Florida Music Director May 2026

The Sound of Sight

Using Visuals to Elevate Music Education and Performance

From 70 to 170

Building a Thriving Band Program PLUS …

Summer Learning and Fellowship Advocacy: Burden or Opportunity Reflecting and Looking Ahead M AY 20 26

1

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FLORIDA MUSIC DIRECTOR

Contents M AY 2 0 2 6

VOLUME 79

Executive Director Florida Music Education Association Scott Evans

Hinckley Center for Fine Arts Education

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

Editor-in-Chief

NUMBER 8

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) Alice-Ann Darrow, PhD (alifsu@mac.com) 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

10

14

38

F E AT U R E S

From 70 to 170: How Intentional Growth, Community Partnership, and Legacy Built a Thriving Band Program . . . . . . . . . . . . . . 10 The Sound of Sight: Using Visuals to Elevate Music Education and Performance . . . . . . 14 Summer Learning and Fellowship. . . . . . . . . . . . 22 2026 MCN Summer Professional Learning. . . . . . . 31

Bob O’Lary Amanda Crawford

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

Circulation & Copy Manager

Valeria Anderson, (800) 301-3632

Copy Editor

Susan Trainor

D E PA R T M E N T S Advertiser Index. . . . . . . . . . . . 4

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

Advocacy Report. . . . . . . . . . . 6-8

Committee News.. . . . . . . . . . 38

President’s Message. . . . . . . . . . 5 FSMA Report. . . . . . . . . . . . . . 9 FMEA Donors. . . . . . . . . . .

20-21

Corporate Partners . . . . . . .

24-25

Academic Partners.. . . . . . . . . 23

Council News. . . . . . . . . . . . .

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

26

32 41

Executive Director’s Notes. . . . 42

Officers and Directors. . . . . . . 43

Florida Music Director (USPS 368560) is published monthly except JAN, JUN & JUL with combined FEB/MAR by Florida Music Education Association, 402 Office Plaza Dr, Tallahassee, FL 32301. Periodicals postage paid at Tallahassee, FL. POSTMASTERS: send change of address to Florida Music Education Association, 402 Office Plaza Dr, Tallahassee, FL 32301.

M AY 20 26

3

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take special notice of the following advertisement and consider the products and services offered. It is another important

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FLORIDA MUSIC DIRECTOR

President’s

Harry “Skip” Pardee, EdD President Florida Music Education Association

MESSAGE

Achieving the ‘Difficult Thing’

G

reetings, FMEA! On behalf of the FMEA Board of Directors, we want to thank and congrat-

ulate you on another outstanding year of music education for our Florida students. Your role

as a music educator is much more than teaching performance skills to students. While these are important for the development of the whole student, you likely agree that this is not where our

impact is felt most. As music teachers, we are blessed with teaching in a content area that allows us to connect with our students in deep and meaningful ways.

This spring, the world had an opportunity to pause and watch the launch of Artemis II, bound

for the moon. Four brilliant and brave astronauts, from varying backgrounds and fields, came

together as a representation of humanity’s relentless pursuit of achieving the “difficult thing.” Music education is, no doubt, a difficult thing. But when we work collaboratively, share the good news and the proven benefits of music education in our communities, and rally behind this important cause,

our community begins to demand not just music programs that “survive,” but music programs that thrive.

I would like to address some ongoing, common concerns in our work. Our beloved profession is

often squeezed—albeit not often publicly stated—by political, academic, financial, and organizational leadership decisions that have negative consequences for the arts. I have no doubt some of you are

feeling that squeeze now. I want FMEA members to be assured that the association is doing all we

can to mobilize our marketing, branding, communications, and lobbying efforts to make sure those who are charged with doing the “difficult things” and making education decisions at the highest levels continue to understand the power in our profession. An investment in music education, in

the face of incessant challenges for schools, is an investment worth making. We know it, but do our leaders know it? We need you to continue to share the power in our profession with all who will listen! If you need my support in these efforts, I am an email away (skippardee@FMEA.org).

As always, I welcome any of our members to contact me directly to schedule a one-on-one

conversation. You are tremendously valued for all you do for students every day, and it would be a privilege to connect with you to discuss your vital work.

Always musically,

Harry “Skip” Pardee, EdD, President

Florida Music Education Association

M AY 20 26

5

Advocacy

Advocacy Committee Co-Chairpersons

REPORT

Advocacy

Burden or Opportunity?

W

hy do we have to sing

“

THIS song?” Most of

my choral director colleagues resent this question and

take it as a personal attack

or an affront to their exper-

tise. Their response, if they

respond at all, is something along the lines of “I am the

professional who chooses the literature.” (In the student’s mind that response means “Because I said so.”) These

colleagues often report that within weeks, the same

piece becomes the student’s favorite.

