Florida Music Director - May 2024

Playful Listening for Performing Musicians

Uncovering Hazing PLUS: 2025 Conference Proposals & Applications NAfME Collegiate Leadership Advocacy Summit Summer Opportunities

May 2024

1

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May 2024 Volume 77 • Number 8

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

Kelly Miller, DMA University of Central Florida 12488 Centaurus Blvd.

Orlando, FL 32816-8009 (407) 823-4545 (kelly.miller@ucf.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)

Contents F E AT U R E S

NAfME Collegiate Leadership Advocacy Summit. . . . . . . . . . . . . . . . . . . . . . . 10 2025 Conference Session Proposals & Performance Applications. . . . . . . . . . . . . . . . . . 12

William Bauer, PhD University of Florida, Gainesville (352) 273-3182; (wbauer@ufl.edu)

Uncovering Hazing: Understanding, Identifying, and Preventing Harmful Practices in Music Education Programs. . . . . . . . 18

Alice-Ann Darrow, PhD College of Music, FSU, Tallahassee (850) 645-1438; (aadarrow@fsu.edu) Jeanne Reynolds (jeannewrey@gmail.com) John K. Southall, PhD Indian River State College, Fort Pierce (772) 462-7810; (johnsouthall@fmea.org)

Advertising Sales

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

Official FMEA and FMD Photographers

Bob O’Lary Amanda Crawford

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

Playful Listening for Performing Musicians. . . . . . 24 Summer Learning and Fellowship Opportunities. . . . 38

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

Academic Partners. . . . . . . . . . . 34

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

Research Puzzles. . . . . . . . . . . .

36

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

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

39

Immediate Impact. . . . . . . . . . . . 8

2023-2024 FMEA Donors. . . . . .

42

Corporate Partners. . . . . . . . . . . . 16

Executive Director’s Notes. . . . . . 44

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

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

29

May 2024

47

3

President’sMessage

Jason P. Locker President Florida Music Education Association

Music Education Begins with ME!

MEmories O

ur lives, both personal and professional, are marked

be mountaintop experiences of performance or travel, an

another academic year approaches, we begin to reflect

MPA result, or just a normal day where a student “got it”

by a continuous cycle of seasons. As the end of

on the year that is coming to a close, even as we plan and prepare for the new one on the horizon.

occasion where students achieved a desired audition or because of something you said or did.

As the end of the 2023-24 school year approaches, I hope

The bond between music educators and their students

you take the opportunity to reflect on these MEmories

a student to have the same grade level teacher more than

journey. Each year, as I take time to smile, perhaps shed a

tends to be a uniquely strong one. While it is unusual for once in elementary school, or the same subject area teach-

er more than once in the secondary grades, most students will spend multiple years with the same music teacher.

By the time they reach the end of elementary, middle, or

high school, we have spent countless hours engaged in classroom learning, we have prepared and experienced multiple performances together, and we have invested

immense amounts of care and concern into each one (and they in us).

Even many years after they share time and space in the

same school building, the connection between music edu-

and the people who have been a part of your professional

tear, and remember the special people in my life, I rededicate myself to this labor of love in which we all engage

year after year. I make plans to rest and recharge over the summer, even as I renew my professional association memberships and get excited about the incredible professional learning opportunities that exist during the sum-

mer, courtesy of FMEA and our component associations

(many of which have been and continue to be featured

here in the Florida Music Director and through FMEA and component websites and social media).

Like me, I hope that you cherish the MEmories of this

cators and their students continues to be strong, thanks

and previous years, even as you plan to start the annu-

have you spoken with an adult about their school music

next year’s students. And as Dr. Shelby Chipman used

to the MEmories that remain with each one. How often

experience and noticed their facial expression and body language become animated with joy or excitement as they

al cycle over again and begin making new ones with to faithfully remind us

at the conclusion of his

hearts to remember the special individuals and occasions

Florida music educa-

“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.”

you as you bid farewell to the students of the elemen-

positive and enduring

– Maya Angelou

recount the experiences they had with a certain special music educator? Indeed, how many music educators

decided to pursue this profession as the result of the dedication and special concern shown toward them by one or more of the teachers in their own childhoods?

Students aren’t the only ones that hold space in their

in their musical lives. What MEmories will remain with

tary, middle, high, or collegiate Class of 2024? Those moments are forever etched in our minds, whether they

column each month of

his term, I want to leave you with these beautiful and timeless words of Maya Angelou.

➧

I’m proud of YOU,

tor! Thank you for the MEmories

that

you

have been central in creating for so many students!

Jason P. Locker, President

Florida Music Education Association

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Advertiser Index

2024-25 FMEA Membership: You are eligible for membership in the Florida Music Education Association if you are an individual engaged in the teaching, supervision, or administration of music in elementary and secondary schools, colleges, or universities within the state. Visit FMEA.org/membership to learn more about the benefits of active membership.

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

CIRCULATION: 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: Kelly Miller, DMA, kelly.miller@ucf.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.

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.

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5

AdvocacyReport Advocacy Milestones

I

had a profound experience leaving our house to drive

to my daughter’s high school graduation. As she got

in the back seat and I closed the car door, I had the most

vivid memory of getting to that exact spot in the drive-

way many years before. On that day, we opened the car

door and clumsily got our one-day-old daughter out of the car seat after the drive home from the hospital. Years later as we pulled out of the driveway for her high school graduation, those two milestone moments came together

in an indescribably connected way despite the 18-year

Getting from fall 2019 to April 3, 2024, when the gover-

nor signed the bill certainly was a marathon rather than a sprint. Thank you to all FMEA members who helped when

they were asked. Some say “it takes a village” to raise a child. Certainly, it took a village to get this bill passed.

The FMEA village was critical to our success. There were

literally hundreds of you who called or emailed legislators when asked. I want to give a special shout out to members of our Advocacy Committee:

gap between them. Two important milestones in a life’s

Anthony Atkinson

Angela Hartvigsen

The following is from my November 2019 Florida Music

Andrew Burk

Bernard Hendricks

Jonathan Casanas

Megan Robichaud

Sondra Collins

Megan Rodriguez

Beth Cummings

Matthew Spindler

Getting legislation passed is a much heavier lift than

Alice-Ann Darrow

Leiland Theriot

Debbie Fahmie

Colin Urbina

a bill, and then how that bill becomes a law is quite a

Vivian Gonzalez

journey.

Director column, when our Seal of Fine Arts legislation was first “born.”

killing detrimental legislation. How an idea becomes

lengthy and complex process. Typically, it takes years

to get a bill written, sponsored, championed, and

And I trust it goes without saying that the FMEA staff

passed. FMEA is starting on this multi-year process.

and Executive Committee, Kathy Sanz, Jason Locker, Scott

we have the cohort data to suggest that the longer

cacy work group.

We know music education is good for students, and students engage in the arts the better.

Evans, and Shelby Chipman are a vital part of this advoPassing the Seal of Fine Arts is a milestone that should

Legislation is always a work in progress, and we

be celebrated along with so many other accomplishments

members to stay informed and be ready to help when

musical accomplishments, we take time to celebrate and

marathon than a sprint. We would be successful if

for the Seal of Fine Arts, one that ensures all students are

year. It is critically important to get this conversation

have access to earn the Seal. We also need to ensure that

are at the very beginning of this process. We ask all

of the 2023-24 school year. And just as we do with all

asked. Getting legislation passed is much more of a

then move forward. We must ensure a smooth roll out

we are able to get this bill sponsored and filed this

knowledgeable about this opportunity and all students

started.

the process is easy to understand and administer for

We did get that conversation started. We filed the bill

employees who will be responsible for its success. The

that year for the first time. Just as I could literally feel the

overlap of childhood milestones as we left for my daugh-

ter’s graduation, today I can feel the overlap of our Seal of Fine Arts milestones, from its birth to its passage.

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

all teachers, administrators, guidance staff, and other

Florida Art Education Association’s president suggests the process needs to be as easy as “just add water” for a

recipe. Fortunately, we have assembled a top-notch work

group of music, visual arts, theatre, and dance leaders to

Jeanne W. Reynolds

Chairperson Advocacy Committee

build a Seal of Fine Arts “playbook” for the successful

roll out of this project. In future years we hope to use the data we gather from the students who earn the Seal

to inspire greater recognition for arts education, perhaps resulting in arts achievement being considered in school grade calculations.

Summer Work

You can help strengthen our advocacy efforts this sum-

w Write to, or better yet, meet with and thank your legismer by doing the following:

lators for passing the Seal of Fine Arts if you have not

already done so. All the info needed is found on our

w If you are a high school teacher, make plans to roll website: FMEA.org/advocacy/.

out the Seal of Fine Arts recognition at your school.

Identify students who may be eligible to earn the Seal.

As my daughter got in the back seat of our car on the

way to her high school graduation, I had a profound

w Help recruit and retain great Florida music teachers. Of course, wonderful new chapters were about to open

sense that the first 18-year chapter of her life had closed.

Spread the word about FMEA and teaching music in Florida. Download and share the videos found here:

w Become knowledgeable about FMEA.org/teach.

local school board candidates and support outstanding candidates who champion arts education. If there are only

two candidates running, some

that would involve extraordinary life experiences and their own milestones. My daughter graduated 20 years too early to earn the Seal of Fine Arts on her high school

diploma. It is my hope that thousands of students will

earn this Seal. Let’s also ensure that the passage of this Seal is just the first step of many advocacy milestones that will elevate music education in Florida and open exciting new chapters and possibilities for all Florida students.

board members could be elected

in the August 20 primary, long

w Check your voting status. Make sure you are regisbefore November.

Jeanne W. Reynolds

tered and up-to-date with your Supervisor of Election office: myfloridaelections.com/Contact-your-SOE.

May 2024

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IMMEDIATE

IMPACT FMEA “Immediate Impact” Music Educator Spotlight In this feature, FMEA seeks to spotlight the outstanding work and accomplishments of music educators in the earlier stages of their teaching careers. These educators are making an immediate impact on their schools, communities, and students.

KATIE THOMAS

YATES ELEMENTARY SCHOOL HILLSBOROUGH COUNTY

Meet Ms. Katie Thomas, music teacher at Yates Elementary School in Hillsborough County. Katie is in her fifth year of

teaching at Yates Elementary, where she also serves as specials area team leader and SAC and parent family engagement chair

for the school. In 2023-24, Ms. Thomas received the Hillsborough County Elementary Music Educators Council (HCEMEC) Rising

Star Award, which is presented yearly to one music teacher who

demonstrates excellence in their first through fifth year of teach-

ing. Service to the music teaching profession is also a big part of

what makes Ms. Thomas great. She is on the executive leadership

board of HCEMEC, and has served as one of the Florida Music Education Association’s Emerging Leaders. Creating meaningful

music-making opportunities for her students is of great importance for Ms. Thomas, as her students participate in All-County,

All-State, and a variety of community music endeavors. With a

focus on creating life-long musicians, Ms. Thomas also partners with her feeder schools to create a trajectory of continued learning and music-making for her students.

