity, inclusion, and accessibility)

sentations during our professional development workshops/sessions.

Post-COVID,

our

state

has

seen

progress in our FMEA Professional Development Conference by bringing excitement and change during our gen-

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

tive areas and advocate as often as you This yearly evolving CYCLE of MUSIC

never ends due to our powerful music

educators who constantly search for inno-

cal instrument can improve our lives following benefits of music’s effect on

w Supports brain development. Music children and adults:

lessons can help children learn pat-

tern recognition, improve memory, and develop the part of the brain

responsible for literacy. This, in turn, helps build language and math skills,

boost reading comprehension, and

w Teaches social skills and teamwork. improve test scores.

Playing music with a group of other children teaches kids to communicate effectively and work together toward common goals. They learn to treat one

another with patience, kindness, and

w Supports healthy muscle development encouragement.

and motor skills. In learning to coor-

dinate hand and finger movements (as well as foot movements, in some

cases), children develop strength and

w Increases discipline and resilience. coordination.

Learning music takes practice, prac-

tice, and more practice! This teaches kids to keep trying, working at some-

thing until they see improvement,

w Boosts self-esteem. When a child even when it’s a struggle.

finally “gets” something after much

practice, they feel pride in their accomplishments.

Music is a way for one to visualize

vative ways to connect with students.

life and instigate profound memories. In

nitive function to simply making us

part of gatherings, festivals, and belief

From stress relief to boosting cog-

a cultural context, music is an intrinsic

2022-23 FMEA Membership:

You are eligible for membership in the Florida Music Education Association if you are an individual engaged in the teaching, supervision, or administration of music in elementary and secondary schools, colleges, or universities within the state. Visit FMEA.org/membership to learn more about the benefits of active membership.

SUBSCRIPTIONS:

systems. Sound and rhythm patterns give a particular perspective into an individu-

al’s opinions of the culture, subcultures,

and social issues of the times. Music has shaped cultures and societies around the world, passed down from generation to generation. It has the power to alter one’s

mood, modify perceptions, and inspire

change. I constantly tell my students that music is a phenomenal subject. Always

understand that someone is seeing you or your ensemble for the first time and

someone is witnessing you or your performance for the last time. Always think

about making your presentation one

that leaves your audience with a positive impression.

{

{

I’ve learned that people will forget what you said, people will forget what you did, but people will never forget how you made them feel.

– Maya Angelou

Let us all continue to study the CYCLE

of MUSIC and how it influences commu-

nities! Continue to be amazing, everyone.

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

CIRCULATION:

The circulation of the Florida Music Director is 4,500 educators.

Published eight times annually by The Florida Music Education Association, Hinckley Center for Fine Arts Education: 402 Office Plaza, Tallahassee, FL 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, dgspringer@fsu.edu.

All articles must be provided in digital format (e.g., Microsoft Word). All applicable fonts and images must be provided. Images must be at least 300 dpi resolution at 100% of the size.

All submissions must be accompanied by a proof (color, if applicable).

Ads may be submitted via email to val@fmea.org.

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

The publisher does not endorse any particular company, product, or service. The Florida Music Education Association (FMEA) is not responsible for the content of any advertisement and reserves the right to accept or refuse any advertisement submitted for publication.

Information for advertisers (rate card, insertion orders, graphics requirements, etc.) can be found at FMEAMediaKit.org. Florida Music Director reserves the right to refuse any ad not prepared to the correct specifications OR to rework the ad as needed with fees applied.

ADVERTISERS

I look forward to hearing from you as we

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communities TOGETHER. God bless each

The advertisers shown in bold provide additional support to FMEA members through membership in the Florida Corporate and Academic Partners (FCAP) program.

FCAP partners deserve your special recognition and attention.

make progress and build stronger music of you, and special thanks to my fami-

ly for their support and encouragement.

Our FMEA journey continues … get on board!

Shelby Chipman, PhD, President

Florida Music Education Association

FCAP Partners Make It Possible

For more information, visit:

FMEA.org/partners May 2023

5

AdvocacyReport

Jeanne W. Reynolds

Chairperson Government Relations Committee

Of the People, by the People, for the People Legislative News and Resources

This familiar phase “of the people, by the people, for the people” comes from the last line in Lincoln’s Gettysburg

address, certainly a very tumultuous time in our history.

These words resonate with me as we come to the end of

a crowded, consequential, and yes at times, tumultuous

legislative session. As this magazine goes to press, the

tremendous variation in the way the 2022 bills are being implemented throughout the state. As we develop reports

and suggestions, this information will be posted online.

Another resource on a specific set of laws is the NAfME national research project studying divisive concept laws.

You will find a link to the report at NAfME.org.

session has not yet concluded, nor have we had the time

Collegiate Music Advocacy Day

have been passed. We do hope to have some good news

Collegiate hosted the seventh Collegiate Music Advocacy

to analyze the potential impact of the education bills that related to arts funding and arts education project funding when the session ends. Never underestimate the power of the arts to unite people.

When the dust settles in early summer, the FMEA

Government Relations Committee will provide an in-depth report of the relevant legislation passed. We

will also do our best to generate suggestions for members and districts to consider as they create policies to address

these new laws. Currently we are seeing confusion and

On March 28, the FMEA and the Florida NAfME

Day in Tallahassee. Students met with legislators and impressed these senators and representatives with their

passion, poise, knowledge of issues, and vision for the

future. It was an inspiring, impressive day. Students spoke about our FMEA platform and the importance of

access to high-quality music education for all students.

In some cases, legislators asked students about their opinions regarding other significant education legisla-

tion. These conversations are invaluable to a functioning democracy—of the people, by the people, for the people.

On March 28, rest assured these collegiate members spoke persuasively for the people of FMEA.

Many thanks to Florida NAfME Collegiate’s Colin

Urbana (president), Megan Robichaud (president-elect),

and Megan Rodriguez (advocacy chair) for their leadership. This was the first year since 2020 that we were able to

hold this event in person. These young leaders were thrust into

the position of working with

us to plan an event they knew

nothing about and had never attended. We also owe a debt

of gratitude to Dr. Kathleen

Sanz and Val Anderson in the FMEA office, as well as project manager Jovan Osborne. Val

and Jovan juggled seemingly endless details and schedules

to ensure the day ran smoothly. The “story in pictures”

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

begins on page 10.

What’s Next?

be expressing interest because they disagree with groups

scared, confused, disillusioned, or overwhelmed about

democracy. It has been said that democracy is the struc-

I honor those feelings and want to validate concerns that

ture—of the people, by the people, for the people—takes

I look out from a broad local, state, and national view, I

address follows:

I am hearing from some FMEA members that they are

who have organized in their area. That’s all good. That’s

what is happening politically and legislatively. Of course,

ture or institutionalization of freedom. And that struc-

this is indeed a tumultuous time. At the same time, when

real work. The full phrase from the end of the Gettysburg

see signs of hope and true engagement in the political pro-

That we here highly resolve that these dead

cess. Most people are not politically active; they are busy

with their day-to-day lives, and politics holds little inter-

est. However, people do care about freedom, democracy, and legislation that impacts their daily lives. I am seeing

more people engaged than I have seen in decades. There is

a lot of coverage regarding the inspiring youth movement,

but people of all ages and backgrounds are speaking up.

Suddenly I am hearing from more parents and organized

groups about their interest in getting involved. Some may

shall not have died in vain, that this nation,

under God, shall have a new birth of freedom,

and that government of the people, by the people, for the people shall not perish from the earth.

Of the people, by the people, for the people. Shall

not perish from the earth. We have work to do. Let’s get busy.

May 2023

7

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

MUSIC EDUCATION

2024 FMEA PROFESSIONAL DEVELOPMENT CONFERENCE

Session/Performance/Product Showcase The 2024 conference theme is

Music Education Begins with

ME. Our goal will be to equip

and empower music educators

POLICIES

You are only permitted to submit a total of three (3) session proposals.

Performance applications and product showcase proposals do not count toward this limit.

w Friday, May 12, 2023, 12 midnight (Eastern) for session and performance proposals. the profession. It is preferable w Saturday, July 15, 2023, for industry product showcase proposals. that your proposal(s) have a

to best serve their students and

connection to the conference

theme 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

DEADLINES

CONFERENCE REGISTRATION AND ATTENDANCE

All presenters must register for the conference, even if you live or teach outside of Florida. Preregistration is available through early December.

On-site registration will be available at a higher cost. Conference exhibitors are exempt from this requirement.

By submitting a proposal, you agree to attend in person and present your

session if any of your proposals are selected. Please do not submit proposals if you are not sure you will be available to travel to Tampa, January 10-13, 2024. Cancellations for reasons other than unavoidable emergencies may affect the selection committee’s decision to accept future proposals.

w All presenters and conductors who live or teach in Florida must be members of FMEA and NAfME. instills lifelong values for learning w Presenters living outside of Florida must be members of NAfME, the and participation.

National Association for Music Education. w FMEA and/or NAfME membership must be current to submit a proposal and must also be current when registering for the conference. w Conference exhibitors are exempt from this requirement but must contract and pay the deposit to exhibit before submitting a proposal. w You may join FMEA or renew your FMEA membership at FMEA.org, or respond to music that in turn

FMEA/NAFME MEMBERSHIP REQUIREMENTS

visit NAfME.org if you reside outside of Florida.

May 2023

9

A Look Back at the Seventh Collegiate Music Advocacy Day at the Florida Capitol in Tallahassee During the 2023 Legislative Session

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

March 28, 2023

Hosted by FMEA and Florida NAfME Collegiate

May 2023

11

FLORIDA MUSIC EDUCATION ASSOCIATION 2022-2023 DONORS

Thank you to all of the donors who have shown their dedication to the improvement of music education in Florida by supporting our Mission through financial contributions.

Our donors support specific causes by donating to the FMEA funds of their choice: FMEA Scholarship Fund

June M. Hinckley Scholarship

Music Education Advocacy General Fund

Professional Development for Members

Mel & Sally Schiff Music Education Relief Fund

The following have graciously donated to FMEA from April 1, 2022, through April 6, 2023.

MAESTRO’S CIRCLE $10,000 and up

No current donors at this time.

ARTIST’S CIRCLE $1,000 – $9,999

All County Music

Artie Almeida

In Honor of June Audrey Grace & Katie Grace Miller

Clifford Madsen Russell Robinson

SUSTAINERS $100 – $999

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

Alice-Ann Darrow In Memory of Mr. & Mrs. O.B. Darrow Virginia Densmore In Honor of Vicki Rhodes Virginia Dickert In Memory of Lindsay Keller & Debbie Liles Scott Evans Kristin Greene In Memory of Charles E. Inderwiesen, Jr. Stanley Hoch Dennis Holt

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

Frank Howes In Memory of Richard Bowles & Harry Grant Marsha Juday Steve & Beth Kelly Sheila King In Memory of John W. King Aaron Lefkowitz Kevin Liotta-DeVivo On Behalf of HCEMEC Jason Locker In Memory of June M. Hinckley & In Honor of those impacted

by Hurricane Ian David Martinez-Cooley Robert McCormick Carolyn Minear John Nista In Memory of Stanley Dmitrenko Mary Palmer In Memory of Amy Catherine Palmer David Pletincks In Honor of Alexis & Jonathan Pletincks

Jeanne Reynolds In Honor of Pinellas County Performing Arts Teachers Rollins College Department of Music Mary Catherine Salo In Memory of Gary Rivenbark & Wes Rainer Steven Salo In Honor of John “Buck” Jamison & Dr. William Prince Kathleen Sanz In Memory of June M. Hinckley Fred Schiff J. Mark Scott In Honor of Dr. Andre Thomas, Dr. Judy Arthur, & Dr. Judy Bowers Scott Sheehan In Honor of those impacted

by Hurricane Ian D. Gregory Springer Jeannine Stemmer In Memory of Barbara Kingman & Lauren Alonso Leiland Theriot In Memory of Clayton Krehbiel

SUSTAINERS continued $100 – $999

Richard Uhler James Weaver Howard Weinstein In Memory of Barry Weinstein Donald West In Memory of Ron Powell, Vista Audio Productions, Inc.