I have a confession. I

absolutely loved it when

Jeanne W. Reynolds

Angela Hartvigsen

my skeptical high school

Why do I HAVE to

choices, I try not to be

question. What an incredible

Similarly, we are often

makers ask questions and

choral students asked that opportunity to share the worthiness of a piece,

the history, the cultural

connections, the musical

elements, the power of the arts to express profound

concepts when words fail.

It was the student’s defiant question that guaranteed

their rapt attention to my

answer. And if I was ever

unable to answer that question satisfactorily to the student’s

(or my own) satisfaction, then perhaps that piece was not

worthy of our classroom time.

advocate?

somewhere between dejected and enraged when we are

asked to justify the funding of our music programs. It can be a gut punch when

we feel as if our programs

are not worthy of the same consideration as other

curricular areas. These are valid feelings. Yet, what if

we reframe these challenges to our programs as an

opportunity to advocate and educate?

Just like students

questioning my curricular

defensive when decision reveal their ignorance

regarding the value of robust arts programs.

While I acknowledge

my disappointment at

potential reductions or cuts, I enjoy reframing these as opportunities to educate, creatively problem solve,

and inspire decision makers.

Most administrative cuts are typically financial. These

decisions are rarely made

with malice. Yet, financial shortfalls should never be the sole reason to cut arts

programs. Do not accept that reasoning without offering creative solutions. You and your community CAN

affect those decisions. The return on investment for

high-quality music and arts education is extraordinary and undeniable. I love

sharing this information with decision makers anytime I

can. It is never a burden. It’s an opportunity.

FMEA Advocacy Seamless Transition

FMEA is recognized as a

leader in arts education. We

celebrate and honor Dr. Sanz’s career and her contributions to FMEA and her tireless

6

FLORIDA MUSIC DIRECTOR

Advocacy REPORT

Outgoing FMEA Executive Director Kathy Sanz at 2026 Advocacy Day at the Capitol

New FMEA Executive Director Scott Evans with State Senator LaVon Bracy Davis

commitment to arts education advocacy. Long before her work as FMEA executive

LEGISLATIVE UPDATE

in her district, in Tallahassee,

Dance/PE HOPE – At the very last hour on the last

director, she was advocating

and in Washington, D.C. Even in retirement, we are thrilled

that Dr. Sanz will generously share her time continuing to serve on our Advocacy Committee.

And without skipping a

beat, Scott Evans has taken

the reins as our new president and CEO of the Center for Fine Arts and executive

day of session, our lobbyists were able to secure an

amendment on one of the train bills. Our high school dance students will now be able to earn PE/HOPE

credit if they are enrolled in a dance technique class.

This is a win!

w Very little education legislation passed.

Other relevant information:

— Schools of Hope legislation failed. However, the major

challenges associated with the 2025 Schools of Hope legislation were addressed by the Board of Education. Community input mattered!

director of FMEA. Scott Evans

— Voucher funding issues were not addressed. This will need our attention, as

arts education advocates I

— Legislation passed that placed further restrictions on teachers’ unions.

is one of the most effective

have ever met, and I have met many. Scott never misses an

opportunity to share the good

news about arts education. He is masterful. I have no doubt that Florida arts education programs will grow and

thrive due to his considerable advocacy skills. It is not

surprising that during his first official week on the

job, he was meeting with

legislators in Tallahassee. continued on page 8

funding shortfalls impact all programs, including arts education.

— Two education “train bills” passed in the waning hours of the session

addressing a variety of provisions, but many education initiatives failed this

w State budget was not passed. This is the only thing legislators are required to do. year.

Not having accurate budget information places a burden on school districts as they plan “blindly” for the 2026–27 year. This can result in districts making premature cuts to programs in anticipation of decreased funding.

Special Session(s) –Legislators will be back in Tallahassee for special sessions to

finalize a budget, address potential property tax legislation, and address potential

mid-decade redistricting. FMEA will follow these sessions closely. Please be prepared to act if you are asked to do so.

M AY 20 26

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Advocacy REPORT

SUMMER TO-DO LIST

continued from page 7

FMEA Advocacy

plans include creating a link

Changing World

assistance for urgent issues, as

to access immediate advocacy

Resources for a

The educational world is

well as providing new robust

changing dramatically

advocacy resources to address

due to funding changes,

both imminent advocacy

declining birth rates,

emergencies (reactive) and

artificial intelligence,

proactive advocacy goals.

education choices, potential

FMEA stands ready to help

property tax legislation, and

you articulate effectively why

is working proactively to

essential to your school. I am

a host of other issues. FMEA provide you with effective

resources, whether you are

hopeful you will see advocacy

facing an imminent problem (reactive) or you want to

build or strengthen your

existing advocacy network (proactive). Currently we are working with some

individual FMEA members to navigate potential

unit losses due to lower

enrollments. Our advocacy

your program is absolutely

not as a burden but rather an opportunity, just as I loved the opportunity to explain

my reasoning to students for

my choice of choral literature.