Thank you, KATIE, for making an immediate

impact on your students, community, and music education in Florida!

LET US BRAG ABOUT YOU!

Please submit the FMEA “Immediate Impact” Music Educator Spotlight form and materials for yourself or a colleague who exemplifies the criteria for educators making an immediate impact on their schools, communities, and students.

GO TO: fmea.org/programs/spotlight/ TO NOMINATE A DESERVING CANDIDATE.

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

JENNIFER LUECHAUER ANGIE DUENAS

VERO BEACH HIGH SCHOOL INDIAN RIVER COUNTY

Meet Ms. Angie Duenas, orchestra director at Vero Beach High School in Indian River County. Ms. Duenas serves as director

of orchestras at Vero Beach High School and Gifford Middle

School in Vero Beach. In her first year at Vero Beach High School, the orchestra has grown in size and pride, made supe-

rior ratings at solo and ensemble and district concert MPA, and the Philharmonic Orchestra had their first opportunity to attend state concert MPA since 2019. Prior to her appoint-

ment at Vero Beach High School, Ms. Duenas was director of orchestras and a piano instructor at Bridgewater Middle School. During her time at Bridgewater, the orchestra program tripled in size and made appearances at district events after a five-year hiatus. She also worked as a sectional coach

for the Florida Symphony Youth Orchestra and served as a

coach for the Orange County Public Schools Middle School All-County Orchestras during her time in Central Florida.

Her students consistently received superior ratings at solo and ensemble MPA as well as concert MPA. As a freelance violist,

Ms. Duenas has enjoyed a wide variety of performance oppor-

tunities, including with the Treasure Coast Wind Ensemble and currently with the Vero Beach Chamber Orchestra.

Ms. Duenas graduated cum laude in 2020 with a BME, and she studied viola under Dr. Pamela Ryan and music education

with Dr. Kasia Bugaj. She holds professional affiliations with NAfME, FMEA, FOA, and ASTA.

Thank you, ANGIE, for making an immediate

impact on your students, community, and music education in Florida!

JAMES S. RICKARDS MIDDLE SCHOOL BROWARD COUNTY

Meet Ms. Jennifer Luechauer, band director at James S.

Rickards Middle School in Broward County. Ms. Luechauer has been working to build the band program at James S.

Rickards from the ground up, literally. When she began at the school, the roof had just collapsed, and all the grade levels

were dispersed across three separate campuses. Knowing the value of band education, Jennifer made it her mission to reach

all of her students by commuting every day to each of these

campuses. Oftentimes, she was required to teach in a shared

space without instruments since they were still in a collapsed building. During the day, Jennifer taught in a shared portable

with the school’s I.T. manager, and in the afternoons, she went alone into the collapsed building to retrieve instruments and clean them for her students. By the end of the year, Jennifer had engaged all of her students in music theory and music

games, and introduced them to band instruments. She went

on to take students to district solo and ensemble, managed to earn an excellent rating at district concert assessment,

and built up her band program to more than 170 students.

Recently, Jennifer was the recipient of the Sigma Alpha Iota Fort Lauderdale Alumni Chapter Outreach Grant to replace music lost in the building collapse and the National Sigma

Alpha Iota Philanthropies Inc. Grant to replace damaged and stolen instruments because of the collapse. Her persistence

is admirable, and through all the tribulations the world has

thrown toward the program, Jennifer rises above it all for her students.

Thank you, JENNIFER, for making an

immediate impact on your students, community, and music education in Florida!

May 2024

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2024 Collegiate Leadership Advocacy Summit June 10–12, 2024

P

reviously, NAfME has hosted hundreds of collegiate members from across the country to participate in leadership and advocacy training and receive real-life

experience during the Collegiate Leadership Advocacy Summit (CLAS) and NAfME Hill Day. This year’s Summit will feature training on advocacy, leadership, career

planning, strategies for the successful transition from student to professional educa-

tor, and much more. We are pleased to invite all interested NAfME collegiate mem-

bers to the 2024 Collegiate Leadership Advocacy Summit. Participation includes two days of robust programming and all-inclusive meals at the event in the event space.

More information on the format and schedule will be forthcoming.

We are excited to invite CLAS attendees to NAfME Hill Day on Wednesday,

June 12, as part of the National Leadership Assembly! This in-person advocacy event is a highlight of our annual advocacy activities and an opportunity for all of our state leaders to advocate in support of music education and the teaching profession.

Primary Venue

Sheraton Reston 11810 Sunrise Valley Drive Reston, VA 20191 (703) 620-9000

Please call the hotel at (703) 620-9000 and request the “NAfME” room block to book your stay at the group rate of $186 per night, or use this link to reserve your room: https://bit.ly/clas-hotel.

All in-person attendees should plan to stay at the host hotel.

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

Event Summary

Start Date: Saturday, June 8, 2024

End Date: Thursday, June 13, 2024

Last Day to Book: Saturday, May 25, 2024

Tentative Agenda *Subject to Change

Monday, June 10

1:45-3pm ��������������Registration Opens

3-5pm ��������������������Summit Begins; Leadership/ Advocacy Content

5-6pm ��������������������Dinner Break

6-8pm ��������������� Leadership/Advocacy Content

Tuesday, June 11

8-9am ���������������������Breakfast

9am-5pm �������������Leadership/Advocacy Content & NASS

Integration; Lunch Provided Wednesday, June 12

6:45am-5pm ������Hill Day

5pm��������������������������Summit Concludes

May 2024

11

2025 Conference Session Proposals

The 2025 conference will continue the theme of Music Education Begins with ME, focusing on the vital role of each individual in building and sustaining the music education community. Topics such as MEntorship,

MEthods, MEssage, MEntality, Media, MEaningful Music-Making, MEntal Health, MEeting new people, and

MEmbership were covered last year, and we expect similar topics and “ME” words to be featured this year as well.

We prefer that your proposal connect to the conference theme for an overall uniformity of vision, but our

primary goal will be to equip and empower music educators to best serve their students and the profession. All session proposal submissions should be consistent with current educational trends; promote curricular experi-

ences that lead to a better cultural understanding; and allow educators to create, perform, and respond to music that instills lifelong values for learning and participation.

Please take a few minutes to review this important information before proceeding:

POLICIES

You are only permitted to submit a total of two (2) session

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

The deadline for submissions is 12 midnight Eastern time

on Friday, May 10, 2024, for sessions and performances, and

July 15, 2024, for Industry Product Showcase proposals. Late

submissions will not be accepted, so please plan accordingly.

w All presenters must register for the conference, even if Conference Registration and Attendance

you live or teach outside of Florida. Early registration will begin in late September, and prices will increase some-

time in early December. Conference exhibitors working their booths and invited keynote speakers are exempt

w By submitting a proposal, you agree to register and from this requirement.

attend in person to present your session if your proposal is selected. Please do not submit a proposal if you are

unsure if you will be available to travel to Tampa during any of the dates of this conference. Cancellations for reasons other than unavoidable emergencies may affect the committee’s decision to accept future proposals.

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

w All presenters and conductors who live or teach in Florida must be members of FMEA and NAfME. w Presenters living outside of Florida must be members of NAfME, the National Association for Music Education. w FMEA and/or NAfME membership must be current to FMEA/NAfME Membership Requirement

submit a proposal, and must also be current when regis-

w Conference exhibitors are exempt from the membership tering for the conference.

requirement but must contract and pay the deposit to

w You may join or renew your FMEA membership at flmuexhibit before submitting a proposal.

siced.org/flmusicapps/membership/joinrenew.aspx or visit NAfME.org if you reside outside of Florida.

w FMEA will provide a microphone, sound system, and

Instruments and Equipment

LCD projector. A piano may be requested upon approval of your session. You must plan on providing everything

w Instruments, computers, music stands, and anything else needed for your presentation.

else not listed in the above bullet point is the presenter’s

responsibility and will not be provided by FMEA. Choral

risers are not allowed in ses-

w Complimentary Wi-Fi is sion rooms.

provided in the Tampa

Convention Center but not in the Marriott meeting rooms.

w If you anticipate using student performers as a demon-

Demonstration Performers

stration group for your session, you must select

“Demonstration” as the session format when completing

w It is recommended that demonstration ensembles be limyour proposal.

ited to 15 students or fewer. Ensembles of more than 15

students will still be considered, but available space will be a contributing factor when the committee decides on

ordering name badges for the students as part of their

w FMEA does not provide instruments, music stands, or conference registration.

any other equipment for demonstration groups other

w Choral risers are not allowed in the session presentation than chairs and a P.A. system. rooms.

w If you are not the director or teacher of the student persessions to accept.

Presenters are responsible for all expenses, including

formers in the demonstration ensemble, their teacher/

tion, and materials.

register for the conference. They will be responsible for

continued on page 14

director must be added as a clinician for the session and

but not limited to: travel, hotel, meals, conference registra-

May 2024

13

— It is your responsibility to follow up with each continued from page 13 Required Materials

Please have all the following information ready to copyand-paste and files ready to upload into the online

proposal web pages. If it takes too long to complete any

page of the application, your session may time out and you will need to start over.

Session Proposals

w Title of your session, in Proper Title Case, with no (including Product Showcase proposals)

extraneous or unnecessary punctuation and only 120

w A description of your session in 1,000 characters characters or fewer.

reference to make sure they received the email

from FMEA and completed the feedback process.

You may track the progress of your references by

logging back into the session proposal page before the deadline and submitting additional references

if necessary so that at least two (2) respond for each

w Social media (optional): If you would like us to include clinician before the deadline listed above.

links to your social media on our online schedule and

mobile app, you may copy and paste the URL addresses to your profiles on Facebook, Instagram, Pinterest,

LinkedIn, and/or your website or blog. For example:

w Tracks/PD modules: You will be asked if your session https://www.instagram.com/flmusiced/

fits into one of the following professional learning modules or tracks:

or fewer, as you want it to appear in the conference

— Diverse Learners (e.g., educational, cultural,

for proper spelling and grammar, and make sure it is

— Health & Wellness

program, online schedule, and mobile app. Please check written in a manner that would encourage attendees to

w A short statement on how the session relates to the theme of the conference. w Your brief biographical sketch in 1,000 characters get excited about attending your session.

linguistic, K-20 and beyond)

— Innovations/Diversity (e.g., innovative instructional strategies, diverse music-making, diverse ensembles)

— Music & Cross-Curricular Connections (e.g., reading, mathematics, science, STEM)

or fewer, as you want it to appear in the conference

— Music Assessment & Evaluation

accomplishments that demonstrate your credibility for

— Music Performance, Pedagogy, Literature

schedule. Your bio should focus on your experience and presenting on the specific topic of the session(s) you are proposing, further encouraging attendees to choose to

w A professional headshot photograph of yourself to attend your session.

appear in the conference schedule, mobile app, and

possible marketing materials in the event your session is accepted. It must be in JPG or JPEG format with the

file extension “.jpg” or “.jpeg.” To avoid bias, photographs will not be accessible to the Conference Planning Committee

w Names and email addresses of at least two (2) during the selection process.

professional references who can speak to your

qualifications for presenting on the topic of your

session proposal. References will be automatically emailed from our system with a link to submit feedback.

