Florida Music Director - May 2024

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Uncovering Hazing Playful Listening for Performing Musicians

PLUS: 2025 Conference


NAfMECollegiateLeadership AdvocacySummit


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Executive Director

Florida Music Education Association

Kathleen D. Sanz, PhD Hinckley Center for Fine Arts Education

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


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)

William Bauer, PhD

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

Alice-Ann Darrow, PhD

College of Music, FSU, Tallahassee (850) 645-1438; (aadarrow@fsu.edu)

Jeanne Reynolds (jeannewrey@gmail.com)

John K. Southall, PhD


Indian River State College, Fort Pierce (772) 462-7810; (johnsouthall@fmea.org)

Advertising Sales

Valeria Anderson (val@fmea.org)

402 Office Plaza Tallahassee, FL 32301 (850) 878-6844

Official FMEA and FMD Photographers

Bob O’Lary Amanda Crawford

Art Director & Production Manager

Lori Danello Roberts LDR Design Inc. (lori@flmusiced.org)

Circulation & Copy Manager

Valeria Anderson, (800) 301-3632

Copy Editor

Susan Trainor

May 2024 3
C onte May 2024 Volume 77 • Number 8
DEPARTMENTS President’s Message .......... 4 Advertiser Index ............ 5 Advocacy Report ............ 6 Immediate Impact ........... 8 Corporate Partners ........... 16 Component News ........... 29 NAfME Collegiate Leadership Advocacy Summit ...................... 10 2025 Conference Session Proposals & Performance Applications ................. 12 Uncovering Hazing: Understanding, Identifying, and Preventing Harmful Practices in Music Education Programs ....... 18 Playful Listening for Performing Musicians...... 24 Summer Learning and Fellowship Opportunities ... 38 Academic Partners .......... 34 Research Puzzles ........... 36 Committee Reports ......... 39 2023-2024 FMEA Donors ..... 42 Executive Director’s Notes ..... 44 Officers and Directors ........ 47

Music Education Begins with ME! MEmories

Our lives, both personal and professional, are marked by a continuous cycle of seasons. As the end of another academic year approaches, we begin to reflect on the year that is coming to a close, even as we plan and prepare for the new one on the horizon.

The bond between music educators and their students tends to be a uniquely strong one. While it is unusual for a student to have the same grade level teacher more than once in elementary school, or the same subject area teacher 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 educators and their students continues to be strong, thanks to the MEmories that remain with each one. How often have you spoken with an adult about their school music experience and noticed their facial expression and body language become animated with joy or excitement as they 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 hearts to remember the special individuals and occasions in their musical lives. What MEmories will remain with you as you bid farewell to the students of the elementary, middle, high, or collegiate Class of 2024? Those moments are forever etched in our minds, whether they

be mountaintop experiences of performance or travel, an occasion where students achieved a desired audition or MPA result, or just a normal day where a student “got it” because of something you said or did.

As the end of the 2023-24 school year approaches, I hope you take the opportunity to reflect on these MEmories and the people who have been a part of your professional journey. Each year, as I take time to smile, perhaps shed a 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 summer, 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 and previous years, even as you plan to start the annual cycle over again and begin making new ones with next year’s students. And as Dr. Shelby Chipman used to faithfully remind us at the conclusion of his 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, Florida music educator! Thank you for the positive and enduring MEmories that you have been central in creating for so many students!

“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.”
Jason P. Locker, President Florida Music Education Association
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President’s Message
Maya Angelou

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.


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.


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.

Advertiser Index

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

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

May 2024 5
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Advocacy Report

Advocacy Milestones

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

The following is from my November 2019 Florida Music Director column, when our Seal of Fine Arts legislation was first “born.”

Getting legislation passed is a much heavier lift than killing detrimental legislation. How an idea becomes a bill, and then how that bill becomes a law is quite a lengthy and complex process. Typically, it takes years to get a bill written, sponsored, championed, and passed. FMEA is starting on this multi-year process. We know music education is good for students, and we have the cohort data to suggest that the longer students engage in the arts the better. Legislation is always a work in progress, and we are at the very beginning of this process. We ask all members to stay informed and be ready to help when asked. Getting legislation passed is much more of a marathon than a sprint. We would be successful if we are able to get this bill sponsored and filed this year. It is critically important to get this conversation started.

We did get that conversation started. We filed the bill that year for the first time. Just as I could literally feel the overlap of childhood milestones as we left for my daughter’s graduation, today I can feel the overlap of our Seal of Fine Arts milestones, from its birth to its passage.