Blair Williams David Williams Kenneth Williams In Honor of our extraordinary Florida Music Educators

Billy B. Williamson Marilyn Wirsz In Memory of Bill & Shirley Head Anonymous (1) In Memory of Bonnie Nista

PATRONS $25 – $99

Sandra Adorno Raine Allen

Scott Apelgren

Michael Antmann

Judy Arthur In Honor of Raymond Kickliter & Nancy Marsters William Bauer

David Bayardelle On Behalf of Harry Spyker Mark Belfast In Memory of Dr. Mark A. Belfast, Sr. Antonio Borges

Richard Bradford In Honor of William S. & Helen H. Bradford Greg Carswell

Shelby Chipman In Memory of Herbert Rhodes, Sr.

Bernie Hendricks

Blair Clawson In Honor of Ginny Densmore, Alice-Ann Darrow, & Vicki Rhodes

Julia House In Memory of Dr. Kimberle Moon McKee Alexander Jimenez Catherine Kersten D. Tina Laferriere

Dayna Cole In Memory of Linda Mann

Monroe Lewis

Joseph Luechauer

Paul Davis

Kevin Lusk

Marc Decker

John Marshall

Dewey Dodds

Lloyd McIntyre In Memory of Bob Hager

Sheila Dunn

Judith Evans

Kim Miles

Bradley Franks In Memory of Gary W. Rivenbark

Katie Grace Miller In Honor of Artie Almeida Victor Mongillo

Julie Hebert

Ree Nathan

Galen Peters

Edward Prasse Melissa Rawls John Sinclair

Joanna Sobkowska Parsons John Southall

Mark Stevens Valerie Terry

David Verdoni John Watkins

Sondra Wenninger Collins

Graeme Winder On Behalf of all our hardworking music educators Anonymous (6)

FRIENDS up to $24

Crystal Berner

Shelby Fullerton

Laurie Bitters

Tina Gill In Memory of Gary Rivenbark

Karen Bishop In Honor of Claudia Davidsen Jessica Blakley In Memory of John Rose

Thomas Brown In Honor of Dr. Samuel A. Floyd Joseph Callaway

Gwendolyn Carroll

Bethany Confessore Beth Ann Delmar Jodie Donahoo

Revae Douglass Ross Denise Dumala

Christopher Dunn Monica DuQuette Debbie Fahmie

Kyle Matthews

Ian Schwindt

Michael Gabriel

Katie McGuire Menges

Joani Slawson

Bruce Green

Chad Norton In Memory of Cassandra Jean Norton

Kelly Southall

Walter Halil

James Hammond

Angela Hartvigsen William Hazlett Ciara Hill

Jon Hutchison Jason Jerald

Kathleen Kerstetter

Mary Keyloun Cruz In Memory of George Paul Keyloun Deborah Mar In Dedication to Mrs. Barbara Kingman

Ethan Morency

Jessica Oyster In Honor of the new band director in my family John Parris

Mikael Patriarca Hank Phillips

Amanda Quist In Memory of Patricia Koning Diana Rollo

Phil Tempkins In Memory of Susan McCray Melissa Salek

Karen Smith

Eddie Steadman

Andrea Szarowicz Mark Thielen Gary Ulrich

Noiree Weaver

Bradley Wharton

Julian White In Memory of Kenneth Tolbert Lindsey Williams Jennifer Zahn

Anonymous (14)

May 2023

13

The

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

Joy of Failure

Techniques for Cultivating Trust, Self-Efficacy, and Goal-Setting in the Elementary Music Classroom

M

by Kelly Evans

Many elementary music teachers have had to soothe the

musicians who are excellent teachers, and I know that

may have never experienced the big feelings of embar-

increasingly seen as mentors and parental figures who

raw emotions of a child who is not used to failure and

rassment, guilt, or anger over not succeeding. “Getting out” when playing a musical game, missing the bars of xylophones in front of the class, and even starting to sing

a measure too early in front of peers are things that may

seem trivial for adults. However, it can be devastating for

I am “preaching to the choir” when I tell you we are need to address the ever-increasing social needs of our students. That gives us the sticky job of helping them

figure out how to fail with grace, with dignity, and with a motivation to try again.

The idea of FAIL (First Attempt In Learning) posits

children who are not accustomed to taking risks to make

that failing on a first try is not only okay; it is expected

feelings of failure, especially when they feel as though it

(Weidner & Skolar, 2021). Seeing learning as a multifac-

mistakes, and they do not know how to process these

is an embarrassing and public injustice. How can we as music educators help our students navigate the crucial

skill of failing with grace, of wanting to reattempt, of cultivating that love of music that sometimes requires multiple failures?

We live in a society that shuns the idea of failure, and

an extreme example of this is the common use of partic-

ipation trophies in order to avoid the word “failure” in

any capacity. Other, more serious examples of failure lead

in many scenarios, especially in the music classroom

eted and multi-attempt activity changes the expectations in the classroom in a more positive and supportive way.

The goal of a classroom should not be failure the first time

around; rather, when failure happens, it is important for

teachers to be proactive rather than reactive to these situations. I find that several small techniques help the atmosphere in my classroom to be one that cultivates celebration of success, as well as joy in failure and reattempting.

to those whose insecurities cause them to treat others

Small Goal-Setting and Successive

through failure. In education, this could manifest perhaps

One of your students lacks the dexterity to successfully play

poorly because they themselves have never had to work in a teacher who projects their own feelings of failure on

their students to the point of expected perfectionism in the classroom.

As elementary school music teachers, some of our

finest and most lasting work is social-emotional, which can be some of our hardest work as well. We are trained

Approximations

the bass metallophone on the steady beat using two mallets

simultaneously. He continuously becomes frustrated, and then

immediately stops trying, especially when he notices that others

are watching. Using small goal-setting and successive approximation, perhaps this student would find success keeping the continued on page 16 May 2023

15

The Joy of Failure continued from page 15

steady beat with body percussion—then, when that is successful,

Second Attempts

let while keeping the steady beat, and finally reaching the end

your classroom. Although she is an excellent musician, she is

It is easy to focus on the product of the musical expe-

to fail in front of them. She doesn’t feel comfortable in your

tary music classroom where there are so many seasonal

more welcoming to second attempts and failures not only

using rhythm sticks. Following that, he could use only one mal-

You have an extremely shy student who rarely takes risks in

goal of playing both mallets simultaneously on the beat.

worried about what her peers would think of her if she were

rience, rather than the process, especially in the elemen-

classroom, so you are assessing steps to make your classroom

concerts that we have to put together throughout the

for her, but also for the hundreds of other students who have

school year. When seeing students at infrequent intervals, it seems common to start rehearsing winter concert

music in September while also trying your best to choose meaningful repertoire and rehearse for the Veterans Day and Halloween festival simultaneously. Becoming

hyper-focused on concerts, the more public-facing aspects of the job, can make elementary music teachers feel exterior pressure, and it starts to negatively affect the smaller

musical objectives and goals that we should be able to focus on in the classroom. Seeing the educational journey just as that, a journey, helps us to see that we are a part of

the process and not necessarily the product of the experi-

ences that will ultimately shape our students (Tsuji, 2019).

Using successive approximations in the classroom

allows not only for the concept of FAIL, but also great-

er ease of differentiation. When trying to get a class to

march on the steady beat, perhaps some students need

to begin by being successful in a non-locomotor way to keep a steady beat, while others do other tasks of varied

complexity based on skill level. Successive approximation

in essence is about beginning a task that everyone can perform and adding smaller and more difficult compo-

nents slowly in order to achieve a much larger goal (Duke, 2012). Although failure is a strong term for not being able

to march on the beat, it can feel that way for students

who are given different tasks that are not as complicated.

Celebrate those small moments and celebrate the ways in which students learn at different speeds.

Self-efficacy is something we frequently talk about in

education in relation to teachers, but it is just as important

for students to feel as though they are having success and

agency in their own education. Self-efficacy at its core is the belief in one’s abilities, which can be cultivated within the music classroom and continue to flourish in other personal and professional circumstances (Bandura, 1977).

Setting small goals and using successive approximations

in order to reach larger goals helps students to be more resilient when faced with failures inside and outside the classroom.

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

various personalities. As the teacher, you have begun to shape

the environment of the classroom in several concrete ways. You

model your own mistakes in the classroom and model the ways in which you accept and learn from them. You encourage trying

again when a rhythm isn’t quite right during your percussion ensemble’s rehearsal, and you celebrate the effort of the group

as well as the product. Finally, you have begun to focus more on

differentiation in the classroom, while also giving students small successes in order to bolster confidence before second attempts at harder tasks.

Although students are trying to develop social skills

with failure, it is important to realize that school still provides a safety net for students to take risks in an environment that is supportive and constructive. Tolerance for

error is one of the tenants of universal design that allows

for the restructuring of an activity in order to give second chances, to learn from mistakes, and more directly, to “minimize hazards and adverse consequences” of failure, regardless of the number of attempts (Darrow, 2010, p. 44).

Multiple attempts build on the idea of successive

An environment that fosters the acceptance of mistakes

approximation, giving students multiple chances and

is one that allows students to safely develop and explore

ant to allow students to fail sometimes for them to under-

fear of retribution. Preparing the classroom and—more

multiple ways to ultimately achieve success. It is importstand their own boundaries. Differentiation of concepts

by the teacher can be a collaborative effort when students are having difficulty.

However, it is important to note that there is a fine line

between letting students fail and purposefully making material too difficult or venturing from what is developmentally appropriate. Failure in the classroom should be

organic, rather than something that is contrived by the educator. It is how we deal with these failures that is the

key to building these social-emotional skills. Failure is not the product, but the process.

their emotions and ways to self-regulate without the importantly—oneself as a teacher to foster a community

of trust requires forethought and a proactive approach.

Although the physical space of the classroom is import-

ant, it is more important for the social and emotional space that is created by the teacher to be one that welcomes all learners at all levels. Compared to other educa-

tors, music educators have the advantage of being able to connect more easily with students’ social and emotional

needs as musicianship blossoms in many interesting and unique ways within our students.

Letting students know that failure is not something

to hide but something to learn from is important. At the

Trusting Environment

moment of failure, it is your job as the educator to encour-

ago but hasn’t rotated into music class until today. He isn’t as

in failure. It is also your job to cultivate this attitude

You have a new student who started at your school three weeks

proficient on your classroom instruments as your other students and has improper technique. Because you have fostered

an accepting and trusting classroom, some of the students he

has gotten to know through the past few weeks silently correct him to hold the instruments correctly, giving reassuring smiles

age, be positive, and let students know there is no shame

within your students. Reactivity in the classroom can lead

to students becoming defensive and can become counterproductive to the trust you are trying to build with your students (Stahl & Dale, 2013).