— Contact these references in advance to ask for

their permission and double-check that you have their correct email address.

— Music Literature

— Music Teacher Professionalism & Leadership (e.g.,

classroom management, beginning teacher sessions)

w Demonstration ensembles: If you are planning on

— Other (suggest another possible track or module)

using live performers, please have the following ready:

— Professional photograph of the ensemble (does not need to be current, you will be able to update it upon acceptance).

— A letter of permission from the performing

students’ school principal or administrator giving

permission for the students to travel to Tampa and perform at the conference. It must be signed and

scanned as a PDF file with the “.pdf” file extension.

— Number of students in the ensemble.

— If you are not the students’ director, you will need to add their director as a clinician, including their

name, address, cellphone, workplace, email address, biographical sketch, and a professional headshot photo.

Submit your session proposal here: flmusiced.org/flmusicapps/sessions/proposals/

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

2025 Conference Performance Applications Ensemble applications should only be submitted by the primary conductor/director from their own FMEA account. Assistant directors can be added after the initial application is completed.

w Full name of the ensemble, including the school name if applicable. w Concert type: Each performance application must include:

— Concert: 25-minute formal concert performance

on stage in a ballroom. These are usually, but not

limited to, large concert ensembles such as a concert band, concert chorus, or symphony orchestra.

— Mini-Concert: 25-minute informal concert

performance on the lobby stage in the second-floor

veranda. These are usually smaller ensembles such as a jazz ensemble, combo, small chorus, string

ensemble, percussion ensemble, steel band, Orff

mobile app, you may copy and paste the URL address-

es to your profiles on Facebook, Instagram, Pinterest, LinkedIn, and/or your website or blog. For example:

w An mp3 recording of a recent live performance of one https://www.instagram.com/flmusiced/

(1) piece of music or one (1) movement of a larger work

that demonstrates the ensemble’s technical and musical ability. It must be only one (1) file in MP3 format with

the “.mp3” file extension and be no larger than 20 mega-

w A letter of permission from the performing students’ bytes.

school principal or administrator giving permission for

the students to travel to Tampa and perform at the con-

w Description or biographical sketch of the ensemble in the “.pdf” file extension. w A professional photograph of the ensemble in JPG or 1,000 characters or fewer. w Biographical sketch and a professional headshot photo- JPEG format. graph of each director. w Names and email addresses of two (2) profession- STUDENTS AND CHAPERONES: Directors of acceptensemble, etc.

ference. It must be signed and scanned as a PDF file with

al references who can speak to your qualifications.

ed performing ensembles and demonstration groups are

system with a link to submit feedback, so please notify

(FMEA.org/conference/performing-students/) to their con-

References will be automatically emailed from our

them in advance and make sure you have their correct

responsible for adding their student and chaperone lists

ference registration before the early registration deadline

w Social media (optional): If you would like us to include allowed. email address.

in December. Only one (1) chaperone per six (6) students is

links to your social media on our online schedule and

The DEADLINE for performance applications is 12 midnight Eastern time on FRIDAY, MAY 10, 2024.

Submit your performance application here: flmusiced.org/flmusicapps/sessions/proposals/

May 2024

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

16 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 2023-2024 Corporate Partners.

PARTNERS

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UNCOVE

Figure 1

The Spectrum of Hazing (Allan, 2005; Allan & Kerschner, 2020;

Adapted from Bringing In The Bystander®)

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

RING HAZING Understanding, Identifying, and Preventing Harmful Practices in Music Education Programs

by Brad Sparks Hazing Definition and Identification

Hazing has been an inseparable part of our social fabric

for millennia, but pinning down a clear and comprehen-

sive definition can be difficult. Dr. Elizabeth Allen and Dr. Mary Madden (2008) of the University of Maine pub-

lished seminal research on the prevalence and nature of hazing behaviors in higher education. Through surveys and interviews, they developed the following definition,

which reflects both the nuance and variety of hazing behaviors that can be found in organizations today.

According to Allen and Madden (2008), “hazing is any activity expected of someone joining or participating in

a group that humiliates, degrades, abuses, or endangers them regardless of a person’s willingness to participate”

(Allen & Madden, 2008 p. 14). This initial study led to the founding of the Hazing Prevention Consortium, an

ongoing effort to educate people on the dangers and pre-

vention of hazing. In this article, we will touch on what hazing is, how to identify hazing activities, and how to prevent hazing in music ensembles.

Acts of hazing fall on a wide spectrum that includes

far more activities than one might expect. Figure 1 (left) includes a list of some examples, but importantly, this list is not exhaustive. As shown in that figure, hazing

includes more than the obvious examples of hazing found continued on page 20 May 2024

19

Uncovering Hazing

continued from page 19

in cinematic caricatures like Old School, Revenge of the Nerds, or National Lampoon’s Animal House. In addition to these obvious,

violent forms of hazing, some of the more subtle acts include various forms of degradation, harassment, isolation, and decep-

tion. It is important to note that not every activity that is difficult or anxiety-inducing is inherently an act of hazing. There are

plenty of activities that while harmful are not hazing because they are not tied to feelings of acceptance into a group. Consider

the examples below and the importance of context in relation to

w A band high-steps the length of a football field at a fast the activity:

tempo in 100-degree weather. If an instructor has called for this exercise during a rehearsal for a reason relevant to the

rehearsal’s goals, nobody would question it. And nobody should. However, perhaps the freshmen are singled out to

perform this exercise, and it’s done outside of rehearsal. It’s led by veteran members, and it’s treated as a challenge to

be rewarded with social acceptance into the band; now, the

w Requiring the new researcher in a lab to take the overnight exercise has become hazing.

shift for a few weeks because it’s their turn to do so is fine,

but making only the new people take the overnight shifts

w All of the staff of a drum and bugle corps getting tattoos simply because they’re new is hazing.

each summer to commemorate their time together is fine, but requiring the “rookie” staff to get tattooed to “earn” their place on the staff is hazing.

Figure 2

The Five Ds of Bystander Intervention (Right To Be, 2022)

DIRECT

Document

Distract

Address the situation directly and in the moment.

Record what happened.

Redirect the attention of those engaging in hazing towards something else.

Acknowledge the hazing behavior verbally and attempt to end or change activities.

Video, audio, write it down, and report later.

Start a conversation, spill a drink, propose a new activity, change the subject.

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

Delegate

Delay

If you’re unable to intervene, get help from someone else.

To create more time for intervention.

An authority figure, the person’s friend, etc.

Ask to reschedule if planned in advance. Follow up and report afterwards if prevention is impossible.

May 2024

21

Uncovering Hazing

continued from page 20

You may notice that these distinctions share a couple

acts with connection to military service that have no rela-

uncomfortable activities and acts of hazing is the rele-

emphasizes that they are conducted with the purpose of

of key traits. Often, the difference between potentially

vance of the activity to the group’s purpose or mission.

Physically demanding activities are acceptable if they are

being used to build strength for a physically demanding

activity like marching band or a competitive sport. The other important trait is the activity’s relationship to being

accepted by the group. To use the example of the lab workers from before, the harmful outcome is the likely

sleep-deprivation required of the people working the night shift. When that is applied fairly to all members

of the group, or members are selected for the overnight

shifts in an equitable manner, everyone shares in the bur-

den of having to stay up all night. When it is forced upon only the new members, it creates an ingroup and an outgroup that can breed animosity between members. The new members eventually become more senior members,

tionship to a governmental or military purpose. It also “initiation into, admission into, affiliation with, change in status or position within, or a condition for continued

membership” (United States Department of Defense,

2018, p. 4). It is especially important to look for hazing behaviors around new members of an organization or any subgroup who may be particularly prone to seeking

acceptance. These aspects of hazing lead to the final and most important concept in hazing prevention, which is

the fact that consent from participants does not minimize or negate the hazing classification. Because of hazing’s relationship to acceptance into a group (either formal or informal acceptance), victims may be subject to pressure

that may cause them to consent implicitly or explicitly to acts they would otherwise never consider.

and the cycle is perpetuated because they feel they have

Hazing Prevention

anymore simply through seniority.

what acts constitute hazing, it is important for music

“earned” the right not to have to work the night shifts In another definition of hazing with regard to the

armed forces, the United States Department of Defense (2018) explains that acts of hazing include any harmful

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

Aside from understanding how to define hazing and educators to be aware of hazing prevention strategies.

Hazing prevention begins with education. Allan and

Madden (2008) found that 55% of university students who

were involved in clubs, teams, or other organizations had

to hazing, students need to trust that the disciplinary

hazing, but only 9% were able to identify those behaviors

occurs.

been either victims, perpetrators, or bystanders to acts of

as hazing. An effective training program should prepare

process will not make exceptions for any reason if hazing Another important aspect of the accountability process

the members of the organization not only to identify

is transparency. When hazing occurs in your program,

but should also give them strategies for intervention

always include informing the rest of the students in a way

behaviors that fall on all parts of the spectrum of hazing

and reporting. With this knowledge, student help can be enlisted to create a culture that is inhospitable to hazing

by using the five Ds of bystander intervention (Right To Be, 2022) (see Figure 2 on pages 20–21). Finally, all stake-

holders in your program should have knowledge of your

relevant stakeholders should know about it. That should

that is appropriate for the situation as well as administrators. Although it may feel briefly embarrassing to admit that your program has been involved in a hazing incident, it is far more dangerous to sweep it under the rug.

The final piece of the hazing prevention puzzle is vigi-

program’s or institution’s reporting procedures if hazing

lance. Hazing cannot be totally eradicated. Like cancer, it

The second step in hazing prevention is accountability,

years without incident can create is what allows hazing to

occurs.

which comes in a few different forms. Once your students fully understand what hazing is and how it is handled in

your program, they can become part of the accountability

structure. Whether your process is handled within your

program or through your school/district, consequences for even light hazing should be handled swiftly and demonstrably. It is important that students understand

there is zero tolerance for hazing in your program. Trust

is important to changing a culture, and when it comes

can only go into remission. The complacency that a few reemerge when least expected. It is important not to let the

education part of your hazing prevention program wither or become stale, and it is important never to soften in your commitment to accountability. Furthermore, maintaining trust in your relationships with students will help

them feel comfortable in reporting incidents, whereas the

alternative simply drives hazing underground only to resurface at a later time to wreak havoc on your program.

Hazing might be thought of as an insidious beast that

causes harm to students, both psychologically and physically. It is often mistaken for harmless tradition or thought to strengthen the group dynamic. Through education and accountability, it can be driven out of your music program and kept out with vigilance.

Brad Sparks is a dedicated music educator and master’s student in music education

at Florida State University. With experience teaching high school band in Iowa as well as

athletic bands at the University of California, Davis, he brings a wealth of knowledge and passion to his craft.

References Allen, E. J., Madden, M. (2008). Hazing in view: College students at risk. University of Maine College of Education and Human Development. https://stophazing.org/wp-content/ uploads/2020/12/hazing_in_view_study.pdf Allan, E. J. & Kerschner, D. (2020). The spectrum of hazing.