Getting from fall 2019 to April 3, 2024, when the governor 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:

Anthony Atkinson

Andrew Burk

Jonathan Casanas

Sondra Collins

Beth Cummings

Alice-Ann Darrow

Debbie Fahmie

Vivian Gonzalez

Angela Hartvigsen

Bernard Hendricks

Megan Robichaud

Megan Rodriguez

Matthew Spindler

Leiland Theriot

Colin Urbina

And I trust it goes without saying that the FMEA staff and Executive Committee, Kathy Sanz, Jason Locker, Scott Evans, and Shelby Chipman are a vital part of this advocacy work group.

Passing the Seal of Fine Arts is a milestone that should be celebrated along with so many other accomplishments of the 2023-24 school year. And just as we do with all musical accomplishments, we take time to celebrate and then move forward. We must ensure a smooth roll out for the Seal of Fine Arts, one that ensures all students are knowledgeable about this opportunity and all students have access to earn the Seal. We also need to ensure that the process is easy to understand and administer for all teachers, administrators, guidance staff, and other employees who will be responsible for its success. The 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

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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 summer by doing the following:

w Write to, or better yet, meet with and thank your legislators for passing the Seal of Fine Arts if you have not already done so. All the info needed is found on our website: FMEA.org/advocacy/.

w If you are a high school teacher, make plans to roll out the Seal of Fine Arts recognition at your school. Identify students who may be eligible to earn the Seal.

w Help recruit and retain great Florida music teachers. Spread the word about FMEA and teaching music in Florida. Download and share the videos found here: FMEA.org/teach

w Become knowledgeable about local school board candidates and support outstanding candidates who champion arts education. If there are only two candidates running, some board members could be elected in the August 20 primary, long before November.

w Check your voting status. Make sure you are registered and up-to-date with your Supervisor of Election office: myfloridaelections.com/Contact-your-SOE.

As my daughter got in the back seat of our car on the way to her high school graduation, I had a profound sense that the first 18-year chapter of her life had closed. Of course, wonderful new chapters were about to open 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.

May 2024 7
Jeanne W. Reynolds Chairperson Advocacy Committee Jeanne W. Reynolds


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.


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 teaching. 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!


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.

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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 superior 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 appointment 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 opportunities, 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!

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 9

2024 Collegiate Leadership Advocacy Summit

June 10–12, 2024

Previously, 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 educator, and much more. We are pleased to invite all interested NAfME collegiate members 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.

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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 experiences 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:


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.

Conference Registration and Attendance

w All presenters must register for the conference, even if you live or teach outside of Florida. Early registration will begin in late September, and prices will increase sometime in early December. Conference exhibitors working their booths and invited keynote speakers are exempt from this requirement.

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

FMEA/NAfME Membership Requirement

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 submit a proposal, and must also be current when registering for the conference.

w Conference exhibitors are exempt from the membership requirement but must contract and pay the deposit to exhibit before submitting a proposal.

w You may join or renew your FMEA membership at flmusiced.org/flmusicapps/membership/joinrenew.aspx or visit NAfME.org if you reside outside of Florida.

Instruments and Equipment

w FMEA will provide a microphone, sound system, and LCD projector. A piano may be requested upon approval of your session. You must plan on providing everything else needed for your presentation.

w Instruments, computers, music stands, and anything else not listed in the above bullet point is the presenter’s

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responsibility and will not be provided by FMEA. Choral risers are not allowed in session rooms.

w Complimentary Wi-Fi is provided in the Tampa Convention Center but not in the Marriott meeting rooms.

Demonstration Performers

w If you anticipate using student performers as a demonstration group for your session, you must select “Demonstration” as the session format when completing your proposal.

w It is recommended that demonstration ensembles be limited 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 sessions to accept.

w If you are not the director or teacher of the student performers in the demonstration ensemble, their teacher/ director must be added as a clinician for the session and register for the conference. They will be responsible for

ordering name badges for the students as part of their conference registration.

w FMEA does not provide instruments, music stands, or any other equipment for demonstration groups other than chairs and a P.A. system.

w Choral risers are not allowed in the session presentation rooms.

Presenters are responsible for all expenses, including but not limited to: travel, hotel, meals, conference registration, and materials.

continued on page 14

May 2024 13

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

(including Product Showcase proposals)

w Title of your session, in Proper Title Case, with no extraneous or unnecessary punctuation and only 120 characters or fewer.

w A description of your session in 1,000 characters or fewer, as you want it to appear in the conference program, online schedule, and mobile app. Please check for proper spelling and grammar, and make sure it is written in a manner that would encourage attendees to get excited about attending your session.

w A short statement on how the session relates to the theme of the conference.

w Your brief biographical sketch in 1,000 characters or fewer, as you want it to appear in the conference schedule. Your bio should focus on your experience and accomplishments that demonstrate your credibility for presenting on the specific topic of the session(s) you are proposing, further encouraging attendees to choose to attend your session.

w A professional headshot photograph of yourself to 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 during the selection process.

w Names and email addresses of at least two (2) 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.