Trust needs to extend both ways. Music teachers need

afterward. You continue to allow students to help the new stu-

to be able to rely on their students to be independent

volunteers to play the recorder in front of the class for an impro-

sometimes without their teacher’s guiding hand. Your

dent, and eventually after two months of silently observing, he visational activity.

enough to take risks and make mistakes on their own,

continued on page 18 May 2023

17

The Joy of Failure continued from page 17

job is to pick them back up after each failure. Contriving

about being nervous for her recorder karate belt testing. When

demanding is inappropriate to force a social or academic

comfortable as you have taken into account her more vulnerable

failure by making material too hard or too emotionally “learning moment.” When students trust you and make

themselves vulnerable to you and to their peers, and

she makes mistakes with her practice group, she feels more state of mind.

Students feel their successes and failures deeply in

when you as the educator trust your students enough for

music, as it is a very personal and emotional discipline,

be a greater sense of community and rapport within the

your students have the same depth of emotion as anyone

them to have the independence to fail at a task, there will classroom.

Seeing Your Young Students as Humans With Complex Emotions

One of your students has been coming to your classroom with her breakfast in the morning, rather than joining her classmates

in the classroom or eating at home. You discover that her best friend just moved to another state, and she is feeling vulnerable

and sad. Because you have built a trusting relationship, you are able to talk to her during breakfast time. Furthermore, you know

enough about her and her peer group to put her in a nurturing group of her friends for paired recorder work later in the day during her music class, as during breakfast she confided in you

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

even when pursued casually. It seems obvious to state that else, but when you, as an elementary music teacher, are

faced with hundreds of students per day, it can be overwhelming to feel as though you are meeting the emotion-

al needs of every one of your students. That is why it is so important for both your mental health and your students’ mental health to let them exercise their independence and to be there as a support and guide in the face of failure

(as opposed to being someone who is laser-focused on

constant success for every student in every differentiated situation).

The self-esteem of students is innately tied with what

they achieve in the classroom, and it is important to

keep in mind that their human emotions are intricately

Table 1

Recommended Children’s Books for Addressing Failure in the Classroom

Book Title

Author

The Girl Who Never Made Mistakes

Mark Pett and Gary Rubinstein

The Itsy Bitsy Spider

Cottage Door Press

The School of Failure

Rosie J. Pova, illustrator Monika Filipina

Flight School

Lita Judge

Trying

Kobi Yamada, illustrator Elise Hurst

You Can’t Win Them All, Rainbow Fish

Marcus Pfister

What Do You Do With a Problem?

Kobi Yamada, illustrator Mae Besom

After the Fall

Dan Santat

Whistle for Willie

Ezra Jack Keats

The Most Magnificent Thing

Ashley Spires

entwined with their perception of what they can accomplish in

Balancing the opportunity for failure with structuring success

nal and external factors such as perceived effort and ability that

will look different. However, I think that your classroom will

the classroom (Hasper, 2015). Furthermore, there are many interaffect the self-efficacy of students (Legette, 1998).

Self-Reflection

Perhaps the most ambiguous and most difficult technique for

teachers is the ability to self-reflect. What is difficult about self-reflection is the many ways we effectively self-reflect. Self-

reflection can be deeply personal, and even though some tech-

is delicate, and with every classroom and every situation, failure thrive when you allow students to find the joys in their failures.

You will help to guide them into becoming more competent, more resilient, and more trusting adults. Further introduction to

FAIL for your students in the classroom can be found through

the approachable medium of children’s books, with suggestions found in Table 1.

niques work for some, they may not work for others. Recording

Kelly Evans is a third-year doctoral candidate in

directly with your students and supervisors, and engaging with

holds the MME in music education from Florida State

your own lessons, writing in a line-a-day journal, reflecting professional development are all ways that teachers can reflect

and adjust their own environment in their classroom to make

sure students are successful, and that failures are structured in a way that is constructive and develops social-emotional skills.

Observing the classrooms of others and inviting colleagues

into your own classroom can be a constructive and positive way to gain some perspective on your teaching methods as well.

music education at Florida State University. She University and the BA in voice performance from High Point University.

References Bandura, A. (1977). Self-Efficacy: Toward a unifying theory of behavioral change. Psychological Review, 84(2), 191–215. https://doi. org/10.1037/0033-295X.84.2.191

With the shifting dynamics of each class, you may want to have

Darrow, A. A. (2010). Music education for all: Employing the principles of universal design to educational practice. General Music Today, 24(1), 43–45. https://doi.org/10.1177/1048371310376901

which you adapt socially to the change of personality your stu-

Duke, R. A. (2012). Intelligent music teaching: Essays on the core principles of effective instruction. Learning and Behavior Resources.

a colleague step into several of your classes to see the ways in dents bring to the room.

Hasper, A. (2015). FAIL: First attempt in learning. English Teaching Professional, 96, 20–22.

Conclusion

Legette, R. (1998). Causal beliefs of public school students about success and failure in music. Journal of Research in Music Education, 46(1), 102– 111. https://doi.org/10.2307/3345763

Failure in the classroom is not about giving up. Failure in the classroom is about the joy of growth, second chances, and the important people skills that help young students to become motivated by criticism, rather than shrink away from it. Failure in music can be more hurtful, as talent is a deeply personal

journey, which makes the way we approach and help students

navigate failure all the more important in our classrooms.

Stahl, G. & Dale, P. (2013). Success on the decks: Working-class boys, education and turning the tables on perceptions of failure. Gender & Education, 25(3), 357–372. https://doi.org/10.1080/09540253.2012.756856 Tsuji, T. (2019). A Japanese paper: Failing is an opportunity for learning.

Teaching Science, 65(3), 34–44.

Weidner, B. N., & Skolar, E. (2021). Teaching or a FAIL (first attempt in learning) in the ensemble classroom. Music Educators Journal, 108(2), 23–29. https://doi.org/10.1177/00274321211070332

May 2023

19

Promoting Social and Emotional Well-Being in Choir

S

by Annabelle Mills

Students navigate a great deal of social and emotional chal-

lenges during the thousands of hours they spend in school each year. Those challenges can impact how students show up to our choir rooms; they may be in tears, refuse to participate, or worse. Although some challenges may be minor,

others can be more serious. U.S. Surgeon General Vivek

Murthy stated, “The challenges today’s generation of young people face are unprecedented and uniquely hard to navi-

gate. And the effect these challenges have had on their mental health is devastating.” (U.S. Department of Health and

Human Services, 2021, p. 3). Students may have difficulty

expressing emotions and desires, managing anger, and cooperating with others. Without effective coping strategies, students could face significant challenges in school, leading

to intense emotions and interpersonal conflicts (Küpana, 2015). Learning is a social and emotional endeavor, and schools play a role in promoting positive outcomes for students.

One way many schools respond to the mental health struggles and emotional challenges of students is through social emotional learning, also known as SEL.

Social emotional learning guides students toward competence in relationship skills,

social awareness, self-awareness, self-management, and responsible decision-making

(CASEL, 2022). Many schools have taken steps to improve the social and emotional wellness of students, from creating mental health teams to incorporating schoolwide

programming around SEL. Choir directors can embed social emotional learning into the music-making process whether or not their school implements SEL as a whole. Singing

offers a venue to explore emotions and to work through challenges. Although music

Receiving a bad grade on a test while worrying about a fight they had with their parents.

teachers are not expected to be mental health professionals, we have the unique privilege

of working with students for multiple years and can provide insight into students’ chal-

lenges and growth. SEL gives choral music teachers a way to guide students toward social and emotional wellness.

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

Social Well-Being

Choir rooms can be places of great joy, connection, and meaning for singers. Although

students can experience social connection in many different places (e.g., clubs, sports, plac-

es of worship), making music as a group encourages social bonding and cooperative teamwork, leading to emotional connection

and inclusion. Choir directors cannot control every interpersonal conflict that happens outside of the classroom, but they can facilitate

experiences that encourage students to coexist

respectfully. The following questions serve as a

Responding to an insult from a peer after finding out they didn’t get a role in the musical.

starting point for promoting social well-being

through the SEL competencies of relationship skills and social awareness.

1. Do singers have opportunities to build and maintain healthy connections with those around

them? Sectionals or student-led group work can encourage students to communicate continued on page 22 May 2023

21

Promoting Social and Emotional Well-Being in Choir continued from page 21

effectively, cooperate, and negotiate

ments with other ensembles after a

are established ahead of time. Build

3. Does the classroom environment reflect

to discuss answers to questions and

ing student input about what impacts

conflicts, especially if group norms

in time during rehearsal for singers

to generate ideas with those around them.

2. Do students feel connected to the choral

program as a whole? Promote group

identity by generating a unifying motto or mission statement as a choral

program. Offer students the chance

to inspire one another by writing

encouraging messages for students

in a different class before honor choir auditions or sharing written compli-

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

concert.

the students it serves? Consider seek-

their learning experience, such as classroom layout, the type and fre-

quency of certain class activities, and what they need to feel comfortable

while singing. Actively listen to students and respond to their feedback

ful interpersonal interactions.

4. Does being in your choir build empathy?

Social awareness includes showing respect and empathy toward others.

Connect with service organizations in your school to raise awareness for their cause or collect donations at an

upcoming concert. Collaborate with

students on ways to best share their musical gifts with the community.

so they know their voice matters.

Emotional Well-Being

in fairness, look for opportunities to

on students. For many, music is a way

Additionally, root classroom policies give students voice and choice, and

model healthy relationships with care-

Music can have a strong emotional impact to cope with the pressures of school, family, and social lives. Music aids in

understanding, assessing, and express-

cussions or written reflections. Guide

Directors Association constitution and

in a recent study indicated that sing-

the lyrics they are singing and their

is to “foster and promote choral singing

ing emotions (Küpana, 2015). Participants ing allowed them to individually engage with complex emotions that were other-

wise challenging to express (Brammer

Damsgaard & Brinkmann, 2022). Some

participants in that study noted increased feelings of presence in the moment while

students to make connections between

own lives. Students may have deep insights about how a text speaks to

them and what emotional connections it makes. Creative projects such as

songwriting offer students the chance to express their feelings authentically.

singing. Meaningful lyrics helped con-

3. Does being in your choir build respon-

together created vulnerability and visibil-

dents make strong musical decisions

nect their memories and identity. Singing

ity for participants (Brammer Damsgaard

& Brinkmann, 2022). The questions below

can be an entry place for generating emotional wellness through the SEL competencies of self-awareness, self-management, and responsible decision-making.

1. Do students have opportunities to identify and share emotions? Quick written

sible decision-making skills? Help stuby setting individual and group goals.

Reflect on goals throughout the year

yesterday’s rehearsal make you feel, and what can I do to support you?”

encourage students to think deeply

about what their experience in your

ensemble is like. Intentionally being present and greeting students as they

are entering and leaving the room

shows you are available if they need to share concerns or ideas.

sions can be a valuable tool for giving each student a voice to share.

emotionally healthy activities? Include fulness exercises in class to help

students reset after a stressful day.

Model thankfulness and give students a chance to share gratitude, either

aloud or anonymously. Affirmations

can build student confidence, whether those affirmations are written, echoed

in warm-ups, or spoken aloud in small groups.

Stress-management

tech-

niques can be shared and practiced in rehearsal.

Singing is an accessible, collabora-

2. Are you tapping into the emotional power

tive, and expressive art form that lends

quality, relevant texts and have stu-

Connecting choral music to SEL can have

of vocal music? Choose literature with dents reflect on the texts through dis-

that by actively assessing students’ social

and emotional needs and maintaining a growth mindset around SEL. With inten-

tionality, choir teachers can be agents of change for students to experience social and emotional well-being during their time in school.

suing a master’s degree at

to be solution-oriented. Circle discus-

breath work, meditation, and mind-

ing concert, and why?” or “how did

ing” (ACDA, 2021, para. 6). We can do

in sectionals and encourage students

share how they are feeling in a loware you feeling about our upcom-

enhances social and emotional well-be-

Annabelle Mills is a nation-

impact. Problem-solve as a class or

4. Are students given time to participate in

stakes way. Questions such as “how

in the pursuit of peace and justice that

and tweak as needed to increase their

check-ins or reflections at the start or end of rehearsal allow students to

bylaws states that one of their purposes

itself well to social emotional learning.

a deep impact. The American Choral

al board certified teacher pur-

Florida State University. She teaches middle school choral

music in Virginia and volunteers as a crisis counselor for a crisis hotline.