StopHazing Consulting. https://stophazing.org/resources/ spectrum Right To Be. (2022). Bystander intervention training. https:// righttobe.org/guides/bystander-intervention-training United States Department of Defense. (2018). Hazing prevention and response in the armed forces. https://diversity.defense. gov/Portals/51/Documents/2018%20Hazing%20Report. pdf?ver=owYztvdR8oINv_zgUyg8ew%3D%3D

May 2024

23

PLAYFUL LISTENING for Performing Musicians

by William R. Ayers, PhD

O

One of the biggest challenges I have experienced working as a music director and as a choral singer is getting choir members to listen to each other while they

practice, rehearse, and perform. Listening while singing or playing an instrument

is a challenging prospect, especially for those who are just learning to read music

and interpret their own part in an ensemble setting, but listening is also a critical skill that can greatly improve a beginner musician’s experience and performance.

Training beginners to listen (whether for general attributes or for specific ele-

ments) often has mixed results; some students acquire listening skills quickly and

outpace their peers, yielding classroom or ensemble disparities. To help remedy this imbalance, educators in the past few decades have advocated for prioritizing

active listening skills that result in tangible results. As noted by James Byo (1990), “When student musicians make musical decisions through critical listening, they

are involving themselves actively in the music-making process. A rehearsal structure that promotes active involvement through listening is one that can generate

exciting rehearsals through meaningful interactions among students, conductor, and music” (p. 46).

continued on page 26

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

May 2024

25

Playful Listening continued from page 24

Cultivating an atmosphere of active listening can

involve both (1) focused procedures in times of rehears-

al and (2) guided exercises outside of the traditional rehearsal setting. This article offers a method of engaging

students through “playful listening,” a concept that stems from studies in video game music, and the listening tac-

tics presented here can be easily adapted and modified for work both during and outside of rehearsal time.

Playful listening is not confined to gaming experiences and can be applied just as reliably to other musical activities

I’ll begin by defining the basic concept of playful lis-

tening and how it works when experiencing music in a

video game, highlighting some scholarship

or style, etc. Summers continues, “Games prompt us to

shift focus to see how this concept can play

how the music can correspond (or not) with the gameplay,

from the field of ludomusicology. I will then

out in other musical situations outside of

games, specifically ensemble rehearsals. To accomplish this, I will discuss my experienc-

engage with musical possibilities because we listen for

and what might happen next. We conceive of other musical alternatives” (p. 703).

While Summers is primarily considering music that

es as a guest teacher playing and discussing

appears in video games, some of his commentary could

University of Central Florida Concert Band, at Lake Nona

“Since the sonic output depends on our actions as play-

video game music with students in the

High School, and at University High School in Orlando.

By offering some examples of how this type of exercise

might proceed in the classroom, I hope to demonstrate that playful listening helps to focus student attention on

musical attributes that can affect how they listen during rehearsal and performance.

Playful Listening in Video Games

The concept of playful listening, as described by Tim

Summers (2021), is “a mode of listening where we consider the alternative possible forms of the musical material”

(p. 702). The comments below (also from Summers, p. 703) provide some examples of how these imagined possibilities of playful listening can materialize when interacting

just as easily be applied to traditional music performance: ers, we become aware of how the music might sound

differently—we may imagine other musical possibilities” (p. 703). Considering a performance outcome as an imag-

ined musical possibility can offer students an avenue toward active engagement.

Summers notes that playful listening is not confined to

gaming experiences and can be applied just as reliably to

other musical activities: “In characterizing a mode of lis-

tening as ‘playful,’ I seek to emphasize the notion of a set

of rules/processes/conditions and the awareness that we hear one particular outcome within that projected space of possibility. An understanding of the ‘play of possibility’ whether in games or other contexts, leads to a kind of ‘playful listening,’’ as we cognitively interact with music,

w “That looping cue has stopped. I imagined it would (p. 705). continue.” w “That looping cue has continued. I imagined it would Playful Listening Exercises stop.”

In presenting this idea to students, I often begin by playw “That’s not normally the cue I hear in this gameplay ing a piece of video game music, commonly “Coconut situation. It’s not what I expected.”

Mall” from Mario Kart Wii or some similar track from w “The cue has been interrupted. Something has the Mario Kart series, and asking students a few guiding

with video games.

changed in the game, but what?”

Playful listening involves close consideration of musical

passages or ideas that defy expectation or attract attention: surprising stoppages or continuations, distinctive cues or motives, noticeable changes of timbre, orchestration,

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

‘playing with’ music as it ‘plays out’ in front of our ears”

questions, starting with “What do you hear?” This first

question allows students to steer the conversation, but

it also cues me in as to what they are recognizing in the music. Some will undoubtedly point out elements

of instrumentation and form. (“I liked the drum fill at

the beginning!” “The piano part seems pretty jazzy.”

modulating to G major, often prompts exciting discov-

point out surprising harmonic changes, specifically the

“The saxophone solo is unreasonable at that pace.”) The

“That sax solo in the middle sounds hard.”) Some might pump-up modulation from F major to F-sharp major. (“It sounded like they changed keys.” “There was definitely a

key change!”) Others might focus on the general tempo, around 132 BPM. (“It’s super fast!”)

On replay, shifting the focus from “listening to” to

“listening for” can prompt different listening engage-

ments. Priming the students by asking “What is the music

eries. (“It started in a different key!” “It’s a lot faster!” follow-up question “What is this music telling you to do

now?” elicits equally exciting responses. (“I have to go even faster!”) Since the music did not continue at its typi-

cal pace, I am drawn to wonder “Why not?” The response

to that question can give me information as to what I am intended to do, think, or feel at this moment.

The tempo and shifting key centricity of “Coconut

telling you to do?” or “What do you feel when you listen

Mall” invite active bodily engagement, and the two ver-

listening practices to associative or emotional modes of

starting keys) set up distinctive affective zones (Grasso

to this music?” can shift them from diffuse or structural listening (Weining, 2022, pp. 121–124), a shift that often

provides a different avenue for discussion. (“It’s telling me to go faster.” “It’s exciting!”)

After detailing some of the piece’s attributes, I play the

version of “Coconut Mall” that occurs when completing the final lap of the race, asking “What do you hear now?”

This transposed, blisteringly paced version of the cue, now starting at around 158 BPM in F-sharp major and

sions of the theme (with different tempi and different

2020) that afford different modes of play and interaction.

This introductory example can get students thinking about why game music (or any music) is written the way it is; it is prompting us to feel certain emotions, remember certain ideas, and act/react in certain ways.

To see how this type of listening strategy can affect

musical performance, I typically shift my focus toward a continued on page 28 May 2024

27

Playful Listening continued from page 27

different type of game. Action-adventure games general-

Conclusion

map to desired modes of play. For instance, playing an

performed by the UCF Concert Band in 2022, I attended a

ly offer a number of musical cues in different styles that

exploration cue from the Batman: Arkham series against a battle cue from the same series highlights differences that students can apply to their own music. Gameplay footage

can help to drive home some of these ideas, so I typically

offer students a section of gameplay where Batman has to defeat a number of baddies in a contained area.

As the battle cue begins, I can ask students “What

musical characteristics stand out to you?” A common response is simply mimicking the rhythmic drive that

underlies most battle cues. (“BUM-bum-bum-BUM-bum-

bum …”) As Batman bests all the visible foes, the music continues in the same manner. Asking “Why did the

In preparation for a concert of video game music to be rehearsal to offer some ideas about their interpretations.

The varied nature of video game music (somber tone colors leading to luscious melodies and martial battle themes

that yield to resounding brass finales) offers numerous degrees and types of interaction for playful listeners, so

I asked students to point out what sounds they enjoy (in

their own parts or in others) when playing the pieces. As

students offered different themes and textures, I pointed out that they should listen for these heroic, mysterious,

and aggressive moments to make sure their individual part maps to the ongoing mood.

I also asked them if there were things they might see

music continue?” can produce a bevy of answers. (“Maybe

changing, if they could imagine the various ways a piece

As the students begin to notice that the repetitive rhythm

listening to the piece?” “Could we perform it differently

he missed one.” “There must be more bad guys coming!”)

is telling them to continue the battle, discussion can lead to more musically nuanced questions: “What instruments

do you hear producing that rhythmic drive?” “What do

you expect to happen when the fighting in this section is over?” “What kind of music would play if Batman wasn’t fighting?” “Have you ever performed a piece that sounds

similar?” “What ideas went through your head as you

were performing that piece?” This discussion can then lead to thinking about driving rhythms, moody settings, and victorious fanfares in their own music.

could play out: “Are there elements we are missing when

to bring those elements out?” “Why did the composer/ orchestrator/arranger choose to write the piece in this

way, with this form or with this idea as the focal point?”

“Would the piece sound different if we reorganized its

sections?” As Summers notes, “By projecting the possi-

ble soundings of music, we are engaging with playful listening” (p. 705). Calling attention to these imaginative

(almost fictional) versions of a piece, we can emphasize why the piece we have in front of us is unique and important. It is our immediate interpretation (our play-through) of the piece.

William R. Ayers is assistant professor of

music theory at the University of Central Florida. He earned a PhD in music theory from the University of Cincinnati, College-

Conservatory of Music in 2018, writing a dis-

sertation on microtonal music. His current research focuses primarily on music in interactive media and video games. He is also an active composer and chorister working in the Orlando area.

References Byo, J. (1990). Teach Your Instrumental Students to Listen. Music Educators Journal, 77(4), 43–46.

Grasso, J. M. (2020). Video Game Music, Meaning, and the Possibilities of Play (Publication No. 27958703) [Doctoral dissertation, University of Chicago]. ProQuest Dissertations & Theses.

Summers, T. (2021). Fantasias on a Theme by Walt Disney: Playful Listening and Video Games. In Carlo Cenciarelli (Ed.), The Oxford Handbook of Cinematic Listening (pp. 690–711). Oxford.

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

Weining, C. (2022). Listening Modes in Concerts: A Review and Conceptual Model. Music Perception, 40(2), 112–134.

FLORIDA MUSIC SUPERVISION ASSOCIATION

ComponentNews H

Christopher Burns, PhD President

appy almost summer! I am thrilled

well-rounded education. I encourage you

is not sidelined but is celebrated as a core

developments that are shaping the land-

upcoming school year and the possibility

presentation made a compelling case for

to share insights into two pivotal

scape of arts education in our state. On April 3, the governor signed the Florida Seal of Fine Arts legislation, and on the

same day, we presented to the Florida

to prepare your administrators for the of ensuring our class of 2025 graduates receive the Seal of Fine Arts on their diploma.

Equally important was our recent

element of our educational system. Our

why increasing the number of district

arts leaders is not just beneficial but essential for fostering a vibrant, inclusive,

and equitable arts education landscape in Florida.

Association of School Superintendents on

opportunity to present to the Florida

ensure equity for students and arts edu-

Superintendents, where we highlighted

to music and arts education is a collec-

the district level. The overwhelmingly

vision, and commitment of our entire

the importance of a district arts leader to cation. These two events mark significant

strides toward enhancing and expanding the reach of music and arts education.