It is your responsibility to follow up with each 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 clinician before the deadline listed above.

w Social media (optional): If you would like us to include 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: https://www.instagram.com/flmusiced/

w Tracks/PD modules: You will be asked if your session fits into one of the following professional learning modules or tracks:

Diverse Learners (e.g., educational, cultural, linguistic, K-20 and beyond)

Health & Wellness

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

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

Music Assessment & Evaluation

Music Literature

Music Performance, Pedagogy, Literature

Music Teacher Professionalism & Leadership (e.g., classroom management, beginning teacher sessions)

Other (suggest another possible track or module)

w Demonstration ensembles: If you are planning on 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/

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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.

Each performance application must include:

w Full name of the ensemble, including the school name if applicable.

w Concert type: 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 ensemble, etc.

w Description or biographical sketch of the ensemble in 1,000 characters or fewer.

w Biographical sketch and a professional headshot photograph of each director.

w Names and email addresses of two (2) professional references who can speak to your qualifications. References will be automatically emailed from our system with a link to submit feedback, so please notify them in advance and make sure you have their correct email address.

w Social media (optional): If you would like us to include 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: https://www.instagram.com/flmusiced/

w An mp3 recording of a recent live performance of one (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 megabytes.

w 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.

w A professional photograph of the ensemble in JPG or JPEG format.

STUDENTS AND CHAPERONES: Directors of accepted performing ensembles and demonstration groups are responsible for adding their student and chaperone lists (FMEA.org/conference/performing-students/) to their conference registration before the early registration deadline in December. Only one (1) chaperone per six (6) students is allowed.

2024. Submit
application here: flmusiced.org/flmusicapps/sessions/proposals/ May 2024 15
The DEADLINE for performance applications is 12 midnight Eastern time on
your performance
16 Florida Music Director Partners as of April 9, 2024. *Please visit FMEA.org/partners for partnership details or call 850-878-6844. SILVER PARTNERS Bornoff Foundation for the Advancement of String Education (FASE, Inc.) Music Man GOLD


May 2024 17 BRONZE PARTNERS Amazing Student Tours FloridaFundraiser.com Head’s House of Music Heartsong AV Services Institute for Music Business J.W. Pepper & Son, Inc. Music & Arts Music is Elementary National Concerts Romeo Music Trevor James Flutes West Music Company
Please take time to thank and support our 2023-2024 Corporate Partners.


Figure 1 The Spectrum of Hazing (Allan, 2005; Allan & Kerschner, 2020; Adapted from Bringing In The Bystander®)


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

Hazing Definition and Identification

Hazing has been an inseparable part of our social fabric for millennia, but pinning down a clear and comprehensive definition can be difficult. Dr. Elizabeth Allen and Dr. Mary Madden (2008) of the University of Maine published 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 prevention 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

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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 deception. 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 the activity:

w A band high-steps the length of a football field at a fast 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 exercise has become hazing.

w Requiring the new researcher in a lab to take the overnight 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 simply because they’re new is hazing.

w All of the staff of a drum and bugle corps getting tattoos 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.


Address the situation directly and in the moment.

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


Record what happened.


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

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

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

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Figure 2 The Five Ds of Bystander Intervention (Right To Be, 2022)


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

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


To create more time for intervention.

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

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Uncovering Hazing

continued from page 20

You may notice that these distinctions share a couple of key traits. Often, the difference between potentially uncomfortable activities and acts of hazing is the relevance 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 burden 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, and the cycle is perpetuated because they feel they have “earned” the right not to have to work the night shifts anymore simply through seniority.

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

acts with connection to military service that have no relationship to a governmental or military purpose. It also emphasizes that they are conducted with the purpose of “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.

Hazing Prevention

Aside from understanding how to define hazing and what acts constitute hazing, it is important for music educators to be aware of hazing prevention strategies. Hazing prevention begins with education. Allan and Madden (2008) found that 55% of university students who

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were involved in clubs, teams, or other organizations had been either victims, perpetrators, or bystanders to acts of hazing, but only 9% were able to identify those behaviors as hazing. An effective training program should prepare the members of the organization not only to identify behaviors that fall on all parts of the spectrum of hazing but should also give them strategies for intervention 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 stakeholders in your program should have knowledge of your program’s or institution’s reporting procedures if hazing occurs.