References American Choral Directors Association (2021).

Constitution and Bylaws of the American Choral Directors Association. ACDA. https:// acda.org/wp-content/uploads/2021/02/ Constitution-and-Bylaws-rev.-Jan.-2021.pdf Brammer Damsgaard, J., & Brinkmann, S. (2022). Me and us: cultivating presence and mental health through choir singing.

Scandinavian Journal of Caring Sciences, 36(4), 1134–1142. https://doi.org/10.1111/scs.13078 CASEL. (2022, August 3). What is the CASEL framework? CASEL. https://casel.org/ fundamentals-of-sel/what-is-the-caselframework/ Küpana, M. (2015). Social emotional learning and music education. SED Journal of Art Education, 3(2), 75–88. https://doi.org/10.7816/ sed-03-01-05 U.S. Department of Health and Human Services (2021). Protecting Youth Mental Health: The U.S. Surgeon General’s Advisory. HHS.gov. https:// www.hhs.gov/sites/default/files/surgeongeneral-youth-mental-health-advisory.pdf

May 2023

23

TEXT ANALYSIS Constructivism in the Choral Rehearsal

W

by Alicia Romero-Sardiñas, PhD

What inspires choral directors to choose the music we

choose for our ensembles? Our mentors and guides tell

us to choose music that will challenge our students in some ways but must also be accessible. Our own musical

aesthetics will guide us toward certain melodic lines and harmonic structures. Depending on our specific circum-

stances, we will consider the accompaniment of the piece.

All these things come into play when making selections

for our students, but as choral directors, we have an opportunity to look at the text. Does the text speak to me

as a director? Can I see it speaking to my students? What messages am I conveying to my students? As choral directors, the text plays a part. Even if the text is in a foreign

language, we will inevitably discuss the translations and

meanings and hopefully have a conversation with our students. Constructivism is the idea that knowledge is

constructed in the classroom as a joint endeavor between students and the teacher, a concept that is challenging in

the traditional choral rehearsal. This article makes a case for the use of text analysis as a vehicle for empowering

students and thus infusing constructivist methods within the choral rehearsal.

Students walk into the choral rehearsal with their own

set of knowledge and experiences. “Knowledge cannot be transmitted, it is constructed and must be constructed by each individual” (Hansen, 1991, p. 1029). Knowledge is

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

continued on page 26

May 2023

25

TEXT ANALYSIS

continued from page 24

constructed by students both as a group

and as individuals, and it is the role of the teacher to assist the students in their quest for knowledge by creating oppor-

tunities for construction. Students construct meaning for themselves through

interaction. This interaction should not be limited to mechanics alone, but it

should include reflections and evaluation

Reading and writing strategies make

content area instruction more comprehen-

alive so students can make their own con-

your individual classroom. The first time

of themselves. This evaluation paves the

sible for students. It makes content come

process (Hansen, 1991). While the teacher

nections between their lives and the texts

way for active engagement in the learning

may have chosen the piece of music for the students to learn and perform, it is not

until the students and the teacher work on the piece together that it comes to life. In that work, the teachers and students are constructing musical literacy.

Literacy is a way to construct know-

ledge, and it is not limited to reading and writing of text. Literacy encompasses

they read. Music offers a vehicle for imaginative discourse that can allow students

to build their literacy skills. Imaginative discourse can be used to benefit stu-

dents in the growth and development of their written language, ideas backed up by researchers such as Vygotsky (1967), Piaget (1962), and Bruner (1983).

Other educators (e.g., Calkins, 1986;

the ability to analyze and use informa-

Florio & Clark, 1982; Graves, 1983) have

should be purposeful and used to reflect,

teachers to use when trying to aid stu-

tion to make educated choices. Literacy express ideas, entertain, as well as persuade (Spears-Bunton & Powell, 2009).

Literacy is the ability to communicate and

understand symbols within the confines of a specific cultural group. It is trans-

ferable; the skills used can be reshaped to work in other areas. When students

created relatively similar strategies for

dents through imaginative discourse, which include:

1. create an informal environment and climate of risk taking,

2. encourage students to generate their own topics, provide stimulating prewriting experiences,

are learning a musical piece, they are

3. recognize and allow for individual

simultaneously. Vocal music specifically

4. set up real purposes and real audienc-

between words and music and bring the

5. provide conferences during the writ-

utilizing literacy skills on multiple levels provides a vehicle to explore relations

meaning and messages embedded in the text back to the music. Structuring cur-

riculum and instruction in a way that

and unique processes of writing, es, and

ing process in a nondirective way to facilitate the writer’s intentions.

Applying these strategies to the cho-

links the processes of learning music

ral rehearsal, directors can help students

can help to develop a student’s ability to

empower students in their ability to ana-

with similar processes in other domains move between domains and generalize

knowledge (Pearman & Friendman, 2009).

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

First, teach the music of the piece,

melodically, harmonically, in whatever

construct meanings, transfer skills, and lyze and interpret the world. The means to this end are as follows:

methods the music is normally taught in

I did this lesson, I began with solfège, and

the piece I was teaching was Omnia Sol

by Z. Randall Stroope. Once the students

had learned the melodic and harmonic nuances of the music and loved it, we

began to dive into the text. The specifics

of my classroom were such that many students were immigrants or first-generation Americans. As such, their English skills needed a little more support at

times. We took the text from the song, started to sing it, and then one day, I pulled the words off the musical page and displayed them on the screen as a poem. As a class, we discussed the text, each line, and explained metaphors if they were unclear. As the director, I

did not give the students the answers,

but merely guided the discussion and

ensured the class stayed on task. Students were asked individually to decide on

words they felt were personally import-

ant and write them down, along with their explanations as to why those words were important. Following this individual thinking time, we resumed class dis-

cussions, and the students shared some of their thoughts. The class voted and decided that within each phrase, the

textual emphasis belonged in specific

places, and then we tried to sing through those phrases with their new emphasis.

We had one more segment where they

Literacy encompasses the ability to analyze and use information to make educated choices. had to write down what the piece in

How much time is spent on the

w What decisions are being made as far as emphasis of the text? invited to share what they thought the w Do teachers maintain that the compospiece meant. This led to another class distotality meant to each individual student.

text as an ensemble?

Following this segment, students were

cussion, and the group voted on the over-

er makes all the best choices regarding

this segment of the class by returning to w Is there room for personal interpretaall meaning for the class. We concluded

dynamics and emphasis?

the song and trying to translate all that

tion in solo music? Is there room for

emphasis, and tonal colors.

music? What would that look like?

had been discussed into dynamics, text The open forum for the students in the

chorus room mimicked some of the strat-

collaborative interpretation in choral

Recommendations for the

w Remove the text from the music and ask the students to read it as a poem. tion to this piece of music not only on an w Lead a class discussion on where the auditory level, but also on an intellectual egies previously listed. As a result of these

process

discussions, the students had a connec-

and emotional level. During the final per-

emphasis of the text should lie and

while they were singing. As Jackendoff w Have the students attempt the different placements of emphasis.

(2009) explained, music and language are w Have the class/students vote on the distinct from other human activities in placement of the emphasis. that they are two expressions of the same w Place the emphasis on the musical competence for human communication. formance, students were moved to tears

why.

As we all move forward in our respective

scores, adding notes on why one word

students through choral music, this les-

on what memories they may be trying

goals of teaching and empowering our

son gives students another vehicle to take ownership of the music and the many

meanings music can hold in our minds and souls simultaneously.

Below are some concluding points to

or phrase is louder or softer, or notes

w Perform the entirety of the piece with to access on that phrase.

the intent of bringing to life the discussions had as an ensemble.

think about if you should choose to use

Alicia Romero-Sardiñas,

rehearsals.

of music education at Florida

this lesson in your own classrooms/choral

PhD, is a visiting professor

International University. A

w Text must be translated. daughter of Cuban immiw Text should be interpreted for artistic grant parents, Dr. Romero-Sardiñas holds degrees in music education from Florida meanings. w Text must be studied for syllabic stress International University (BS) and Florida Choral music/vocal music has text.

first-generation American

such that the audience members can

State University (MMEd) and a degree in cur-

to the musical performance.

International University.

understand and possibly also connect

riculum and instruction (PhD) from Florida

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Peabody Journal of Education, 60(3), 60–69. https://doi.org/10.1080/01619568309538407 Calkins, L. (1986). The art of teaching writing (1st ed.). Heinemann.

Cleaver, D., & Ballantyne, J. (2013). Teachers’ views of constructivist theory: A qualitative study illuminating relationships between epistemological understanding and music teaching practice. International Journal of Music Education, 32(2), 228–241. https://doi. org/10.1177/0255761413508066 Florio, S., & Clark, C. M. (1982). The functions of writing in an elementary classroom. Research in the Teaching of English, 16(2), 115–130. https://www.jstor.org/stable/40170938 Graves, D. (1983). Writing: Teachers and children at work. Heinemann.

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Pearman, C. J., & Friedman, T. (2009). Reading and rhythm: Binding language arts and music in an academic notebook. General Music Today, 23(1), 12–16. https://doi. org/10.1177/1048371309331610 Piaget, J. (1963). Part I: Cognitive development in children: Piaget: Development and Learning. Journal of Research in Science Teaching, 2, 8–18. https://doi.org/10.1002/ tea.3660020306

Spears-Bunton, L. A. & Powell, R. (2009).

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Vygotsky, (1967). Play and its role in the mental development of the child. Soviet Psychology, 5(3), 6–18. https://doi.org/10.2753/RPO1061040505036

May 2023

27

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

ComponentNews

FLORIDA VOCAL ASSOCIATION

Jeannine Stemmer, President

O

n March 31, I had to wake up at

One of our ensemble songs was

5 am. I had to get to my classroom at

Kaleidoscope Heart arranged by Allison

for our entries for state solo and ensem-

broken pieces. All you need is a lens that

6 am and confirm that I had all originals

Girvan. A kaleidoscope shows beauty in

ble. I had to find a missing bow tie. I had

will help you see clearly and a mirror that

to find a pearl necklace. I had to find a

reflects. A music educator gets to empow-

missing left character shoe. At 6:30 am

er others to find the beauty in their own

I had to travel with 43 students and six

kaleidoscopes. When I finally saw clearly

chaperones approximately two hours in

through the kaleidoscope of my life, I

realized I don’t have to do any of these

traffic to arrive 30 minutes before our first

things … I get to do them. My body is

performance. When we finally arrived, I

had to run up three flights of stairs and show that I am seriously out of shape.

my senior son at his senior-night lacrosse

waiting for performances, I had to take

to eat at “La Carreta” (IYKYK). I arrived

After five hours of performances and my students to ride go-karts and play

laser tag. That evening I rushed back to school because I had to walk alongside

game. When the game was over, I had

tired, but my heart is full. Shall we never

take for granted the experiences that help us achieve our purpose.