The Florida Seal of Fine Arts is a

commendable initiative that recognizes

and celebrates high school students who have demonstrated exceptional skill and

dedication in the arts. This recognition not only honors our students’ achieve-

Association

of

District

School

the critical role of arts administrators at positive response we received signals a

growing awareness and appreciation for the arts within our educational leader-

ship. By advocating for the appointment of district arts leaders, we aim to cham-

pion equitable access to music and arts education for every student, regardless of

The journey toward equitable access

tive endeavor that requires the support,

educational community. By embracing the importance of arts education and the

pivotal role of arts administrators, we can unlock the full potential of our students

and ensure that the arts continue to flourish across our state.

Let us all rally behind these initiatives

their background or where they live.

to cultivate an environment where the

critical thinking, and cultural awareness.

have a dedicated district arts leader. This

ing the way for a brighter, more creative

state’s commitment to fostering artistic

hensive and inclusive arts programs that

ments but also underscores the value of

arts education in nurturing creativity, It sends a powerful message about our talents and to ensuring that arts educa-

tion is viewed as a vital component of a

Currently, only 27 of our 67 counties

role is pivotal in orchestrating comprereach every student. Through their leadership, we can ensure that arts education

arts are revered and accessible to all, pavfuture for Florida’s students. Together, we

can make a profound difference in the lives of our young artists and the cultural tapestry of our communities.

Partners Make It Possible For more information, visit:

FMEA.org/partners

May 2024

29

ComponentNews F

BA family, can y’all believe we have

come to yet another end of the year

season?! It’s a beautiful thing! And with

that comes the end of my time as your

FBA president. But before I get into that, I would like to commend everyone that

took your students to any of the spring

MPAs over the past few months. NOPE, it’s not easy; if it were, we’d have a sur-

plus of music educators on our hands …

There are many obstacles that can hinder participation in what I believe is an

important aspect of our music education experience, BUT I’ve seen many instances in which band directors have overcome these obstacles and found/made a way for their students to participate and grow in

our events. There was an increase in S&E entries in many districts as well as state

MPA for the high schools, and the same can be said for jazz and concert entries.

It’s encouraging to see many programs

around the state getting back to and/ or surpassing pre-spring 2020 numbers!

Although there is still work to be done

Bernard (Bernie) Hendricks, Jr. President

a regular basis. This is not just for our band’s well-being, but our personal well-being also!

your connections with your students,

is always room for growth, I hope that

parents, school faculty, and other

stakeholders. It also refers to the “on campus” and “in community” presence of your program. And in this day

and age, it may also lead to the social media presence of our programs if we

choose to go that route. The bottom line is, if no one knows what we’re

doing, no one can support what we’re

doing. And if we don’t tell our stories

w Creativity deals with how we deliver … (You get the idea, right?)

When I began this journey two years

but I really wanted to focus on making as many people feel valued, accepted, and

Although we are not perfect and there all of our members will always strive for the highest standards of professionalism,

musical artistry, and the continued devel-

opment of complete human beings who will be productive members of society

and life-long learners and performers of music.

Thanks for this opportunity, and I wish

you all the best. Hendricks—OUT! Stay blessed!

the necessary information, concepts,

and fundamentals to our students that will lead them to success—not just in their musical development, but as whole human beings as well.

It has truly been an honor and pleasure

state. I’ve met a lot of people, passed out a

ago, I had many things/ideas in mind,

cators who provide life-changing expe-

of young people all over our great state.

grams to thrive. It’s the building of

nitely building back better and stronger tablished.

and passionate and dedicated music edu-

and relationships that allow our pro-

to serve this organization and its mem-

and our band foundation has been rees-

strong organization with great leadership

w Community refers to our connections riences and opportunities for thousands

and areas remain that are in the early rebuilding stages, I feel like we are defi-

FLORIDA BANDMASTERS ASSOCIATION

bership and students from around the

bunch of stickers, and given countless fist

bumps (and none of that will ever stop).

I know there are many FBA issues that

need to be addressed, and we’ll continue to tackle the issues, but I just felt that the morale and the belief in our organization

See you all at the

stepping stone. As we move forward, I

FBA SUMMER CONFERENCE

… We cannot do this alone. Every suc-

chairpersons for your hard work and ded-

DoubleTree by Hilton

of band director network or feeder

all of our committee chairs and commit-

part of the “team” as possible. This led me

to the theme Building Better Bands, Through

needed a boost. Hopefully and prayerfully, we’ve been able to accomplish this

w Camaraderie is for “us,” the FBA family want to say thank you to all of our district Camaraderie, Community, and Creativity.

cessful band director has some type

chain holding them up, keeping them accountable and in good spirits. We

must continue to be “our brother’s keeper” and look out for each other on

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

ication this year. And a huge thank you to

July 16-18

Orlando at SeaWorld

tee members who have put in countless

fba.flmusiced.org/

Lastly, I’m confident when I say that

summer-conference/

hours of behind-the-scenes work!

the Florida Bandmasters Association is a

for-directors/

FLORIDA ORCHESTRA ASSOCIATION

Cheri A. Sleeper President

T

ime seems to be ticking away ever so

It’s hard to believe that my first year

quickly as we come out of the music

serving as your president is almost done.

to prepare for spring concerts, banquets,

able to listen to your orchestras, and

performance assessment season and start

and graduation. Even as we approach the end of another school year, it seems our

job never ends. I want to commend all

our orchestras that performed at the state concert music performance assessment.

It was an honor and privilege to have the opportunity to hear your groups. I

would be remiss if I didn’t take a moment

to thank our adjudicators and clinicians:

Eugene Dowdy, Creston Herron, Robert Gardner, Dr. BettyAnne Gottlieb, and

Dr. Elizabeth A. Reed. I hope you and

your students had a positive and enlightening state music performance assess-

I have enjoyed meeting all of you, being

hopefully, having served you well thus

far. I look forward to next year and all its possibilities. I would like to take a moment to thank your past president,

Laurie Bitters, for her help and guidance during my first year and your presidentelect, Andrea Szarowicz, for her contin-

ued support. Finally, I’d like to thank and recognize our executive director, Don

Langland, for not only his service to our organization but also his dedication to making our organization the best it can be for so many years.

In closing, please remember, this is

ment experience.

your Florida Orchestra Association. Your

prepare our calendars for the next, be

and encouraged. Please never hesitate to

As we finish the school year and

sure to include in your plans attend-

ing our FOA/FLASTA Fall Professional Development Conference in Orlando, October

10-11,

2024.

I am excited to have as our keynote speaker Mr.

Creston Herron, director of orchestral activities for the University of Kansas.

FOA/FLASTA FALL PROFESSIONAL DEVELOPMENT CONFERENCE

October 10-11 / Hilton Orlando

input and ideas are always welcome reach out to your executive committee if you have any questions or concerns.

We are here for you! I hope you remain encouraged and excited about our pro-

Shine a spotlight on your chapter’s success this year with the

TRI-M ® CHAPTER OF THE YEAR SCHOLARSHIP This scholarship recognizes Tri-M chapters’ exceptional achievements and contributions to their school and community through music.

Whether it’s through memorable performances, innovative projects, or impactful community service, we are eager to hear all about your chapter’s accomplishments.

fession, impacting lives daily through music. Thank you for the opportunity

and privilege to serve. Enjoy your summer break … you’ve earned it!

APPLY TODAY! Deadline to apply is May 20, 2024, noon ET

Learn more about this program: nafme.awardsplatform.com/ Contact us: Tri-M@nafme.org

myfoa.org/events/fall-conference/ May 2024

31

ComponentNews C

FLORIDA VOCAL ASSOCIATION

David Pletincks President

ongratulations, everyone, you’ve

and Choral Panorama sponsored by

year, the reading sessions will be spread

school year, or maybe your first. While

ence dates are July 24-26 at the Wyndham

instead of all being on one day.

almost made it through another

you are in the process of completing your housekeeping items to wrap up the year,

let me encourage you to renew all your

professional association memberships

this spring. I like to get them done before

the summer so I know everything is set

Heads House of Music Tampa. Our conferOrlando Resort and Conference Center/

Biddlecombe from Vanderbilt University

school year after seven relaxing weeks of

Friday. We will also have interest ses-

getting mentally prepared for your new summer vacation.

The music reading sessions by Heads

House of Music will feature Dr. Lynn

your plans to attend our FVA Summer

cians for two days. Once again, like last

Professional Development Conference

Brinckmeyer and Stacey Gibbs as clini-

Ashley Peek President

t seems like just yesterday I was writing a back-to-school article about choosing my “word of the year.” If you didn’t get a chance to read that article, my

member challenge was for everyone to choose a “word of the year” to set your classroom dynamic for the year. For those of you who also selected a word of the

year, this is the perfect time to begin reflecting on how your word carried through

your school year. My word this year was joy, and my goal was to spark joy in my classroom, in my student’s lives, and in my own life. It is equally joyous to reflect back on those moments of joy in the 2023-24 school year as it was to experience

them in the moment. As we move forward, I encourage you to keep your word of the year for years to come and to continue to add a new focus word for your classroom each year as well.

As you reflect on the school year, you may also be thinking about your plans

for the summer. Summer is a great time to recharge both professionally and personally. There are a multitude of Orff and Kodály courses in our great state

(and beyond if you’re feeling like expanding your horizons for a fun out-of-state

adventure). Or perhaps world music drumming or modern band strikes your fancy. If there’s something you’ve been interested in trying, there’s no better time than now to jump in. Speaking from experience, these summer courses are life

changing and will truly recharge your teaching for the upcoming school year and beyond.

Most importantly, now is the time to think of how you want to recharge person-

ally because to be our best professionally, we have to be at our best at our core and

we must practice self care. Take that vacation, or maybe enjoy a stay-cation. Spend time with family and friends, and have some time to yourself as well. Whatever

it is that will bring relaxation and joy, do it! Take care of yourself this summer so you can come back to your students at your very best.

I look forward to bringing joy with me into the summer, and I wish that for

all of you as well.

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

as our keynote speaker on Thursday and sions led by Dr. Emily Burch, Savannah College of Art and Design, and Dr. Jeffrey

Redding, University of Central Florida.

Registration will be open soon for the

adjudicator training sessions that meet all day Tuesday before the conference.

One of the highlights every summer is

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

I

I am so excited to have Dr. Tucker

Celebration. This the perfect time to start

when I return in August.

Now is also the perfect time to make

out over Wednesday and Thursday

the Hall of Fame and awards ceremony.

Thursday evening, we will induct new members into the FVA Hall of Fame. We

will also recognize our award recipients

for the John Rose Mentorship Award, the Lindsay Keller Rising Star Award,

the FVA Role of Distinction Award, the FVA Service Award, and the J. Mark Scott

Choirs of Distinction. Now is the time to submit nominees for these great honors.