The second step in hazing prevention is accountability, 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

to hazing, students need to trust that the disciplinary process will not make exceptions for any reason if hazing occurs.

Another important aspect of the accountability process is transparency. When hazing occurs in your program, relevant stakeholders should know about it. That should always include informing the rest of the students in a way 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 vigilance. Hazing cannot be totally eradicated. Like cancer, it can only go into remission. The complacency that a few years without incident can create is what allows hazing to 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.


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

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for Performing Musicians

OOne 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 elements) 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

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May 2024 25

Playful Listening

continued from page 24

Cultivating an atmosphere of active listening can involve both (1) focused procedures in times of rehearsal 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 tactics presented here can be easily adapted and modified for work both during and outside of rehearsal time.

I’ll begin by defining the basic concept of playful listening and how it works when experiencing music in a video game, highlighting some scholarship from the field of ludomusicology. I will then shift focus to see how this concept can play out in other musical situations outside of games, specifically ensemble rehearsals. To accomplish this, I will discuss my experiences as a guest teacher playing and discussing video game music with students in the University of Central Florida Concert Band, at Lake Nona 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 with video games.

w “That looping cue has stopped. I imagined it would continue.”

w “That looping cue has continued. I imagined it would stop.”

w “That’s not normally the cue I hear in this gameplay situation. It’s not what I expected.”

w “The cue has been interrupted. Something has 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,

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

or style, etc. Summers continues, “Games prompt us to engage with musical possibilities because we listen for how the music can correspond (or not) with the gameplay, and what might happen next. We conceive of other musical alternatives” (p. 703).

While Summers is primarily considering music that appears in video games, some of his commentary could just as easily be applied to traditional music performance: “Since the sonic output depends on our actions as players, we become aware of how the music might sound differently—we may imagine other musical possibilities” (p. 703). Considering a performance outcome as an imagined 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 listening 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, ‘playing with’ music as it ‘plays out’ in front of our ears” (p. 705).

Playful Listening Exercises

In presenting this idea to students, I often begin by playing a piece of video game music, commonly “Coconut Mall” from Mario Kart Wii or some similar track from the Mario Kart series, and asking students a few guiding 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

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

“That sax solo in the middle sounds hard.”) Some might point out surprising harmonic changes, specifically the 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 engagements. Priming the students by asking “What is the music telling you to do?” or “What do you feel when you listen to this music?” can shift them from diffuse or structural listening practices to associative or emotional modes of 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

modulating to G major, often prompts exciting discoveries. (“It started in a different key!” “It’s a lot faster!” “The saxophone solo is unreasonable at that pace.”) The 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 typical 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 Mall” invite active bodily engagement, and the two versions of the theme (with different tempi and different starting keys) set up distinctive affective zones (Grasso 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 generally offer a number of musical cues in different styles that map to desired modes of play. For instance, playing an 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-bumbum …”) As Batman bests all the visible foes, the music continues in the same manner. Asking “Why did the music continue?” can produce a bevy of answers. (“Maybe he missed one.” “There must be more bad guys coming!”)

As the students begin to notice that the repetitive rhythm 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.


In preparation for a concert of video game music to be performed by the UCF Concert Band in 2022, I attended a 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 changing, if they could imagine the various ways a piece could play out: “Are there elements we are missing when listening to the piece?” “Could we perform it differently 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 possible 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, CollegeConservatory of Music in 2018, writing a dissertation 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.


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.

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

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Component News

Happy almost summer! I am thrilled to share insights into two pivotal developments that are shaping the landscape 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 Association of School Superintendents on the importance of a district arts leader to ensure equity for students and arts education. 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’ achievements but also underscores the value of arts education in nurturing creativity, critical thinking, and cultural awareness. It sends a powerful message about our state’s commitment to fostering artistic talents and to ensuring that arts education is viewed as a vital component of a

well-rounded education. I encourage you to prepare your administrators for the upcoming school year and the possibility of ensuring our class of 2025 graduates receive the Seal of Fine Arts on their diploma.

Equally important was our recent opportunity to present to the Florida Association of District School Superintendents, where we highlighted the critical role of arts administrators at the district level. The overwhelmingly positive response we received signals a growing awareness and appreciation for the arts within our educational leadership. By advocating for the appointment of district arts leaders, we aim to champion equitable access to music and arts education for every student, regardless of their background or where they live.

Currently, only 27 of our 67 counties have a dedicated district arts leader. This role is pivotal in orchestrating comprehensive and inclusive arts programs that reach every student. Through their leadership, we can ensure that arts education

is not sidelined but is celebrated as a core element of our educational system. Our presentation made a compelling case for 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.