What an honor it has been to serve as

home, opened my email, and remem-

your president. I am so grateful for the

article as FVA president.

serve you as your friend.

bered that I had to prepare for my last

Now Accepting Booth Space Reservations for the 2024 Conference!

opportunity and pray that I will get to

MUSIC EDUCATION

2024 FMEA PROFESSIONAL DEVELOPMENT CONFERENCE

Please register and pay your deposit as soon as possible.

We are assigning booth space in the order deposits are paid.

fmea.org/

conference/exhibitor-information/ May 2023

29

ComponentNews I

t’s May—say it ain’t so—the final

FLORIDA BANDMASTERS ASSOCIATION

Bernard (Bernie) Hendricks, Jr., President

The first is our FBA (or music educa-

the state. (“What’s up Wednesdays” are

month (or so) of yet another school

tor) Family. Last year, Past President Ian

our summer festivities very soon, and

of our band director family and how we

Perspective. I know that all of us in

learn from each other, and celebrate each

opinions on our MPA system, and that

year! Most of us will be setting sail for

rightfully so. It’s definitely time to get away for a bit, reconnect with friends, enjoy family, and possibly take advan-

tage of some of the summer opportuni-

ties to grow as a music educator. Before moving on, I’d once again like to thank

the FBA membership for giving me the opportunity to lead this incredible organization. It is truly a pleasure and an

honor to do so, and I greatly appreci-

ate the support you have displayed this

year. I began this term by introducing a theme of Building Better Bands, Through Camaraderie, Community, and Creativity,

and I believe we are well on our way to making this happen throughout the

state. As we close out the 2022-23 school year, I’d like to briefly reflect on three items that have been heavy on my plate since day one.

Schwindt wrote about the importance

must stick together, support each other,

other. We may not always agree on every issue, but we can accomplish much more

with each other than we can without each other. This message is still true and probably needed now more than ever.

With that in mind, be on the lookout for a more active presence from our retired FBA membership next year as we have

reestablished this important aspect of our

association. We are also going to contin-

ue (with a little more defined focus) our Hi-Five Focus group for our teachers in

years 0–5, as well as work on some tweaking of our mentor program. But generally

I want to challenge all of us to be aware

of each other and continue to make the effort to reach out and support your brothers and sisters in music throughout

still a thing!)

The

second

point

is

the

MPA

secondary music education have varied is perfectly fine. That is not what I’m

addressing with this message. Regardless of how you view the MPA process, I am a strong believer that your MPA rating

does not determine who you are as a music educator or, more importantly, as

a human being. For whatever reason, we have tied ratings to success and to our

personal livelihood and well-being. This year I took my band to MPA, and we did

not earn a superior rating. Can you believe

that the day after that, the good Lord still

woke me up and sent me on my way back to school? And all of my students showed up as well. Of course, we discussed our performance and listened to the record-

ings, reviewed the adjudicator comments,

and came up with a plan to improve … or basically used the experience as a tool

to grow and become a better educator.

Regardless of the rating, I’m still who I am and I still love what I get to do each and every day. To my knowledge, there

is no movement to impeach me from the presidency because I did not get a superior. Other directors have still asked me to

come assist with their band programs. My students still laugh at my jokes, and my wife didn’t leave me! I think you get my

point, right?! I do believe our MPA system is a needed, viable, and valuable educational tool. But it does not determine my

self worth as a music educator or a human

being. I hope this will be encouraging to you as well.

The final point I’d like to discuss is our

Cheryl Floyd, conductor of the 2023 All-State Middle School Band, celebrates a successful performance with her students.

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

effort to do a better job of Celebrating

Success within our FBA (FMEA) family.

FLORIDA MUSIC SUPERVISION ASSOCIATION

Lindsey R. Williams, PhD, President

Earlier this year, my pastor preached a

sermon that centered on the quote “You get more of what you celebrate!” It made perfectly good sense to me, and I think it is something that is very achievable.

Success in our profession looks many different ways and can be achieved at any given time or place and in any given setting or classroom situation. Success

does not have to be based on a rating or a

trophy from the “Intergalactic Universal

Federation of Band Associations of the

Space Time Continuum.” So be on the lookout for our “Celebrating Success” initiatives coming very soon.

A

s I approach the end of my term as president of the Florida Music

Supervision Association, I am reflecting on the many people who have

taught me throughout my time in this position. I have found that the kindness

others have shown toward me is both invaluable and irreplaceable. As a person who strives to be a reflective practitioner, I actually started reflecting on the many

facets of “kindness” and how it is the keystone to effective and lasting teaching and learning.

“Kindness is giving hope to those who think they are all alone in this world.”

One of the results of the global pandemic that still lurks about is the feeling of

isolation and distance. However, one of the unintended consequences of this same event is the necessity to become more and more proficient at communicating in a

virtual platform. At a time when we were most apart, FMSA found a way to con-

nect regularly in a way that reminded us that while we were apart, we were not alone in our struggles and fears. We had each other to laugh with, to commiserate with, and to support. I leaned on my FMSA colleagues (a k a friends), and I cannot thank them enough.

“Kindness is seeing the best in others when they cannot see it in themselves.”

Being tasked with a leadership position can be daunting and also isolating. It is not unlike starting a new job as a music teacher in a new school. People look to you

for help and guidance, and the responsibilities related to those decisions can be a

heavy burden. My FSMA and FMEA colleagues have all treated me in a way that Back to that point of summer growth

opportunities, please consider attending the FBA Summer Conference, June 26–28 at the Doubletree by Hilton Orlando at

SeaWorld. We are pleased to welcome home our keynote speaker, Dr. Rodney Dorsey. Much more will be available at

this summer conference—the return of

the Seven and Nine Star Honor Bands as well as the Jazz Institute, to name a few (and possibly the BBQ challenge that so

many of you have requested). All of the necessary information can be found on the FBA website: https://fba.flmusiced. org/for-directors/summer-conference/.

Congratulations to everyone on your

successful school year! Have a great, relaxing, and refreshing summer, and let’s all continue building better bands!

showed me they trusted me and would still support me even if a choice I made did

not function as anticipated. That is a gift I will cherish and one I hope I bestowed on my students throughout my nearly 30 years of teaching.

“Kindness is not what you do, but who you are.”

We are what we repeatedly do. If we want to make this world a better, more accepting, and kind place, we must model kind and respectful behaviors to those around us. This can challenging, but when in doubt, think through—what is the kindest thing I can say/do right now?

As we end another academic year and set our eyes toward “next,” I wanted to

take a moment to find the strength and majesty that is kindness. The prevailing

thought in psychology is that human beings are more likely to learn and retain information when they are in an environment that feels safe and secure. I am

going to share the wise (and kind) words of my amazing wife. “Remember, Lindsey, we are all doing the best we can with what we have on that day.” While we may not feel as if we can immediately change the current climate of dichotomous thought and fear, we can certainly choose to do the next kindest thing that will ultimately deliver us to a “next” that allows us all to feel safe and at peace.

May 2023

31

FLORIDA NAfME COLLEGIATE

ComponentNews C

Colin Urbina, President

ollegiate Music Advocacy Day was a

want to give a huge thank you to Jeanne

with how well the event turned out. We

time since 2020, collegiates from across

and Jovan Osborne for putting together

each one took part in meeting with legis-

huge success this year! For the first

the state came together in Tallahassee to advocate for music education, to speak with legislators, and to make sure music

remains funded and in our schools. We

Reynolds, Kathy Sanz, Val Anderson,

this event and making sure the day ran smoothly.

Being it was the first in-person

had close to 30 collegiates show up, and lators and discussing why music education is vital to our students and schools.

Collegiate Music Advocacy Day we’ve

had in a while, I was extremely pleased

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Joani Slawson, President

Kathy Sanz with student participants at Collegiate Music Advocacy Day

W

ow! It is hard to believe that summer will soon be upon us. Each school

On a personal note, it was extremely

year presents its own joys, lessons, and challenges. I know that everyone

uplifting to see the support the arts had

know that though some days you may feel unnoticed or underappreciated, there

ant it was to many of our legislators.

for your commitment to high-quality music education and to meeting the needs

their aides share stories with us about

As my term as your FEMEA president comes to an end, I want to tell you

been supportive in bills and committees,

of you reading this message has gone above and beyond for their students. Please

throughout the Capitol and how import-

are many children whose lives have been changed because of YOU! I thank you

Multiple times, I had representatives and

of your students.

their own ties to the arts, how they have

what an honor it has been to serve you and this organization. Elementary music

and their continued plan to make sure we

I know. I am so inspired by all the amazing things you do every day and will

I was also happy to see the connec-

teachers are the hardest working, most compassionate, and most giving people

secure arts education in Florida.

always be grateful that you trusted me to lead this organization. I have had the

tions people were making throughout the

has accomplished during my term. The pandemic definitely had an impact on the

but with their peers and colleagues as

There are so many people who have helped me along this journey.

by their representatives, rather than by

leadership. Thank you to Val Anderson and Dr. Kathy Sanz for their support.

forge friendships and grow closer to their

to our organization. The servant leadership on this board means that members’

how little we meet as a chapter, I always

making. I am also thankful for their willingness to listen to

beyond their school.

and Ernesta Chicklowski for their guidance. I am excited that

came out and made the day possible.

her leadership and vision. Finally, I want to thank Jennifer

you made for music education and how

opportunity to work with many incredible people. I am proud of all that FEMEA

entire day, not only to their legislators,

FEMEA, but I am proud to say we have made huge gains in the past two years.

well. Collegiates were grouped together

I would like to thank the FMEA board and Dr. Shelby Chipman for their

school, and due to this I saw many people

My heart is full of gratitude to the FEMEA board for their dedication and service

peers from different universities. With

and students’ needs are always in the forefront of decision-

enjoy seeing people creating relationships

and be open to new ideas. Thank you to Rosemary Pilonero

Finally, I want to thank everyone who

Ashley Peek will be taking the helm in July and thank her for

I hope you all will realize the impact

Sullivan for ALL she does for FEMEA. Her vision, leadership,

well you represented Florida NAfME

and dedication have been essential to the success of FEMEA.

Her kind nature and compassion have made her a joy to work

Peek

with. I hope all of you have a wonderful summer break and get the rest and relaxation you truly deserve.

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

Collegiate. As this event continues to

grow, I can’t wait to see how you all keep pushing and advocating for the arts and

its importance to our students, schools, and society.

FLORIDA ORCHESTRA ASSOCIATION

Laurie Bitters, President

W

e are at that busy time of year

I look forward to continuing in service as

dents have accomplished this year.

MPA season and have begun preparing

our new FOA Executive Committee as we

of learning and the making of music, and

when we have just finished our

for our spring concerts and end-of-year

events. It was truly a pleasure to see you and to hear some of the orchestras at the

state concert MPA. I would like to thank our state concert MPA judges and clini-

cians for their comments and guidance:

Dr. Brenda Brenner, Dr. Elizabeth Reed, Dr. Judith Palak, Georgia Ekonomou, and Patricia Glunt.

It is hard to believe this is the last

article I will be writing as FOA president.

These two years have flown by, and I want to thank all of you for making my tenure

such a pleasant experience. Jumping from president-elect right into president made me feel slightly behind, but everyone

was always very kind and helpful. I have

enjoyed meeting so many new people, and

past president. I am excited to be helping

are under new leadership with incoming

President

Cheri

Identify the steps made in your journey honor your successes.

Rest and get away from the stress of

Sleeper and President-

the everyday challenges of the work, and

I hope you make their

your reservoir of energy for the coming

elect Andrea Szarowicz.

allow yourself to be recharged to refill

experience as enriching

year.