To top it all off, on Wednesday morn-

ing we will have the inaugural concert of our sixth grade Treble All-Stars Honor

Chorus. This 128-voice choir will be led by Mary Biddlecombe of the Blair Children’s

Chorus at Vanderbilt University. We’re also excited to welcome back Dr. Judy

Arthur to the summer conference as the

collaborative pianist for this exciting pro-

gram. All of this and so much more awaits you in Celebration this summer.

I can’t stress enough the benefits of

attending the summer conference. I’ve

only missed it once in the last 18 years.

In addition to all the great sessions, it’s

a wonderful time to catch up with col-

leagues and friends, as well as meet so many of the incredible people we have in our association. So, go into your FMEA login at FMEA.org; renew your NAfME,

FMEA, and FVA memberships; and regis-

ter for the summer conference all at once.

You’ll be glad you did! See you in July!

FLORIDA NAfME COLLEGIATE

Mark A. Belfast, Jr., PhD Advisor

He who thinks little errs much.

FLORIDA NAfME COLLEGIATE

Megan Robichaud President

H

ello, everyone! I am incredibly excited to announce that

the 2024 Collegiate Fall Conference is officially scheduled for October

19-20, 2024. This year, the conference will be hosted at the University of

North Florida, so I look forward to seeing everyone in Jacksonville.

In other news, I am sure we are

A

all beginning to think about our

ttributed to the great polymath

8. If the answer to #7 is a resounding

summer plans. Many of us are likely

month’s article reminds us of the impor-

will you start focusing on healthy

constant schoolwork and chaos that

9. Are you a more confident musician

However, that does not mean we

“NOPE,” in which area of your life

looking forward to a break from the

habits this summer?

come with being a college student.

and educator now than you were at

need to lose connection with each

consumed by the stuff of summer, take

10. What are your social and academic

NAfME Collegiate will still be host-

the life you experienced these last nine

how will you ensure you have the

over Zoom, but they

Reflection is always great, but it’s

monthly online game

Leonardo da Vinci, the title of this

tance of reflection and intellectual curiosity. Today, we find ourselves at the

conclusion of another exciting and event-

this time last year?

other! Over the summer, Florida

goals for the next 12 months, and

ing monthly meetups

best opportunity to achieve them?

will be transformed into

essential we use what we learn from that

nights. All of the dates

best indicator of future performance is past

com. With so many resources at our

reflection of your best effort?

different person today than you were at

stay connected. There may be more

to ensure next year is better?

should you be doing now to ensure you

gethers as the summer progresses.

row? Time is incessant and unforgiving. It

anything, join the Florida NAfME

Let’s not waste the relatively little time we

link: discord.gg/5McFM6Jdsw. By

impact the people and places we encoun-

Fall Conference will

better versions of ourselves each year!

corner!

ful academic year. Before you become

a few moments to be still and to consider months. Use the following questions to guide your reflection:

1. Did you spend the majority of your time on the things you value the most?

2. Are the outcomes of this year a 3. What adjustments will you make now 4. What are the key takeaways from your professional development

experiences this year? In other words, what did you learn this year that

you’re excited to implement in your professional calling?

5. Did you add value to others this year? If so, how?

6. What will you do to ensure you

develop more impactful relationships next year?

7. Did you develop healthy habits

process to measure our next steps. The

can be found at flnafmecollegiate.

and present performance. How are you a

disposal, there’s no reason not to

the beginning of the school year? What

impromptu meetups and get-to-

become the person you want to be tomor-

To make sure you don’t miss out on

is one of the few reliable constants in life.

Collegiate Discord Server with this

have to make a difference and positively

the time summer ends,

ter. Let’s all continue to strive to become

be just around the

I hope you all have a restful and joyful

summer, and I look forward to our time together this fall. Take care!

(e.g., eating, sleeping, exercising, etc.) this year?

May 2024

33

GOLD

Partners as of April 9, 2024.

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

34 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 2023-2024 Academic Partners.

PARTNERS

BRONZE PARTNERS Florida Southern College Rollins College Department of Music St. Thomas University University of North Florida University of North Texas May 2024

35

ResearchPuzzles FOR MUSIC TEACHERS

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

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

Graduate Music Education in

Virtual Environments T he availability of online resources for music educators to enhance their knowledge and skills in music

teaching and learning has exploded in recent years. These

their knowledge and teaching. Communication and discussions were important, though some missed in-person cues.

As online enrollment has grown dramatically, factors like

resources span a wide spectrum, ranging from informal

student comfort with technology, self-efficacy, instructor

webinars provided by professional organizations such as

Student-instructor interaction and access to content were

platforms such as YouTube, to quasi-formal offerings like

the National Association for Music Education (NAfME), to formal college-credited courses on various music edu-

cation topics. An important aspect of this expansion has

been the emergence of complete online degree programs,

allowing music educators to pursue graduate degrees remotely. Given the limited formal study of this phenomenon, researchers Jay Dorfman, Wendy K. Matthews, Craig

Resta, and Christopher Venesile (2021) decided to investi-

w What perceptions do music teachers hold regarding

interaction, and course design have impacted satisfaction. key predictors of satisfaction, though some still desired

more peer interaction. More recent research has focused on

student satisfaction as a measure of successful online course delivery. Satisfaction can be influenced by the learning environment, instructional design factors like interactivity/col-

laboration, instructor characteristics, and student readiness for online learning.

Previous research on OGME has looked at various aspects

gate it. They had three research questions:

of implementing these programs and the experiences of stu-

w Do perceptions of OGME differ between those who

skepticism about delivering entire degrees online asynchro-

the principles of connectivism, “a theory of learning

dents appreciated the flexibility of OGME programs and had

tices of online learning” (Dorfman, et. al, 2021, p. 73),

peers. They valued the diversity of backgrounds and perspec-

online graduate music education (OGME)?

w To what extent do participants in OGME indicate that have participated in it and those who have not?

and instructional design rooted in the particular pracare present in their OGME experiences?

Previous Research

The literature review conducted by the authors explored various aspects of graduate distance education in general and music education specifically. Early research in general

education looked at the culture, community, and interactions established in the virtual learning environment.

Researchers found positive correlations between engage-

ment in online course activities and student learning/

dents and faculty. Early studies focused on challenges like nously, as well as potential advantages like flexible schedules.

Researchers examined curriculum, program requirements, course design, and peer/instructor interactions.

In more recent qualitative studies, researchers found stu-

positive impressions of their experiences with instructors and tives among their online cohorts. Other researchers looked at factors influencing students’ choice between traditional and online programs, as well as music faculty’s perceptions

of online course delivery. Many of the findings echoed those from general online education research, such as the importance of peer interaction and sharing ideas online, though

some avoided online platforms due to a lack of participation.

Flexibility and convenience were seen as major attractions of OGME programs.

satisfaction. While some students perceived slightly less

Methodology

still desired to take more online courses. They found

teachers who were members of NAfME; 115 of them had par-

interaction online compared to traditional formats, many

online coursework more demanding but felt it enhanced

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

To investigate this topic, the researchers surveyed 807 music ticipated in an OGME program.

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

Results and Discussion

The researchers also examined the principles of connec-

The researchers found that approximately two-thirds (67.7%)

tivism, a learning theory specifically developed for online

value in OGME. The highest-ranked reasons to pursue an

diversity, interaction, and openness. The results indicated

of the respondents agreed or strongly agreed that there is OGME program were convenience and flexibility, followed by salary advancement, professional development, and career

advancement. These findings align with previous literature that highlighted the importance of flexibility and convenience for students, especially those with busy personal and profes-

learning environments, and its four properties: autonomy, that the OGME participants perceived the presence of these

principles in their experiences, with autonomy contributing

the largest amount of variance. This aligns with the value placed on convenience and flexibility by the respondents.

sional lives.

Conclusions

were the perceived need for graduate work in music education

insights into music teachers’ perceptions of OGME, which

On the other hand, the top reasons against pursuing OGME

to have conversations and dialogue about teachers’ specific challenges and circumstances, and the belief that in-person coursework is better for musical content. Respondents also rec-

ognized that ensemble opportunities are not possible in online

settings. These concerns echo some of the early skepticism and challenges associated with implementing online music education programs.

Interestingly, Dorfman et. al (2021) found that perceptions of

OGME were generally similar between those who had partic-

ipated in it and those who had not, with both groups valuing convenience, flexibility, and professional development opportunities. However, some concerns, such as the perceived lack of

rigor and respect for online coursework, were more prominent among non-participants.

The authors conclude that this study provides valuable can help course and program developers understand the

distinctive qualities of online learning and design courses and programs that capitalize on these qualities. For example, highlighting autonomy allows for student independence

and flexibility, which were highly valued by the respon-

dents. Similarly, designing for interaction can facilitate collaborative research and sharing of contemporary teaching practices, both of which were ranked highly by OGME participants.

Reference Dorfman, J., Matthews, W. K., Resta, C., & Venesile, C. (2021).

Looking into the virtual space: Teacher perceptions of online graduate music education. Bulletin of the Council for Research in Music Education, 229, 71–90. https://doi.org/10.5406/ bulcouresmusedu.229.0071

May 2024

37

g in o d u o y e r a t a Wh

? r e m m u s s i h t Have no plans this summer?

l development con Attend one of these professiona learning and fellowship.

Emerging L Workshop eaders June 1

Embassy S uites USF Tampa

By applicati on/invitati on For inform ation: Dr. D ré Graham grahamdc@ gm.sbac.edu

l Network Multicultura shop Summer Work June 14 n St. Thomas U Miami

iversity

ion: n and registrat io at rm fo in e twork / For mor ulticultural-ne m s/ am gr ro /p FMEA.org

ferences for summer

rida Coalition Teach Music Floer Institute formerly Summ Think Tank June 3 -5 SF Embassy Suites U Tampa

vitation By application/in itute/ ams/summer-inst FMEA.org/progr

FBA Summer Development Professional Conference July 16 -18

DoubleTree b y Hilton Orlan do at SeaWor Orlando ld fba.flmusiced .org

/for-directors /sum

mer-conferenc e/

nference and FVA Summer Co Music Choral Panorama Head’s House of ebration July 24 -26 rence Center/Cel onfe do Resort and C Wyndham Orlan ) 234-9181 Information: (813 fva.net/summer/

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

CommitteeReports

s we wrap up another school year of

quality music education, I applaud

all music educators for promoting and

exemplifying quality music education on

AWARDS COMMITTEE

Sondra A. W. Collins Chairperson

Michelle T redway

a daily basis. YOU are a music education

“My greatest joys as a music educator have been when the bell has rung, the door has

all of your students!

nized for doing what I love and to get to do it all of my professional life.

year when I ask you to consider who

Secondary Music Educator of the Year award. I am humbled and privileged beyond

ing of recognition by the FMEA Awards

many years. I have never wanted to do anything else for a profession. The fact that I

hero, rising above and being the light for

Speaking of heroes, it’s that time of

in your sphere of influence is deservProgram. The all-call for nominations begins now!