The journey toward equitable access to music and arts education is a collective endeavor that requires the support, vision, and commitment of our entire 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 to cultivate an environment where the arts are revered and accessible to all, paving the way for a brighter, more creative future 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.

May 2024 29
For more information, visit: FMEA.org/partners

Component News


FBA 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 surplus 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 and areas remain that are in the early rebuilding stages, I feel like we are definitely building back better and stronger and our band foundation has been reestablished.

When I began this journey two years ago, I had many things/ideas in mind, but I really wanted to focus on making as many people feel valued, accepted, and part of the “team” as possible. This led me to the theme Building Better Bands, Through Camaraderie, Community, and Creativity. w Camaraderie is for “us,” the FBA family … We cannot do this alone. Every successful band director has some type of band director network or feeder 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

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

w Community refers to our connections and relationships that allow our programs to thrive. It’s the building of your connections with your students, 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 … (You get the idea, right?)

w Creativity deals with how we deliver 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 to serve this organization and its membership and students from around the state. I’ve met a lot of people, passed out a 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 needed a boost. Hopefully and prayerfully, we’ve been able to accomplish this stepping stone. As we move forward, I want to say thank you to all of our district chairpersons for your hard work and dedication this year. And a huge thank you to all of our committee chairs and committee members who have put in countless hours of behind-the-scenes work!

Lastly, I’m confident when I say that the Florida Bandmasters Association is a

strong organization with great leadership and passionate and dedicated music educators who provide life-changing experiences and opportunities for thousands of young people all over our great state. Although we are not perfect and there is always room for growth, I hope that all of our members will always strive for the highest standards of professionalism, musical artistry, and the continued development 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!

30 Florida Music Director
See you all at the FBA SUMMER CONFERENCE July 16-18 DoubleTree by Hilton Orlando at SeaWorld fba.flmusiced.org/ for-directors/ summer-conference/

Time seems to be ticking away ever so quickly as we come out of the music performance assessment season and start to prepare for spring concerts, banquets, 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 assessment experience.

As we finish the school year and prepare our calendars for the next, be sure to include in your plans attending 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.


It’s hard to believe that my first year serving as your president is almost done. I have enjoyed meeting all of you, being able to listen to your orchestras, and 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 continued 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 your Florida Orchestra Association. Your input and ideas are always welcome and encouraged. Please never hesitate to 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 profession, impacting lives daily through music. Thank you for the opportunity and privilege to serve. Enjoy your summer break … you’ve earned it!

May 2024 31
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. 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


Component News

Congratulations, everyone, you’ve almost made it through another school year, or maybe your first. While 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 when I return in August.

Now is also the perfect time to make your plans to attend our FVA Summer Professional Development Conference

and Choral Panorama sponsored by Heads House of Music Tampa. Our conference dates are July 24-26 at the Wyndham Orlando Resort and Conference Center/ Celebration. This the perfect time to start getting mentally prepared for your new school year after seven relaxing weeks of summer vacation.

The music reading sessions by Heads House of Music will feature Dr. Lynn Brinckmeyer and Stacey Gibbs as clinicians for two days. Once again, like last


Itseems 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 personally 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.

year, the reading sessions will be spread out over Wednesday and Thursday instead of all being on one day.

I am so excited to have Dr. Tucker Biddlecombe from Vanderbilt University as our keynote speaker on Thursday and Friday. We will also have interest sessions 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 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 morning 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 program. 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 colleagues 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 register for the summer conference all at once. You’ll be glad you did! See you in July!

32 Florida Music Director


He who thinks little errs much.

Attributed to the great polymath

Leonardo da Vinci, the title of this month’s article reminds us of the importance of reflection and intellectual curiosity. Today, we find ourselves at the conclusion of another exciting and eventful academic year. Before you become consumed by the stuff of summer, take a few moments to be still and to consider the life you experienced these last nine 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 reflection of your best effort?

3. What adjustments will you make now to ensure next year is better?

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

8. If the answer to #7 is a resounding “NOPE,” in which area of your life will you start focusing on healthy habits this summer?

9. Are you a more confident musician and educator now than you were at this time last year?

10. What are your social and academic goals for the next 12 months, and how will you ensure you have the best opportunity to achieve them?

Reflection is always great, but it’s essential we use what we learn from that process to measure our next steps. The best indicator of future performance is past and present performance. How are you a different person today than you were at the beginning of the school year? What should you be doing now to ensure you become the person you want to be tomorrow? Time is incessant and unforgiving. It is one of the few reliable constants in life. Let’s not waste the relatively little time we have to make a difference and positively impact the people and places we encounter. Let’s all continue to strive to become better versions of ourselves each year!