Grow and set aside time to feed your

as mine. It is our goal to make this your FOA, and we have greatly appreci-

Sleeper

ated your input to our conference planning and handbook updates. Please do

not hesitate to contact me or any other board member regarding your concerns and questions. We are here to serve you.

soul. Do something that is intellectually stimulating: Attend a workshop or

a summer conference, read a book, do

something artful that is from a different discipline (paint, write a short story, or learn a new instrument).

Plan what next year could look like and

We all wish you a great ending to your

what changes you will make in the learn-

about as we end this year:

in your classroom.

school year. Here are some things to think Celebrate all that you and your stu-

ing journey that your students experience Enjoy your summer break!

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

S

Marc Decker, DMA, President

ummer is almost here and with it comes some much

needed time to rest and recharge. This summer marks

the end of my term as president of the Florida College Music Educators Association. It has been an honor to serve you

and this organization. The last three years we faced many challenges that threatened to tear our community apart, but

instead, these challenges only drew us closer. We overcame them because of the resourcefulness and creativity of our

members. I am proud of what we have accomplished and thankful to you all.

I am excited for the future of our organi-

zation and eager to see it grow and evolve.

Taking over the position of president will be Dr. Sandra Adorno from Florida

International University. She is the perfect

person to lead this great organization into

the future. Please join me in welcoming her.

Adorno

Good luck, Dr. Adorno!

May 2023

33

ResearchPuzzles

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

FOR MUSIC TEACHERS

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

Research-Based Strategies for Ensemble Rehearsals

S

ometimes teachers may have the impression that research

of eye contact, a trait that is more prevalent in expert than in

what goes on in K-12 music classes and rehearsals on a daily

to a rehearsal, conductors can free themselves from constantly

deals with esoteric topics that have no real connection to

basis. However, most music education researchers were K-12

teachers themselves and have a deep interest in trying to

make contributions to music education at the elementary and secondary levels. As an example, there has been a great deal of research related to teaching large and small music ensem-

bles. Brian A. Silvey (2014), a music educator, conductor, and researcher who teaches at the University of Missouri, summarized and synthesized much of that research in an article pub-

novice conductors. By engaging in sufficient score study prior looking at the music, thus being better able to look at mem-

bers of the ensemble during rehearsals and performances. To improve eye contact, conductors may also deliberately plan

how and when they will look at the musicians by writing in the score when to look at sections or individuals, or intention-

ally making eye contact during the warm-up period when the printed music does not usually need to be closely consulted.

Researchers have also found that conductors like to talk,

lished in the NAfME journal UPDATE: Applications of Research

often too much. Students enroll in school ensembles to play

related to (a) ensemble warm-ups, (b) teacher behaviors,

ties for music-making. Like the research on eye contact, there

in Music Education. In this article, Silvey discussed research (c) feedback, (d) moving beyond notes and rhythms, and more.

Warm-Ups

Silvey indicated that conductors may not always make the

best use of ensemble warm-up time, frequently using it for

announcements, taking attendance, and a routine that varies

little from day to day, resulting in students being on autopilot and not focusing their attention on important aspects of individual and collective musicianship. He pointed out that the

and sing. Too much conductor talk results in fewer opportuni-

is a difference in conductor talk between expert and novice conductors, with experts tending to talk less than novices. In

addition, researchers have learned students tend to pay better attention in rehearsals where there is less conductor talk. One

reason why expert conductors tend to talk less than novices may be that they are better at communicating nonverbally,

which includes using expressive conducting gestures that are preferred by musicians.

content, structure, and approach to the warm-up can set the

Feedback

that the teacher needs to be fully prepared for the ensemble

er, not all feedback is equally effective. In music classes and

tone for the entire rehearsal (e.g., Madsen, 1990). Silvey advised

warm-up, which should focus on instrument and performance fundamentals, and be designed not only to physically warm up instruments/voices and bodies, but also to engage students musically and emotionally from the outset.

Teacher Behaviors

It is not surprising that the actions of the teacher/conductor can

have a large influence on the effectiveness of a rehearsal. Two

aspects of ensemble teacher behavior that have been studied by researchers are eye contact and conductor talk. Researchers

have found that performers prefer conductors who make lots

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

Feedback is crucial to the teaching-learning process; howevrehearsals, there is usually a three-part feedback cycle consisting of (1) a teacher directive—the teacher asks the student to

do something, (2) student performance—the student responds

to the teacher directive; this can be a musical performance or

any other type of response that aligns with the directive, and

(3) teacher feedback (see Price & Yarbrough, 1993; Siebenaler, 1997; and Yarbrough & Hendel, 1993). The key to this cycle

being efficient and effective is that both the directive and the

feedback need to be specific. Feedback, whether positive or

negative, needs to address not only “what the problem is, but how to fix that problem” (Silvey, 2014, p. 13). Silvey suggested

that teachers pair a generic good

or bad with a musical description,

providing this example: “Good job flutes on making those sixteenth notes more crisp with a lighter tongue!” (p. 13).

Beyond Notes and Rhythms

It is not unusual for conductors to

spend a great deal of time during rehearsals helping students

to play the correct notes and rhythms of repertoire. This may result in rehearsal goals and procedures being focused on the

technical aspects of ensemble performance, to the neglect of the expressive aspects of music. Silvey (2014) suggested one reason

for this is that students often lack the understanding of how to effectively practice independently and encouraged teachers to

discuss the process of practicing with their students, helping them to develop essential strategies and approaches. In addition, teachers might consider choosing some repertoire that is

less technically demanding so there is an opportunity to spend more time working on higher-level musical concepts and performance practices.

Summary

In this column, I’ve provided an overview of the content of

Silvey’s (2014) article, which provides a wonderful example of how the results of research can be applied to our daily work as

References Madsen, C. K. (1990). Teacher intensity in relationship to music education. Bulletin of the Council for Research in Music Education, 104, 38–46.

National Association for Music Education. (2023, March). UPDATE: Applications of Research in Music Education. https://nafme.org/ nafme-research/update-applications-of-research-in-musiceducation/ Price, H. E., & Yarbrough, C. E. (1993). Effect of scripted sequential patterns of instruction in music rehearsals on teaching evaluations by college nonmusic students. Bulletin of the Council for Research in Music Education, 119, 170–178.

Siebenaler, D. J. (1997). Analysis of teacher-student interactions in the piano lessons of adults and children. Journal of Research in Music Education, 45, 6–20. https://doi.org/10.2307/3345462 Silvey, B. A. (2014). Strategies for improving rehearsal technique: Using research findings to promote better rehearsals. UPDATE: Applications of Research in Music Education, 32(2) 11–17. https://doi. org/10.1177/8755123313502348 Yarbrough, C., & Hendel, C. (1993). The effect of sequential patterns on rehearsal evaluations of high school and elementary students.

Journal of Research in Music Education, 41(3), 246–257. https://doi. org/10.2307/3345328

music teachers. To learn more about this topic and to explore

the research on other aspects of music teaching and learning, access the website of the NAfME journal UPDATE: Applications of Research in Music Education, which can be found at https://

bit.ly/nafme-update. The mission of UPDATE is to bring “research in music teaching and learning close to everyday

practice to help teachers apply research in their music class-

rooms and rehearsal halls” (National Association for Music Education, 2023, para. 1). All FMEA members can access and read UPDATE as part of their FMEA/NAfME membership.

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

May 2023

35

CommitteeReports AWARDS COMMITTEE

Sondra A. W. Collins, Chairperson

A

s we wrap up another school year of quality music

education, I applaud all music educators for promot-

ing and exemplifying quality music education on a daily basis. We have so many heroes out there, rising above and being the light, and that includes YOU.

Speaking of heroes, it’s that time of the year when I ask

you to consider who in your sphere of influence is deserv-

ing of recognition by the FMEA Awards Program. Each

year I am so inspired by the nominees in every category, and I also think about the many unsung heroes of music

education throughout our state. The call for nominations is

Ernesta Chicklowski, elementary music educator at

know there are many amazing music educators and music

Public Schools, inspires with celebration:

already available at https://FMEA.org/programs/awards/. I

Roosevelt Elementary School in Hillsborough County

education supporters out there, and your FMEA Awards

I

Committee looks forward to receiving the next new round of nominations.

am deeply honored to be selected as the 2023 FMEA

Elementary Music Educator of the Year. What a true

In the coming months I would like to share with you

pleasure and surprise to be considered as a leader in the

at our 2023 FMEA Awards Ceremony during the FMEA

fully teaching music each week, making meaningful

inspiration I share with you to give you that confidence

school community and classroom. What makes me most

school year, as well as the drive to help shine a light on

me, working independently, creating something beautiful

words from all of our 2023 FMEA awardees will impress

to my students collaborate and connect with their peers,

ble nominees for 2024.

seeing my students continue to pursue music outside of our

words from our 2023 FMEA Elementary Music Educator

a student achieve a personal musical milestone—from a

Secondary Music Educators of the Year, Vivian Gonzalez

proud. The recent buzz of this esteemed award is great, but

a little of the brilliance that our awardees shared with us

field of music education. I celebrate every educator: joy-

Professional Development Conference. These words of

musical memories, and cultivating creativity in their

to be the light to your own students at the end of another

proud is the sound of my students making music without

others in our next nomination period. I know that reading

and intentional. What makes me most proud is listening

you, but I hope it will also inspire you to think about possi-

making something unique. What makes me most proud is

First off this month, we will start with some inspiring

classroom walls. And what makes me most proud is seeing

of the Year, Ernesta Chicklowski, and our 2023 FMEA

small musical moment to grand leaps. I couldn’t be more

and Deborah Mar.

even more important is the message of music for ALL of

Florida’s students. I feel honored to have the opportunity

to share the message of advocacy for music in our schools on many platforms. Advocacy for music education ensures that music will continue, well beyond my teaching journey.

This is the legacy I hope to leave behind. Let the music continue to change our student’s lives, one note at a time. I believe that music education makes a difference.

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

Next, Vivian Gonzalez, secondary music educator at Miami Arts Studio 6-12 @ Zelda Glazer in

Miami-Dade County Public Schools, inspires with hope:

I

am so honored to have received the FMEA Secondary Music Educator of the Year Award. It’s such an honor to be a representative for our community of

music educators who work so hard every day to make sure they give access, opportunity, and inclusion to all of our students in the state of Florida, and that

we really emphasize to everyone how important music education really is. I am a child of a first-generation teenage mom and a Cuban exile father, and without music in my life, I’m not really sure what my life would be. I was lucky enough

to have the music community in Miami and my public school music teachers really rally around me, find my talent, and encourage to pursue my dreams to

be a musician and music educator. I really believe that music is essential to all of our students and through music we change the lives of our students. By

changing their lives through music, we are changing the world, one student at

a time. I think it’s so important that we share our student’s stories, and they get

to experience the music of their culture, as well as the music that’s around them every single day. I am so excited to be a bridge for my students and my colleagues to make sure that all of them have access, opportunity, and inclusion in music

classrooms, whether it’s in Miami, the state of Florida, or across the nation. I really believe that music changes the world, and through our students and their stories, we are changing the world too.

And finally, Deborah Mar, secondary music educator at Southwood Middle School in Miami-Dade County Public Schools, inspires through reflection:

I

am pleased and humbled to accept the FMEA Secondary Music Educator of the Year award. I offer my sincere gratitude to my family, FVA, the amazing FVA District 16, my colleagues at Southwood Middle School,

and Angel Marchese for this nomination. Much has changed since I began teaching, but the most important things have remained the same—those being my belief that music is for every child and to create pathways to

mentor other young music educators along their unique journeys. As a young novice teacher, I searched for ways to grow professionally and engage my stu-

dents. The Florida Vocal Association has offered those opportunities through musical events, professional development, and leadership opportunities. My

mentors are long gone now, but I think of them daily and their positive impact

on my life. There is a large banner hung on my classroom wall. On it is a compelling question: “How big is your world?” I challenge my students to think outside their immediate environment. I challenge them to consider how their beautiful music might have a higher purpose. I trust that their musical

experiences will build confidence, courage to find their place in this world,

and a sense of belonging and value. My joy comes when I see my students

performing in their respective high schools and colleges. My joy comes when

I see my former interns thriving in their new careers as music educators. My

joy comes when I see attendees inspired and moved by conference sessions.