FMEA.org/programs/awards/

In the coming months I will continue

to share with you a little of the brilliance

that our awardees have to offer you,

speaking their truth about music educa-

tion and the passion that drives them. I

share these words of inspiration with you to give you the confidence to be the light

to your own students, as well as the drive to help shine a light on others in our next nomination period.

Here is your monthly dose of inspira-

tion, through words of passion from our 2024 FMEA Secondary Music Educator

of the Year, Michelle Tredway, secondary music educator at Niceville Senior

High School in Okaloosa County School

shut, and class has started. It has never once entered my mind that I would be recogIt is an incredible honor for me to be speaking to you as recipient of the 2024 FMEA

words. I have felt it a privilege to have been part of FMEA and its components for so get to be recognized for that is unbelievable.

I know there is much data, reported and confirmed, that music education rightly

taught improves student academic achievement. But I can confidently say that music education rightly taught offers so much more. I have witnessed students

who would otherwise have nothing in common sit shoulder to shoulder to blend their

voices, reproducing music written across the decades and centuries. I have witnessed young individual musicians realize their potential and blossom as they discover that

they are a necessary part of the whole. I have seen the pride that comes from grit,

perseverance, and determination in accomplishing something together. I have observed

self-esteem in conversations, as students reminisce about what they accomplished. I have seen the acknowledgement that each student member has value, deserves respect, and is important. Music education truly helps to develop the student behind the score.

I am now in my 34th year as a music educator, and I still get to do this for a liv-

ing! I’m grateful that God gave me the musical ability, and that I’ve had many, many incredible teachers and colleagues along the way who have instilled in me a desire to be better in all I do. It is my hope to continue to instill that same desire in present and future students.”

District:

May 2024

39

CommitteeReports More Technology to Remove Barriers for Diverse Learners-AUMI

L

ast month I offered some smart device

the apps may not be enough to get them

dents access music-making. After all,

trouble making music with others, the

software applications that help stu-

many of our students join ensembles to make music, or in the case of elementary music, students are motivated by oppor-

tunities to play instruments. However,

when students have physical limitations or have developmental disabilities, even

past the barrier. For those who still have

Adaptive Use Musical Instrument (AUMI)

is a great solution for students who are

unable to move their fingers or arms. That is correct, you can play music without your hands.

From their website aumiapp.com/about.php The AUMI software interface enables the user to play sounds and musical phrases through movement and gestures. This is an entry to improvisation that enables exploration of sounds ranging from pitches to noises rather than learning set pieces. This open approach to music enables anyone to explore and express a range of affects, both by themselves and in response to, or in conversation with, others. While the AUMI interface can be used by anyone, the focus has been on working with children who have profound physical disabilities. In taking these participants as its starting point the project attempts to make musical improvisation and collaboration accessible to the widest possible range of individuals. This approach also opens the possibility of learning more about the relations between ability, the body, creativity, and improvisation, from within a cultural context that does not always acknowledge or accept people with disabilities.

The AUMI project continues to be revised and improved with input from the technologists, students, therapists, and feedback from registered users. An on-site training program is also available. The AUMI software is available for Windows, Mac OS, and iOS; the latest versions can be downloaded from our downloads page (aumiapp. com/download.php) or in the iTunes Store.

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

You play the instrument by moving.

The camera on your device can be set to follow general movement, face, color, dis-

tance, or touch. That movement allows the camera to move the cursor on the screen.

However, as stated, touching the screen is still an option. Like many electronic

instruments, there are several options for timbre and key. Pitch sets include chro-

matic, major, pentatonic, minor, triads,

DIVERSE LEARNERS COMMITTEE

Christine Lapka, EdD Chairperson

7th chords, blues, and other modes. You

to incorporate AUMI into music class-

is faster than changing the bars on an

options with pitches shown vertically or

are available to help you.

options.

can see in the pictures that the layout has horizontally to accommodate a person’s

rooms. In-app assistance and a set-up tab While not stated in the mission of

Orff instrument. There really are many

Sometimes I just enjoy the freedom of

mobility. There are two other visual set-

AUMI, students with intellectual disabil-

making music with AUMI (or maybe I

or square pattern.

labels. See a C on the music and touch

want to be a part of the band for free,

tings for pitch sets to be laid out in a circle

AUMI can even do more than described

here. The website has many great resourc-

es including tutorials and books on how

ities can benefit from the on-screen note the C on screen. In addition, if you have

students improvising in a key or with a

given pentatonic scale, selecting the scale

am just avoiding work). However, if you

this technology is perfect. As you head into summer, spend some time with AUMI.

May 2024

41

FLORIDA MUSIC EDUCATION ASSOCIATION 2023-2024 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

Professional Development for Members

General Fund

Mel & Sally Schiff Music Education Relief Fund

The following have graciously donated to FMEA from April 1, 2023, through April 9, 2024.

MAESTRO’S CIRCLE $10,000 and up

No current donors at this time.

ARTIST’S CIRCLE All County Music Artie Almeida

$1,000 – $9,999

In Honor of my mother, June Audrey Grace, & my niece, Katie Grace Miller

Clifford Madsen Mary Palmer Russell Robinson

SUSTAINERS $100 – $999

Carlos Abril In Honor of Dr. Joyce Jordan Andre Arrouet In Memory of Dr. James Croft Lucinda Balistreri Alice-Ann Darrow In Memory of Mr. & Mrs. O.B. Darrow Virginia Densmore In Honor of Dr. Shelby Chipman Virginia Dickert In Memory of Lindsay Wells, Teri Wester, & Debbie Liles Michael Dye In Honor of Mark & Brenda Scott for their lifetime dedication to Florida vocal music education Shelby Fullerton In Memory of Dan Fullerton Rita Hersom In Memory of Billy Bryant, Jr. Marsha Juday Sheila King In Memory of John W. King

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

Jason Locker In Memory of June M. Hinckley Kevin Lusk Brenda McGlohon Mitchell In Memory of Dorothy Wells Skinner Carolyn Minear In Memory of Alice Fague John Nista On Behalf of Stanley Dmitrenko David Pletincks In Honor of Alexis & Jonnie Pletincks Jeanne Reynolds In Honor of Pinellas County Performing Arts Teachers Mary Catherine Salo In Memory of Gary Rivenbark & Wes Rainer Steven Salo In Honor of Dr. William Prince & John “Buck” Jamison Kathleen Sanz In Memory of June Hinckley Fred Schiff

J. Mark Scott In Dedication to Dr. Andre Thomas, Dr. Judy Arthur, Dr. Judy Bowers, & Jason Locker D. Gregory Springer Harry Spyker In Honor of Fred & Marlene Miller Alan Skaggs Jeannine Stemmer In Memory of Barbara Kingman & Lauren Alonso Leiland Theriot Richard Uhler David Verdoni Howard Weinstein In Memory of Barry Weinstein Doris Elaine Wells In Memory of Dorothy Wells Skinner Kenneth Williams Daniel Wood In Memory of Robert W. Smith Anonymous (1) In Memory of Judith Strachman

PATRONS $25 – $99

Sandra Adorno

Michael Antmann

Scott Evans

Marialyce Orr In Memory of Robert & Bonnie Bragg

Anna Marie Friars In Memory of Matthew McLaughlin

Justin Plante

Bradley Franks In Memory of Gary W. Rivenbark

Judy Arthur

Sasha Aufschneider

Gale Baker In Memory of William Bryant, Jr.

Melissa Rawls In Honor of Nancy Bartels

Bernie Hendricks

Mark Belfast In Memory of Dr. Mark A. Belfast, Sr.

Alexis Hobbs

C. William Renfroe In Memory of James O. Johnston & Herbert Beam

Martha Huntley In Memory of Dorothy Skinner, Safety Harbor, FL

Cheri Sleeper

Jacob Hyer

Johnathan Bosse In Honor of Rosanne and Michael Bosse Melanie Brown In Memory of Dorothy Skinner

William Rose

Eddie Steadman

Alexander Jimenez

Mark Stevens In Honor of Dr. Clifford Madsen

Aaron Kass

Jamie Bryan

Valerie Terry

Mary Keyloun Cruz In Memory of George Keyloun & Pauline Antaki

Kasia Bugaj

Christopher Burns

Kathleen Thompson

Ellen Turko In Memory of Billy Bryant

Cynthia Kohanek

Stanley Butts

Greg Carswell On Behalf of all the Florida choral directors who have passed on Shelby Chipman In Memory of Herbert Rhodes, Sr.

Deborah Confredo In Honor of All the Music Educators of FMEA

Clinton Randles

Cynthia Heidel

David Bayardelle In Honor of Harry Spyker

Dayna Cole In Memory of Linda Mann

Marie Radloff

Dakeyan Graham

William Bauer

Blair Clawson In Honor of Tina Mason

Edward Prasse

Sandra Geres In Memory of Dorothy Wells Skinner

Garza Baldwin In Memory of Dorothy Wells Skinner

Jeff Cayer

Ashley Peek

Christine Lapka

Matthew Weihmuller

Joseph Luechauer

Elizabeth Weir

Deborah Mar In Memory of Barbara Kingman

Sondra Wenninger Collins

Seth Wexler In Honor of Mr. James Monroe

Matthew McCutchen In Honor of John Carmichael

Edith Wright

Kelly Miller

Victor Mongillo

Daniel Murphy In Memory of Billy Bryant

Anonymous (6)

On Behalf of Derek Schaumann’s Birthday

Stephen Nelson

In Honor of Columbia County Music Teachers

In Memory of Carol Pollock

FRIENDS up to $24

Michael Belyea Crystal Berner

Thomas Brown In Dedication to Dr. Sanmel A. Floyd

Ernesta Chicklowski Eduard Ciobotaru Beth Ann Delmar Jodie Donahoo

Christopher Dunn Debbie Fahmie Dretha Fennell

Thomas Gamache

Tina Gill In Memory of Gary Rivenbark

Celeste Laburda In Honor of Eleanora Fagan

Edepson Gonzalez

Lu Anne Leone

Alvaro Gomez

Ian Schwindt

John Southall

Pauline Latorre

Kelly Southall

James Haggins

Gerald Madrinan

Hailey Swanson

William Hazlett

John Marshall

Angela Hartvigsen

P. L. Malcolm

Llewellyn Humphrey

Khemya Mitrahina

Kathleen James

Mary Palmer

Arnekua Jackson Jason Jerald

Marsha Kindall-Smith

Merleon Morgan Mikael Patriarca Hank Phillips

Ajori Spencer

Phil Tempkins In Memory of Susan McCray Lindsey Williams Anonymous (14)

In Memory of William Bryant, Jr.

Alexandra Rameau

May 2024

43

ExecutiveDirector’sNotes

FMEA Executive Director Kathleen D. Sanz, PhD

The mission of The Florida Music Education Association is to promote quality, comprehensive music education for all Florida students as a part of their complete education.

FMEA’s Summer ‘Semester’ Offers Opportunities for All

W

e are nearing the end of the 2023-24 school year.

As music educators, we continue to face many

challenges. The Florida Music Education Association has

a focus on Teach Music Florida, an initiative to improve and

increase teacher recruitment and retention in the music

education field in Florida schools. FMEA will convene a

workgroup this summer to continue to provide forward thinking for music education in Florida.