The positive impact of highquality music education is

well documented, undeniable, and inspiring. Embrace all

opportunities to sing THAT song.

IMMEDIATE

IMPACT

w Practice reframing your thinking on advocacy. Shed your defensive posture about the need to advocate.

Make a list of all the accomplishments of your program from this past year, small and large. Take time to bask

in your successes. Use those successes to craft an effective advocacy message to share with decision makers.

w Take the leap and plan to meet with your state senator Stories are powerful.

or state representative in their home district over the

summer. More information from the FMEA Advocacy Committee will be coming to help you prepare for

these meetings. We need all hands on deck to get the

word out about the importance of adequate funding for

education including comprehensive, quality arts educa-

w Make a note to check the FMEA Advocacy Page several tion for all.

times over the summer for updates and resources. Let Angela and me know what additional resources you

need, or how we can help you further. We value your

w ACT if you get an FMEA advocacy alert. We need to be input!

nimble in these times of educational change and inconsistent funding. We need everyone’s voice singing the same advocacy song.

FMEA seeks nominations for

FMEA “Immediate Impact”

The “Immediate Impact” Music Educator Spotlight recognizes outstanding accomplishments of early-career music educators.

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, communities, and 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 nomination form found at fmea.org/programs/spotlight and materials for yourself or a colleague who exemplifies these criteria.

8

FLORIDA MUSIC DIRECTOR

Benny L. Bolden, Jr., EdD

President

N O T E S

FLORIDA SCHOOL MUSIC AS SO CIATION

Florida School Music Association

Reflection, Celebration, and Forward Momentum s I write this message, I am reminded that the

seasons are shifting all around us. The coolness

of winter has long passed, spring is in full bloom,

to fuel this work. Thank you for standing with us, advocating with us, and celebrating with us.

As we close this school year, let us do so with

and before we know it, the warmth of summer will

intention. Let us “end with a bang”—not just in

of our school year—what began with preparation

Recognize your colleagues. Reflect on your growth.

be upon us. In many ways, this mirrors the journey and anticipation is now culminating in reflection,

celebration, and forward momentum. May stands as

a powerful marker for us. It is not just the final issue of this magazine before summer holidays—it is our

opportunity to finish strong, to celebrate loudly, and to honor the incredible work that has taken place in classrooms, rehearsal halls, auditoriums, and performance spaces across the state of Florida.

To our directors: thank you. Your unwavering

commitment to excellence, often behind the scenes,

has transformed lives in ways that extend far beyond a rating or a performance. You have poured into

your students not just musicianship, but discipline,

resilience, and a sense of belonging. That is the true work of music education.

To our students: you are the heartbeat of this

organization. Every note played, every phrase sung,

every step marched is a testament to your dedication.

You have represented your schools and communities

with pride, and more importantly, you have grown— not just as musicians, but as young leaders.

To our administrators, parents, and supporters:

your belief in the power of music education continues

performance, but in purpose. Celebrate your students.

And take pride in knowing that what you have done this year matters deeply. At FSMA, we continue to

emphasize that our work goes beyond ratings. Yes,

the stage matters. Yes, the performance matters. But

what matters most is the impact—the lives changed, the confidence built, and the doors opened through music education.

Equally important, it has been my honor to serve

as your first African-American president of FSMA.

Thank you for allowing me to serve this organization

and this great state. I firmly believe this is the greatest profession on earth. As I come to the end of my time,

I am proud of the work we have done—and the work

we will continue to do together. Our impact will echo far beyond this moment. As summer approaches,

I encourage each of you to rest, to recharge, and to

reflect. Take time to invest in yourself, your craft, and your vision for the future. Because when the next

season begins, our students will once again look to us—not just for instruction, but for inspiration.

And I have no doubt—we will be ready.

Let’s finish strong. Let’s celebrate boldly. And let’s

continue to make music that changes lives.

With appreciation and pride,

Benny L. Bolden, Jr., EdD, President Florida School Music Association

M AY 20 26

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F E AT U R E

From 70 to 1 How Intentional Growth, Community Partnership, and Legacy Built a Thriving Band Program

BY JOSHUA VELE Z

here are moments in a program’s life

ing first on recruitment, we focused on culture.

stretch longer across the field. The band room fills

1. Excellence is the expectation, not the exception.

but fuller.