I hope you all have a restful and joyful summer, and I look forward to our time together this fall. Take care!



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 all beginning to think about our summer plans. Many of us are likely looking forward to a break from the constant schoolwork and chaos that come with being a college student. However, that does not mean we need to lose connection with each other! Over the summer, Florida NAfME Collegiate will still be hosting monthly meetups over Zoom, but they will be transformed into monthly online game nights. All of the dates can be found at flnafmecollegiate. com. With so many resources at our disposal, there’s no reason not to stay connected. There may be more impromptu meetups and get-togethers as the summer progresses. To make sure you don’t miss out on anything, join the Florida NAfME Collegiate Discord Server with this link: discord.gg/5McFM6Jdsw. By the time summer ends, Fall Conference will be just around the corner!

May 2024 33

Partners as of April 9, 2024.

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

34 Florida Music Director

Please take time to thank and support our 2023-2024 Academic Partners.



Florida Southern College

Rollins College Department of Music

St. Thomas University

University of North Florida

University of North Texas

May 2024 35


Graduate Music Education in Virtual Environments

The availability of online resources for music educators to enhance their knowledge and skills in music teaching and learning has exploded in recent years. These resources span a wide spectrum, ranging from informal platforms such as YouTube, to quasi-formal offerings like webinars provided by professional organizations such as the National Association for Music Education (NAfME), to formal college-credited courses on various music education 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 investigate it. They had three research questions:

w What perceptions do music teachers hold regarding online graduate music education (OGME)?

w Do perceptions of OGME differ between those who have participated in it and those who have not?

w To what extent do participants in OGME indicate that the principles of connectivism, “a theory of learning and instructional design rooted in the particular practices of online learning” (Dorfman, et. al, 2021, p. 73), are 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 engagement in online course activities and student learning/ satisfaction. While some students perceived slightly less interaction online compared to traditional formats, many still desired to take more online courses. They found online coursework more demanding but felt it enhanced

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

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

As online enrollment has grown dramatically, factors like student comfort with technology, self-efficacy, instructor interaction, and course design have impacted satisfaction. Student-instructor interaction and access to content were 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/collaboration, instructor characteristics, and student readiness for online learning.

Previous research on OGME has looked at various aspects of implementing these programs and the experiences of students and faculty. Early studies focused on challenges like skepticism about delivering entire degrees online asynchronously, 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 students appreciated the flexibility of OGME programs and had positive impressions of their experiences with instructors and peers. They valued the diversity of backgrounds and perspectives 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.


To investigate this topic, the researchers surveyed 807 music teachers who were members of NAfME; 115 of them had participated in an OGME program.

36 Florida Music Director

Results and Discussion

The researchers found that approximately two-thirds (67.7%) of the respondents agreed or strongly agreed that there is value in OGME. The highest-ranked reasons to pursue an 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 professional lives.

On the other hand, the top reasons against pursuing OGME were the perceived need for graduate work in music education 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 recognized 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 participated 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.

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

The researchers also examined the principles of connectivism, a learning theory specifically developed for online learning environments, and its four properties: autonomy, diversity, interaction, and openness. The results indicated 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.


The authors conclude that this study provides valuable insights into music teachers’ perceptions of OGME, which 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 respondents. Similarly, designing for interaction can facilitate collaborative research and sharing of contemporary teaching practices, both of which were ranked highly by OGME participants.


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

What are you doing this summer?

Have no plans this summer?

Attend one of these professional development conferences for summer learning and fellowship.

Emerging Leaders Workshop

June 1

Embassy Suites USF Tampa

By application/invitation

For information: Dr. Dré Graham grahamdc@gm.sbac.edu

Multicultural Network Summer Workshop

June 14

St. Thomas University Miami

For more information and registration:


Teach Music Florida Coalition formerly Summer Institute

Think Tank

June 3-5

Embassy Suites USF


By application/invitation


FBA Summer Professional Development Conference

July 16-18

DoubleTree by Hilton Orlando at SeaWorld Orlando


FVA Summer Conference and Head’s House of Music Choral Panorama

July 24-26

Wyndham Orlando Resort and Conference Center/Celebration

Information: (813) 234-9181


38 Florida Music Director

Committee Reports

s we wrap up another school year of quality music education, I applaud all music educators for promoting and exemplifying quality music education on a daily basis. YOU are a music education hero, rising above and being the light for all of your students!