Immediate Impact Spotlight

FMEA seeks to spotlight the outstanding work and accomplishments of music educators in the earlier

stages of their teaching careers who are making an “immediate impact” in their schools and

communities and with their students. Through

the power of music education, these ambitious

FMEA members influence positive change, create amazing musical experiences for their students, and help enrich Florida’s music education community.

Let us brag about you! Please submit the form and mate-

Photo source: artsadvocacy.nfhs.org/heat-illness/

High Schools (NFHS) at artsadvocacy.nfhs.org/heat-illness.

In addition, the NFHS has developed online courses

rials found on the FMEA website.

that assist music educators who have students involved

Student Health and Safety –

FMEA and FSMA encourage every school district and

Heat Illness Prevention

Florida schools are making preparations for summer band camps. The Florida sun can be intense, and dehy-

dration is a key risk for teachers and students. In addition to the dangers of extreme heat, many of our counties have lightening strikes without warning. Please be cautious.

It is critically important for teachers to be aware of

the heat index information. Marching to the Beat of Safety: Preventing and Managing Heat Related Illness by

Dr. Neha Raukar from the Mayo Clinic is a webinar you should view

and share with colleagues and parents. Please see the webinar produced by

the National Federation of

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

in physical activity. These courses are free of charge, and

school program to be sure that all teachers are aware of the dangers they and students face in light of the Florida weather. The three courses from NFHS include:

Heat Illness Prevention nfhslearn.com/courses/heat-illness-prevention-2 Concussion in Sports – What You Need to Know nfhslearn.com/courses/concussion-in-sports-2 Sudden Cardiac Arrest nfhslearn.com/courses/sudden-cardiac-arrest In addition to the courses listed above, please see the

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

Student Opportunities —Crossover Festivals

The FMEA Crossover

Festivals are designed

to encourage musical creativity, critical thinking, and collabora-

tion by students in K-12 schools.

They will be held in multiple loca-

w Miami (Florida International University)—May 4 w Jacksonville (University of North Florida)—May 11 w Gainesville (University of Florida)—May 11 w Tallahassee (Florida State University)—May 11 w Tampa (University of South Florida)—May 18 tions in May:

— Guitar Festival

The FMEA Guitar Festival was held in multiple sites during

April with 551 student partici-

pants. Thank you to Ed Prasse for coordinating these events for student guitarists.

—Steel Band Festival

will be from domestic migration and international immi-

gration. Depending on the location(s) of the migrations, school size may be impacted. Think about your school and use foresight in your planning.

The 2024 Legislative Session ended on March 8, 2024.

FMEA will be posting the full results that may or may not impact music education on the FMEA advocacy page.

Professional Development

The 2025 FMEA Professional Learning

Conference and All-State Concerts, Music Begins with ME, will be held

January 8-11, 2025, in Tampa, Florida.

The deadline for proposals is quickly approaching. The portal for session

proposals is open until May 10, 2024.

We look forward to seeing session proposals for 2025.

FMEA Webinars

Please see our webinars and podcasts on

the FMEA website: FMEA.org/programs/ webinars/

The FMEA Steel Band Festival

Membership Renewal Time

with 129 student participants.

membership registration process. The membership

was held March 30, 2024,

Thank you to Jared Allen for

coordinating this event for steel band students.

Advocacy/Legislation

It passed! HB 523 Florida Seal of Fine Arts passed unan-

imously through the Florida House and Senate and has been signed by Governor DeSantis.

Florida Growth: Florida is projected to gain 2.5 million

new residents by 2030. What does that mean for schools?

According to Florida Trend, Florida is projected to add 348,878 school-aged children. The increase most likely

Each year beginning April 1 we open the

year for FMEA is July 1, 2024, to June 30, 2025. 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 hopes you have a restful and fulfilling

summer.

Musically,

Kathleen D. Sanz, PhD

May 2024

45

14TH JUNE

I ST. THOMAS UNIVERSITY I MIAMI, FLORIDA $30 REGISTRATION FEE INCLUDES LUNCH

This one-day professional development workshop is set up to offer information, insight, and inspiration to music educators as they enter the summer planning months. Although getting your rest and quality family and friend time is a top priority during the summer, it is never too early to plan for the upcoming year. Our goal is for teachers to analyze what you are doing in your program and what steps need to be taken to take your program (and you) to the next level. Regardless of how long we have been teaching, there is always room to grow and learn new strategies and best practices for enhancing the music education experience for ALL Florida students.

SESSION PROPOSALS

We are now accepting proposals and performance applications for the MCN Summer Workshop.

SUBMIT YOUR PROPOSALS HERE.

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

Jason P. Locker

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

Shelby R. 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 President-Elect

Scott Evans

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

Bernard (Bernie) Hendricks, Jr.

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

Sandra Sanchez Adorno, PhD Florida International University 10910 SW 17 St.; Miami, FL 33199 sadorno@fiu.edu FEMEA President

Ashley Peek

Holley-Navarre Intermediate 1936 Navarre School Rd.; Navarre, FL 32566-7504 ashley@femea.flmusiced.org Florida NAfME Collegiate President

Megan Robichaud University of North Florida n01492523@unf.edu

Florida NAfME Collegiate Advisor

Mark A. Belfast, Jr., PhD Florida State University mbelfast@fsu.edu FMSA President

Christopher Burns, PhD

School District of Osceola County (407) 870-4901; christopher.burns@ osceolaschools.net

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......................................................Sandra Sanchez Adorno, PhD Florida International University; 10910 SW 17 St.; Miami, FL 33199 sadorno@fiu.edu

Editor-in-Chief.................................................................Kelly Miller, DMA University of Central Florida; 12488 Centaurus Blvd.; Orlando, FL 32816-8009 (407) 823-4545; kelly.miller@ucf.edu Conference Planning Committee Chairperson........John K. Southall, PhD Indian River State College; 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 418-9133; johnsouthall@me.com FSMA President....................................................................Jane Goodwin Jwin555@gmail.com Hall of Fame Chairperson...............................................Mary Palmer, EdD (407) 252-5172; mpalmerassoc@aol.com

FMEA COMMITTEE CHAIRPERSONS Advocacy..................................................................... Jeanne W. Reynolds (727) 744-7252; jeannewrey@gmail.com Awards........................................................................Sondra A. W. Collins sondra.collins@marion.k12.fl.us Budget/Finance, Development...........................................Jason P. Locker Orange County Public Schools; 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jasonlocker@fmea.org

Past President......................................................................Joani Slawson Holy Trinity Episcopal Academy; 1720 Peachtree St.; Melbourne, FL 32901 joanislawson@gmail.com Executive Director............................................................Jennifer Sullivan 1750 Common Way Rd., Orlando, FL 32814 (321) 624-5433; slljenn@aol.com

FLORIDA MUSIC SUPERVISION ASSOCIATION

FLORIDA ORCHESTRA ASSOCIATION

Florida Corporate & Academic Partners...................................Fred Schiff All County Music; 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fred@allcountymusic.com Health & Wellness..................................................................... Aaron Kass Lake Nona High School; 12500 Narcoossee Rd.; Orlando, FL 32832-6922 (407) 956-8327; aaron.kass@ocps.net Multicultural Network............................................Arnekua Jackson, PhD Boynton Beach Community High School; 4975 Park Ridge Blvd.; Boynton Beach, FL 33426-8318 (561) 713-6851; arnekua.jackson@palmbeachschools.org

President........................................................................... Cheri A. Sleeper Strawberry Crest High School; 4691 Gallagher Dr.; Dover, FL 33527 (813) 363-4139; cheri.sleeper@hcps.net Past President...................................................................... Laurie Bitters Winter Park High School; 2100 Summerfield Rd.; Winter Park, FL 32792 (407) 622-3200; laurie.bitters@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

Professional Learning............................................................Ajori Spencer Pinellas District Office; 301 4th St. SW; Largo, FL 33770-3536 (727) 588-6055; spencera@pcsb.org

President............................................................................ David Pletincks Powell Middle School; 4100 Barclay Ave.; Brooksville, FL 34609-0860 (352) 403-8437; david@fva.net

Research....................................................................William I. Bauer, PhD University of Florida; (352) 273-3182; wbauer@ufl.edu

Past President.............................................................. Jeannine Stemmer Florida Christian School, 4200 SW 89th Ave.; Miami, FL 33165 j9stemmer@floridachristian.org

Secondary General Music............................................................Ed Prasse Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net Student Engagement..............................................Michael Antmann, EdD Freedom High School; 2500 W. Taft-Vineland Rd.; Orlando, FL 32837 (407) 816-5600; michael.antmann@ocps.net

PROFESSIONAL DEVELOPMENT CONFERENCE

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

Collier County Public Schools 5775 Osceola Trail; Naples, FL 34109-0919 (239) 377-0087; pardeh@collierschools.com

President..................................................................................Ashley Peek Holley-Navarre Intermediate; 1936 Navarre School Rd.; Navarre, FL 32566-7504; ashley@femea.flmusiced.org

Emerging Leaders.............................Dakeyan C. Graham, PhD, EdD, DMA Alachua County Public Schools; 3600 NE 15th St.; Gainesville, FL 32609 dregraham@gmail.com

FVA President

Harry “Skip” Pardee

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Past President.................................................... Lindsey R. Williams, PhD Seminole County Public Schools (407) 320-0434; willialz2@scps.k12.fl.us

Strawberry Crest High School 4691 Gallagher Dr.; Dover, FL 33527 (813) 363-4139; cheri.sleeper@hcps.net

Member-at-Large

Past President..................................................................Colin Urbina University of Central Florida; co006947@ucf.edu

Diverse Learners....................................................... Christine Lapka, EdD University of Central Florida; 12488 Centaurus Blvd.; Orlando, FL 32816-2372; christine.lapka@ucf.edu

Local Chairperson..................................................................Jon Sever (813) 272-4861; jon.sever@sdhc.k12.fl.us

Powell Middle School 4100 Barclay Ave.; Brooksville, FL 34609-0860 (352) 403-8437; david@fva.net

President................................................................. Megan Robichaud University of North Florida; n01492523@unf.edu

President............................................................... Christopher Burns, PhD School District of Osceola County (407) 870-4901; christopher.burns@osceolaschools.net

Exhibits Manager fmeaexhibits@fmea.org

David Pletincks

FLORIDA NAFME COLLEGIATE

Contemporary Media.................................................... Clint Randles, PhD University of South Florida; 4202 E. Fowler Ave.; Tampa, FL 33620-9951 (813) 974-2311; randlesc@usf.edu

FOA President

Cheri A. Sleeper

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

FLORIDA BANDMASTERS ASSOCIATION

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

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) Director of Operations...................... Valeria Anderson, IOM (val@fmea.org) Technology Director....................................Josh Bula, PhD (josh@fmea.org) Marketing & Membership Coordinator.........................Jasmine VanWeelden (jasmine@fmea.org) Administrative Assistant..............................Siena Deaton (siena@fmea.org)

AFFILIATIONS

May 2024

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