My joy comes when I receive a letter from a parent stating that choir saved

their son’s life. Today I celebrate with you my journey as a music educator, as well as the journey of my past and present students, colleagues, and mentees.

Find your joy!

May 2023

37

CommitteeReports ROCKING WITH RUBY When Inclusion Works

C

hrista McAuliffe, first teacher astro-

peers. Her principal touchingly shared

teach.” One of the many rewards of teach-

sion. Unfortunately, his experience with

naut, said, “I touch the future; I

ing is hearing from former students. I love

to hear from former students regardless of what they call to tell me; however, it is

incredibly gratifying when they call to say

they are using what they learned in class in their own teaching. I spent most of my career promoting the music education

of students with disabilities; therefore, it is especially rewarding when former students tell me about their students with

disabilities. I was excited to recently hear from a student I had over 15 years ago, Alan DeVall, who teaches at

his own personal experience with inclu-

inclusion was not as successful as Ruby’s.

I want all students to have the school life that Ruby enjoys. Authentic inclusion

requires that parents, teachers, peers, and administrators all agree on the principles of inclusion and work in concert to adhere

to those principles so the goal of full inclusion can be realized. It is clear from

Ruby’s video that her parents, teachers, and school administrators have figured out how to put the principles of inclusion into practice.

Clint Small Middle School

implications for the classroom. With

in Austin, Texas, and formerly

taught

at

normalized experiences, students have

North

opportunities for increased community

Fort Myers High School in

integration, social integration with peers,

Southwest Florida. He mes-

and improved quality of life. The princi-

saged me and a colleague

ple of self-determination promotes students’

of mine at the University

empowerment

of Texas where he went to

decision-making

and what they want their future to look

us for our influence on his

like. Characteristics and skills such as

teaching and work with

assertiveness, problem-solving, and deci-

students who have disabil-

sion-making are developed throughout

ities. He included a link to a schooler with intellectual

and

regarding the services they will receive

graduate school to thank

video about Ruby, a middle

people with disabilities, and it has many

their educational years to promote autonomy and self-efficacy as adults. Ruby’s

Alan DeVall

disabilities. Included in the video was

Principles of Inclusion

ing trombone, and working with her band

inclusion are the principle of normaliza-

footage of Ruby playing in band, practicbuddy. My former student was also inter-

viewed about teaching Ruby and what it meant to him and his teaching.

The video also profiled Ruby in numer-

ous other typical middle school academic and social activities. It was clear she

was fully included and accepted by her

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

Two of the principles most important to

video illustrates these principles of inclusion and the role music can play in promoting these principles.

Jellison (2015) offers two additional

tion and the principle of self-determination

principles that support full inclusion for

of normalization reflects the belief that

socialization and the principle of collabora-

(Adamek & Darrow, 2018). The principle individuals with disabilities should have experiences as close as possible to what

is typical. This principle provided a foun-

dation for the civil rights movement for

students with disabilities: the principle of tion. The principle of socialization focuses on students’ cognitive and social development through positive interactions with

peers. In addition to the goal of promoting

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

importance of coordinated efforts and the ways administrative personnel, teachers, students, and parents can work together

to cultivate a school environment where academic learning, helping students

tunities to engage in varied experiences,

assists their integration in school and

opment of social skills and friendships.

develop positive social relationships community life. Students need oppor-

CLICK TO WATCH

OR SEARCH

all students are included and valued.

The video Ruby’s Story of Inclusion: The

such as band, that encourage the devel-

Middle School Years clearly illustrates each

The principle of collaboration focuses on the

continued on page 40

for Ruby’s Story of Inclusion: The Middle School Years

of these principles in action.

Teacher Tips for Inclusion

on following page May 2023

39

CommitteeReports Teacher Tips for Inclusion continued from page 39

The principles of inclusion are ideals that

require classroom strategies to be realized. I am often asked to share instruc-

tional tips or strategies for inclusion (Darrow, 2022, pp. 60–61). Former students have said these teaching tips have

helped them, and I hope they will help

technological media, or incorpo-

rating current social issues and themes in students’ lessons.

2. Become skilled at task analysis …

breaking down any musical task to its most basic elements. Perhaps one

student is naming notes and another is identifying notes as a line or space notes, a prerequisite skill for note

naming. Students with disabilities do

not need a special curriculum, but they may need differentiated instruction.

FMD readers. My first tip is always the

3. Embrace modeling and guided prac-

deviance from the norm, but rather to

tive strategies for teaching new skills

same: to see disability not as a form of reconceptualize disability as a natural

form of human variation. All students exist somewhere on the continuum of abilities. The key is to know where your

students are on that continuum and to teach accordingly.

Below are some other tips that have

helped me throughout my career in teaching students with disabilities.

1. Know your students. Know their abil-

ities, limitations, interests, and learning style preferences (visual, auditory, kinesthetic, reading, writing).

Knowing your students will allow you to embrace the three principles of

w Provide multiple means of represenUniversal Design for Learning:

tation. Any musical concept can

be taught in multiple ways: using

visuals, singing, playing, moving,

w Provide multiple means of action and listening, creating, reading.

expression. Differentiate the ways

that students can show what they know. Can they sing, speak, use

a gesture, or point to a visual that

w Provide multiple means of engagerepresents their response?

ment based on students’ interests.

Any musical concept can be

taught using various musical

genres, employing contemporary

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

tice. These are two of the most effecto all students: I do (modeling), we do together, you do as group, you do individually (guided practice).

4. Analyze students’ difficulties. Do you

w Adapt the music (arrange easier

need to:

or more difficult parts, color-code the music, write in accidentals,

provide larger size print or Braille

w Change or adapt a student’s music)?

instrument so it aligns with their

w Adapt the environment (remove physical abilities?

distractions or physical barriers,

rearrange students’ seating, write

w Adapt your instruction (less

reminders on the board, etc.)?

teacher talking and more student engagement, use more visuals,

use peer-facilitated learning strat-

w Adapt your expectations or definition for student success? w Provide scaffolding or learning egies, etc.)?

supports such as prompts and

cues (“Check the board to make sure you have everything you need to begin rehearsal.”)?

5. Provide a safe and respectful learning environment for students with disabilities.

w Students are your best disability information resource. Invite

them to let you know when and

if they need assistance and what kind of assistance. Don’t assume they need help, and encourage

them to self-advocate when they

do. It will be a useful skill in the adult world. Students with dis-

abilities generally need less help

than most teachers think they do.

When they do need assistance, enlist a fellow classmate if the

task is appropriate for peer modeling. Doing so promotes peer

interactions and is less stigmatizing than using an adult parapro-

w Educate yourself on appropriate fessional.

terminology, and avoid pejora-

tive terms such as “confined to a wheelchair.” We don’t say “confined to a cane.” We say simply, “She uses a cane, or he uses a

w Your reactions and comments wheelchair.”

matter. Most people have a fear

of becoming disabled and, thus, often feel the need to express

sentiments such as, “You are so brave,” “I wouldn’t want to live if I lost my sight,” or “I would

rather die than be confined to a wheelchair.” These and similar comments devalue the lives of

w Focus on what’s important. students with disabilities.

Teachers often spend more time

thinking about a student’s disability than the student does. Many if

not most students are not mindful of their disabilities and find them

to be inconsequential to their happiness or to their academic life.

They are often reminded of their disability only when faced with societal barriers or when others make reference to it.

w Give all students a chance to lead

EMERGING LEADERS COMMITTEE

goals, desires, and ambitions that

Chairperson

and grow musically. Students

Mary Palmer, EdD,

with disabilities have the same all students do. Provide them

with the same opportunities for

w Don’t tolerate mistreatment of

leadership and musical growth. any student. Invite all students

to report to you privately if they observe any classmate being

bullied or intentionally isolated.

Monitor the social interactions

in your classroom, and teach all

students to be good class citizens.

Your musical product will be better for it, and your students will learn to appreciate the diversity

w Look to role models of all abiliwithin their music classroom.

ties. Persons with disabilities have been and are well represented in the musical arts. Studying musicians with disabilities, perform-

ing their music, and inviting them as clinicians will provide positive role models and infuse disability

information into the music curriculum.

When music educators employ inclu-

sive principles and practices such those

cited above, they honor human diversity in all its forms, and all students benefit.

Think of Ruby … and use these principles

and practices to make every classroom

a place where others like Ruby can keep rocking through school and life.

I

t is thrilling to see Florida students experiencing the JOYS of great and long-lasting experiences with MUSIC in schools throughout our state.

It’s equally thrilling to see the excitement and pride on the faces of parents, grandparents, teachers, school administrators, community leaders, and

more. Congratulations to each and every one of you for your commitment and thoughtful teaching. YOU are influencing and changing lives every day! Worth it? Oh, YES! Years, even decades later, those students are still remembering the experiences they had in YOUR classes.

To help to ensure a better future, FMEA is working to encourage and

develop leadership skills in teachers who will make a difference in their

schools and communities and way beyond. In a real way, we are in the business of changing lives through MUSIC.

The annual FMEA Emerging Leaders Summer Conference will be on

Saturday, June 17, 2023, at the University of Central Florida – Orlando Campus. The day together will be packed with powerful and deeply com-

mitted speakers who will help us all grow and thrive. Sessions will include

presentations on connecting your music students with your community, becoming a personal advocate for music education, understanding the “business” of music education, and more. FMEA leaders will be on hand to share experiences and inspiration.

In addition, the FMEA Emerging Leaders play a critical role in making

the FMEA Professional Development Conference happen each January.

Opportunities to meet and work with amazing conductors and leaders

will be offered to FMEA Emerging Leaders. Further, we sponsor two

amazing sessions. We host a Thursday morning Coffee Talk at which you

can connect informally with conference presenters, other past and present Emerging Leaders, and more. Interested new Emerging Leaders are invited

to be part of our Pecha Kucha session to share their ideas. These are great opportunities to network and build your leadership awareness and skill.

YOU can make a difference ... enrich lives and communities ... connect

with others who are equally interested. I’m thrilled that many of our past

Emerging Leaders join us each year to connect with new Emerging Leaders and to be that mentor you may have been searching for.

Applications for the program are available on the FMEA website (under

References Adamek, M. A., & Darrow, A. A. (2018). Music in Special Education. Silver Spring, MD: American Music Therapy Association.

Darrow, A. A. (2022). Tips for teaching students with disabilities. Teaching Music, 29, 60–61.

Jellison, J. (2015). Including everyone: Creating music classrooms where all children learn.

New York, NY: Oxford University Press.

“Programs: Emerging Leaders”). You can self-nominate, and teachers or administrators can nominate candidates.

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

We look forward to seeing you in June ... and in January!

ONWARD! May 2023

41

FBA 2023 Summer Conference June 26-28, 2023

DoubleTree by Hilton Orlando at SeaWorld

Registration/Hotel Reservations

$60 preregistration, opens May 1

$75 after June 1

DoubleTree by Hilton Orlando at SeaWorld 10100 International Drive Orlando, FL 32821

$129 per night, make your reservation via the link on the FBA website, click on “Summer Conference Info” Schedule

Sunday Monday

June 25 June 26

TuesdayWednesday Wednesday

June 27-28 June 28

WednesdayThursday

June 28-29

Board Meeting Adjudication Training (requires separate registration) Summer Conference Exhibitors Day, FBA General Meeting, Seven Star and Nine Star Honor Band Concerts Summer Jazz Institute

A more detailed schedule will be posted on the FBA website in early June.