Speaking of heroes, it’s that time of year when I ask you to consider who in your sphere of influence is deserving of recognition by the FMEA Awards Program. The all-call for nominations begins now!


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 education 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 inspiration, 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 District:


Michelle Tredway

“My greatest joys as a music educator have been when the bell has rung, the door has shut, and class has started. It has never once entered my mind that I would be recognized for doing what I love and to get to do it all of my professional life.

It is an incredible honor for me to be speaking to you as recipient of the 2024 FMEA Secondary Music Educator of the Year award. I am humbled and privileged beyond words. I have felt it a privilege to have been part of FMEA and its components for so many years. I have never wanted to do anything else for a profession. The fact that I 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 living! 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.”

May 2024 39

Committee Reports

More Technology to Remove Barriers for Diverse Learners-AUMI

Last month I offered some smart device software applications that help students access music-making. After all, many of our students join ensembles to make music, or in the case of elementary music, students are motivated by opportunities to play instruments. However, when students have physical limitations or have developmental disabilities, even

the apps may not be enough to get them past the barrier. For those who still have trouble making music with others, the 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.

You play the instrument by moving. The camera on your device can be set to follow general movement, face, color, distance, 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 chromatic, major, pentatonic, minor, triads,

40 Florida Music Director


7th chords, blues, and other modes. You can see in the pictures that the layout has options with pitches shown vertically or horizontally to accommodate a person’s mobility. There are two other visual settings for pitch sets to be laid out in a circle or square pattern.

AUMI can even do more than described here. The website has many great resources including tutorials and books on how

to incorporate AUMI into music classrooms. In-app assistance and a set-up tab are available to help you.

While not stated in the mission of AUMI, students with intellectual disabilities can benefit from the on-screen note labels. See a C on the music and touch the C on screen. In addition, if you have students improvising in a key or with a given pentatonic scale, selecting the scale

is faster than changing the bars on an Orff instrument. There really are many options.

Sometimes I just enjoy the freedom of making music with AUMI (or maybe I am just avoiding work). However, if you want to be a part of the band for free, this technology is perfect. As you head into summer, spend some time with AUMI.

May 2024 41


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

Music Education Advocacy

General Fund

June M. Hinckley Scholarship Professional Development for Members

Mel & Sally Schiff

Music Education Relief Fund

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


$10,000 and up

No current donors at this time.

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


$1,000 – $9,999

All County Music

Artie Almeida

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


$100 – $999

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

Clifford Madsen

Mary Palmer

Russell Robinson

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

42 Florida Music Director


$25 – $99

Sandra Adorno

Michael Antmann

Judy Arthur

Sasha Aufschneider

Gale Baker

In Memory of William Bryant, Jr.

Garza Baldwin

In Memory of Dorothy Wells Skinner

William Bauer

David Bayardelle

In Honor of Harry Spyker

Mark Belfast

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

Johnathan Bosse

In Honor of Rosanne and Michael Bosse

Melanie Brown

In Memory of Dorothy Skinner

Jamie Bryan

Kasia Bugaj

Christopher Burns

Stanley Butts

Greg Carswell

On Behalf of all the Florida choral directors who have passed on

Jeff Cayer

Shelby Chipman

In Memory of Herbert Rhodes, Sr.

Blair Clawson

In Honor of Tina Mason

Dayna Cole

In Memory of Linda Mann

Deborah Confredo

In Honor of All the Music Educators of FMEA

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

Scott Evans

Bradley Franks

In Memory of Gary W. Rivenbark

Anna Marie Friars

In Memory of Matthew McLaughlin

Sandra Geres

In Memory of Dorothy Wells Skinner

Dakeyan Graham

Cynthia Heidel

Bernie Hendricks

Alexis Hobbs

Jacob Hyer

Martha Huntley

In Memory of Dorothy Skinner, Safety Harbor, FL

Alexander Jimenez

Aaron Kass

Mary Keyloun Cruz

In Memory of George Keyloun & Pauline Antaki

Cynthia Kohanek

Christine Lapka

Joseph Luechauer

Deborah Mar

In Memory of Barbara Kingman

Matthew McCutchen

In Honor of John Carmichael

Kelly Miller

Victor Mongillo

Daniel Murphy

In Memory of Billy Bryant

Stephen Nelson

Marialyce Orr

In Memory of Robert & Bonnie Bragg

Ashley Peek

Justin Plante

Edward Prasse

Marie Radloff

Clinton Randles

Melissa Rawls

In Honor of Nancy Bartels

C. William Renfroe

In Memory of James O. Johnston & Herbert Beam

William Rose

Cheri Sleeper

Eddie Steadman

Mark Stevens

In Honor of Dr. Clifford Madsen

Valerie Terry

Kathleen Thompson

Ellen Turko

In Memory of Billy Bryant

Matthew Weihmuller

Elizabeth Weir

Sondra Wenninger Collins

Seth Wexler

In Honor of Mr. James Monroe

Edith Wright

Anonymous (6)