Students from throughout Florida will perform as members of the

FBA 2023 Seven Star and Nine Star Honor Bands during the annual Florida Bandmasters Association summer conference.

Seven Star Honor Band

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

Rodney Dorsey, DM, was appoint-

ed director of the wind orchestra and graduate wind conducting at

Florida State University on March 10, 2023. Prior to this, he was chair of the Department of Bands at Indiana

University; director of bands at the University of Oregon; and held various positions at the University of

Michigan, DePaul University, and

Northwestern University. He was

Honor Bands

Jim Matthews, conductor

Keynote Speaker: Dr. Rodney Dorsey

Larry Shane, conductor Nine Star Honor Band

a public school band director for

eight years, and he holds degrees from

FSU

and

Northwestern

University. He is a board member

of the Midwest Clinic International Band and Orchestra Conference.

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

GOLD PARTNERS

SILVER PARTNERS

University of Central Florida

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

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

Partners as of April 6, 2023.

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

May 2023

43

GOLD

SILVER PARTNERS Mark Custom Recording Service, Inc. Partners as of April 6, 2023.

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

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

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

PARTNERS

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

National Concerts Orlando Philharmonic Orchestra Orlando Sings West Music Company

May 2023

45

ExecutiveDirector’sNotes

FMEA Executive Director

The mission of The Florida Music Educators Association is to promote

Kathleen D. Sanz, PhD

quality, comprehensive music education for all Florida students as a part of their complete education.

Our Important Work Continues Over the Summer

W

e are nearing the end of the 2022-23 school year. As

music educators, we continue to face many challenges.

The Florida Music Education Association has been review-

ing research that focuses on increasing student engagement

In addition to the courses listed above, please see the infor-

mation and links on the FSMA website for keeping our students and teachers safe in the Florida heat.

and teacher satisfaction. In that effort, the research is being

Advocacy/Legislation

ment and retention in the music education field and in Florida

So what does that mean for schools? According to Florida Trend,

analyzed and discussed to improve/increase teacher recruit-

schools. FMEA is in the process of providing links online to

these important research documents and will be convening a workgroup this summer to provide forward thinking for music education in Florida.

Student Health and Safety

Florida schools are making preparations for summer band camps. As we all are aware, the Florida sun can be very intense

and dehydration is a key element for teachers and students to

Florida is projected to gain 2.5 million new residents by 2030.

Florida is projected to add 348,878 school-aged children. The

increase most likely will be from domestic migration and international immigration. Depending on the location(s) of the migrations, school size may be impacted. Think about your school, and use foresight in your planning.

The 2023 Legislative Session ends on May 5, unless there is

an extension. The FMEA advocacy committee will be reviewing legislation and will provide updates.

address. It is critically important for teachers to be aware of the

Professional Development

lated dangers, many of our counties have lightning strikes with-

State Concerts is Music Education Begins with ME. The deadline

heat index and how it affects our bodies. In addition to heat-reout warning. Please be cautious.

The National Federation of High Schools (NFHS) has devel-

oped online courses that assist music educators who have

students involved in physical activity. These courses are free of charge, and FMEA and FSMA encourage every school district

The theme of the 2024 FMEA Professional Development and Allfor submitting session proposals is quickly approaching. The

portal for session proposals is open until midnight on May 12, 2023. We look forward to seeing the fantastic session proposals for 2024.

and school program to be sure that all teachers are aware of the

Membership Renewal Time

include:

tration process. The membership year for FMEA is July 1, 2023, to

dangers they and students face. The three courses from NFHS Heat Illness Prevention https://nfhslearn.com/courses/heat-illness-prevention-2 Concussion in Sports – What You Need to Know https://nfhslearn.com/courses/concussion-in-sports-2 Sudden Cardiac Arrest https://nfhslearn.com/courses/sudden-cardiac-arrest

Each year beginning on April 1 we open the membership regisJune 30, 2024. Joining is easy and online. If you need assistance,

please call the FMEA office. FMEA is your way to keep current on music education events and resources. Visit the website, FMEA.org.

All of us at FMEA hope you have a restful and fulfilling sum-

mer with your family and friends.

Kathleen D. Sanz, PhD

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

F LO R I DA M U S I C E D U C AT I O N A SSO C I AT I O N

Officers and Directors

EXECUTIVE BOARD President

Shelby Chipman, PhD

Florida A&M University, Department of Music Foster-Tanner Music Bldg., Room 318 Tallahassee, FL 32307; (850) 599-8165 shelby.chipman@famu.edu Past President

Steven N. Kelly, PhD

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

Jason Locker

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

Bernard (Bernie) Hendricks, Jr.

Ocoee High School 1925 Ocoee Crown Point Pkwy.; Ocoee, FL 34761 bernard.hendricks@ocps.net FCMEA President

Marc Decker, DMA

Florida Atlantic University 777 Glades Rd.; Boca Raton, FL 33431 (561) 297-3883; deckerm@fau.edu

EX-OFFICIO MEMBERS

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

Historian/Parliamentarian & Executive Director.................................................. Kathleen D. Sanz, PhD Hinckley Center for Fine Arts Education 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793; kdsanz@fmea.org

President....................................................................... Marc Decker, DMA Florida Atlantic University; 777 Glades Rd.; Boca Raton, FL 33431 deckerm@fau.edu

Editor-in-Chief.................................................... D. Gregory Springer, PhD FSU College of Music; 122 N. Copeland St.; Tallahassee, FL 32306 (850) 644-2925; dgspringer@fsu.edu

President..................................................................................Colin Urbina University of Central Florida; colin.urbina24@knights.ucf.edu

Conference Planning Committee.............................John K. Southall, PhD Indian River State College; 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810; johnsouthall@me.com FSMA President ...................................................................Jane Goodwin jane.goodwin@sarasotacountyschools.net

FMEA COMMITTEE CHAIRPERSONS

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

Contemporary Media..................................................David Williams, PhD University of South Florida; 4202 E. Fowler Ave., MUS 101 Tampa, FL 33620; (813) 974-9166; davidw@usf.edu Emerging Leaders...........................................................Mary Palmer, EdD 11410 Swift Water Cir.; Orlando, FL 32817 (407) 382-1661; mpalmerassoc@aol.com Florida Corporate & Academic Partners...................................Fred Schiff All County Music; 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fred@allcountymusic.com Government Relations................................................ Jeanne W. Reynolds jeannewrey@gmail.com Health & Wellness.......................................................Revae Douglas Ross Brandon High School; 1101 Victoria St.; Brandon, FL 33510 (813) 744-8120, ext. 311; revae.douglas@hcps.net

Professional Development/Committee Council...................... Scott Evans Orange County Public Schools; 445 S. Amelia St.; Orlando, FL 32801 (407) 317-3200; scott.evans@ocps.net

University of Central Florida colin.urbina24@knights.ucf.edu Florida NAfME Collegiate Advisor

Mark A. Belfast, Jr., PhD

Southeastern University 1000 Longfellow Blvd.; Lakeland, FL 33801 (863) 667-5104; mabelfast@seu.edu FMSA President

Lindsey R. Williams, PhD

Seminole County Public Schools (407) 320-0434; willialz2@scps.k12.fl.us FOA President

Laurie Bitters

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

Jeannine Stemmer

Florida Christian School 4200 SW 89th Ave.; Miami, FL 33165 j9stemmer@floridachristian.org Member-at-Large

Chad Norton

Miami Northwestern Senior High School cnorton@dadeschools.net

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

Budget/Finance, Development.................................Shelby Chipman, PhD Florida A&M University, Department of Music, Foster-Tanner Music Bldg., Room 318 Tallahassee, FL 32307; (850) 599-8165; shelby.chipman@famu.edu

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

Colin Urbina

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Past President............................................................Ernesta Chicklowski Roosevelt Elementary School; 3205 S. Ferdinand Ave.; Tampa, FL 33629 (813) 272-3090; ernesta.chicklowski@sdhc.k12.fl.us

Multicultural Network.........................................................Bruce J. Green (407) 927-3141; bruce.green@ocps.net

Florida NAfME Collegiate President

Past President.........................................................................Allison Yopp Southeastern University; ayopp@seu.edu

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

FEMEA President

Joani Slawson

Florida NAfME Collegiate

Reclamation............................................................................Chad Norton Miami Northwestern Senior High School; 1100 NW 71st St.; Miami, FL 33150; cnorton@dadeschools.net Research....................................................................William I. Bauer, PhD University of Florida; wbauer@ufl.edu Secondary General Music............................................................Ed Prasse Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net Social Justice & Diverse Learners......................... Alice-Ann Darrow, PhD alifsu@mac.com Student Development.............................................Michael Antmann, EdD Freedom High School; 2500 W. Taft-Vineland Rd.; Orlando, FL 32837 (407) 816-5600; michael.antmann@ocps.net

PROFESSIONAL DEVELOPMENT CONFERENCE Exhibits Manager fmeaexhibits@fmea.org Local Chairman Ted Hope—(813) 272-4861; ted.hope@sdhc.k12.fl.us

FLORIDA MUSIC SUPERVISION ASSOCIATION President............................................................. Lindsey R. Williams, PhD Seminole County Public Schools (407) 320-0434; willialz2@scps.k12.fl.us Past President........................................................... Harry “Skip” Pardee pardeh@collierschools.com Treasurer...................................................................................... Ted Hope Hillsborough County Public Schools, School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4861; ted.hope@sdhc.k12.fl.us

FLORIDA ORCHESTRA ASSOCIATION President............................................................................... Laurie Bitters Winter Park High School; 2100 Summerfield Rd.; Winter Park, FL 32792 (407) 622-3200; laurie.bitters@gmail.com Past President.................................................................... Matthew Davis Harrison School for the Arts; 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 499-2855; matthew.lawson.davis@gmail.com Executive Director........................................................... Donald Langland 220 Parsons Woods Dr.; Seffner, FL 33594 (813) 502-5233; Fax: (813) 502-6832; exdirfoa@yahoo.com

FLORIDA VOCAL ASSOCIATION President...................................................................... Jeannine Stemmer Florida Christian School, 4200 SW 89th Ave.; Miami, FL 33165 j9stemmer@floridachristian.org Past President....................................................................... Jason Locker jason@fva.net Executive Director...................................................................Michael Dye 231 S. Bayshore Dr.; Valparaiso, FL 32580 (850) 217-7419; mike@fva.net Business Manager................................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; business@fva.net

CENTER FOR FINE ARTS EDUCATION

402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 President...................................Kathleen D. Sanz, PhD (kdsanz@fmea.org)

FLORIDA BANDMASTERS ASSOCIATION

Director of Operations......................Valeria Anderson, IOM (val@fmea.org)

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

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

Technology Director...................................Josh Bula, PhD (josh@fmea.org)

Past President....................................................................... Ian Schwindt Titusville High School; 150 Terrier Trail S.; Titusville, FL 32780-4735 (321) 264-3108; schwindt.ian@brevardschools.org Executive Director...................................................................Neil Jenkins Florida Bandmasters Association P.O. Box 840135; Pembroke Pines, FL 33084 (954) 432-4111; Fax: (954) 432-4909; exec@fba.flmusiced.org

AFFILIATIONS

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

May 2023

47

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