On Behalf of Derek Schaumann’s Birthday

In Honor of Columbia County Music Teachers

In Memory of Carol Pollock


up to $24

Tina Gill

In Memory of Gary Rivenbark

Alvaro Gomez

Edepson Gonzalez

James Haggins

Angela Hartvigsen

William Hazlett

Llewellyn Humphrey

Arnekua Jackson

Kathleen James

Jason Jerald

Marsha Kindall-Smith

Celeste Laburda

In Honor of Eleanora Fagan

Pauline Latorre

Lu Anne Leone

Gerald Madrinan

P. L. Malcolm

John Marshall

Khemya Mitrahina

Merleon Morgan

Mary Palmer

Mikael Patriarca

Hank Phillips

Alexandra Rameau

Ian Schwindt

John Southall

Kelly Southall

Ajori Spencer

Hailey Swanson

Phil Tempkins

In Memory of Susan McCray

Lindsey Williams

Anonymous (14)

In Memory of William Bryant, Jr.

May 2024 43


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

Weare 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 materials found on the FMEA website.

Student Health and Safety –Heat Illness Prevention

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

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

In addition, the NFHS has developed online courses that assist music educators who have students involved in physical activity. These courses are free of charge, and FMEA and FSMA encourage every school district 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


Concussion in Sports – What You Need to Know nfhslearn.com/courses/concussion-in-sports-2

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.

Florida Music Director
FMEA Executive Director
Photo source: artsadvocacy.nfhs.org/heat-illness/

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 tions in May:

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

Guitar Festival

The FMEA Guitar Festival was held in multiple sites during April with 551 student participants. Thank you to Ed Prasse for coordinating these events for student guitarists.

—Steel Band Festival

The FMEA Steel Band Festival was held March 30, 2024, with 129 student participants. Thank you to Jared Allen for coordinating this event for steel band students.


It passed! HB 523 Florida Seal of Fine Arts passed unanimously 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?

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

The 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/

Membership Renewal Time

Each year beginning April 1 we open the membership registration process. The membership 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.

According to Florida Trend, Florida is projected to add 348,878 school-aged children. The increase most likely Musically, Kathleen D. Sanz, PhD

May 2024 45



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.
We are now accepting proposals and performance applications for the MCN Summer Workshop. SUBMIT YOUR PROPOSALS HERE. 46 Florida Music Director


Officers and Directors


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


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

FOA President

Cheri A. Sleeper

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

FVA President

David Pletincks

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


Harry “Skip” Pardee

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


Historian/Parliamentarian &

Executive Director .................................................

Hinckley Center for Fine Arts Education

402 Office Plaza Dr.; Tallahassee, FL 32301-2757

Kathleen D. Sanz, PhD

(850) 878-6844; Fax: (850) 942-1793; 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

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


Hall of Fame Chairperson

(407) 252-5172; mpalmerassoc@aol.com



(727) 744-7252; jeannewrey@gmail.com


Mary Palmer, EdD

Jeanne W. Reynolds

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

Contemporary Media Clint Randles, PhD

University of South Florida; 4202 E. Fowler Ave.; Tampa, FL 33620-9951

(813) 974-2311; randlesc@usf.edu

Diverse Learners

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

Christine Lapka, EdD

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

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


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

Past President Marc Decker, DMA

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


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

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


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


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

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



Cheri A. Sleeper

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

Past President

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

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


William I. Bauer, PhD

University of Florida; (352) 273-3182; wbauer@ufl.edu

Secondary General Music

Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308

(850) 617-5700; prassee@leonschools.net

Student Engagement

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


President David Pletincks

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

Past President

Ed Prasse

Michael Antmann, EdD

Freedom High School; 2500 W. Taft-Vineland Rd.; Orlando, FL 32837 (407) 816-5600; michael.antmann@ocps.net


Exhibits Manager fmeaexhibits@fmea.org

Local Chairperson

(813) 272-4861; jon.sever@sdhc.k12.fl.us


Jeannine Stemmer

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

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


402 Office Plaza Dr.; Tallahassee, FL 32301-2757

(850) 878-6844; Fax: (850) 942-1793

Jon Sever

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

Past President Ian Schwindt

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

Executive Director

Florida Bandmasters Association

Neil Jenkins

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

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)


May 2024 47
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