3. Relationships drive retention.

when growth becomes visible. Uniform blocks

beyond capacity. The sound shifts—not just louder,

From the outside, it can look sudden. But sustain-

able growth in music education is never sudden.

The transformation of the Ram Regiment from 70 stu-

dents to 170 did not happen in a single season, a single recruiting push, or a single successful performance. It is

2. Visibility creates value.

Students will not remain in a program where standards

are unclear. They will not join a program they never see.

And they will not commit to a director they do not trust.

So, we built clarity.

Rehearsals became structured and intentional. Section

the product of a decade of intentional systems, relentless

leaders were trained rather than simply appointed.

standards.

ly. Families were informed partners rather than distant

visibility, community alignment, and a refusal to lower

As both a graduate of this program and its current

director, I have experienced its culture from two vantage points: first as a student shaped by its expectations, and

now as a leader responsible for protecting and expanding its legacy.

Growth, I have learned, is not about increasing num-

bers. It is about increasing belief.

The Foundation: Culture Before Count

Attendance expectations were communicated consistentobservers. We did not chase growth. We built an environment worth growing into.

Planting Seeds Early—

Strategic Feeder Alignment

The most significant shift occurred when we stopped

viewing feeder schools as pipelines and started viewing them as partners.

Elementary outreach was reimagined. Instead of a

When I assumed leadership, the program was steady but

single annual visit, we created recurring pep rally perfor-

excellence. But numbers matter when your vision requires

band not as a distant concept, but as something energetic

limited in scope. Seventy students can absolutely create

scale—competitive ensembles, travel opportunities, and

sustainable instrumentation balance. Rather than focus-

10

Three non-negotiables were established:

FLORIDA MUSIC DIRECTOR

mance tours. Younger students experienced high school and attainable.

continued on page 12

170

M AY 20 26

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From 70 to 170 continued from page 10

Band picture

2016–17

Standing on a national stage affirmed what we already

believed internally: our students belonged in elite spaces.

The impact of that performance extended beyond

the event itself. Feeder schools celebrated it. Alumni

amplified it. Community pride increased.

Momentum compounds when excellence is public.

Stability Through Uncertainty

The COVID-19 years tested every music educator’s resolve.

Where many programs were forced to pause, we

committed to safe continuity. Modified rehearsals, adjusted instrumentation, creative scheduling—what-

ever it required, we remained active. That decision pre-

served more than rehearsal time. It preserved identity.

Students need consistency, especially during instabil-

ity. Band became a stabilizing force when so much else

felt uncertain.

When in-person instruction fully resumed, we were

not rebuilding from absence—we were building from

adaptation. Programs that disappear must reintroduce

w Joint concerts w Combined halftime performances w Sectional mentorship days w Leadership shadow opportunities

At the middle school level, partnerships deepened:

We also provided instructional support where need-

ed—not as supervision, but as collaboration. When middle school students step into high school already feeling

connected to its culture, enrollment barriers shrink dramatically. Recruitment became a byproduct of relation-

Raising the Competitive Standard

Growth without excellence is unsustainable.

As the only traditional band participating in the Florida

Marching Band Championships for several years, we stepped into unfamiliar competitive territory. Traditional style marching often exists outside conventional com-

petitive frameworks, yet it carries immense athletic and cultural depth.

When I refer to a “traditional band,” I am speaking

ship. One middle school student once told me after a joint

about a marching band style rooted in historically Black

matters more than any recruitment statistic.

emphasizes powerful musicality, precision marching,

performance, “I already feel like I go here.” That sentence

Expanding the Stage: Experience as Motivation Students stay where they see opportunity.

Expanding our performance calendar was not about

being busy—it was about being visible and valuable. We

sought experiences that would elevate student perspec-

college and university (HBCU) traditions. This style high-energy performance, and a strong connection to cultural expression and audience engagement. It often

includes elements such as dynamic drill design, expres-

sive movement, and a focus on entertainment alongside musical excellence.

Participation signaled something critical: we were

tive.

willing to be evaluated.

exposure beyond their neighborhood. Travel reshapes

Representation matters. Progress requires pioneers.

they begin to carry themselves differently.

superior ratings became the expectation. Not as a slo-

New Year’s Parade and Game became a pivotal moment.

grams.

Performances within a 100-mile radius gave students

identity. When students perform outside familiar settings, In 2019, participation in the New Orleans Sugar Bowl

12

themselves. Programs that endure emerge stronger.

FLORIDA MUSIC DIRECTOR

Today, 10 traditional ensembles participate statewide.

Across marching, symphonic, and jazz ensembles,

gan—as a standard. But ratings alone do not build pro-

Band 2025–26 Preparation builds programs. Rehearsal pacing

improved. Musical literacy became a focus. Visual uniformity was drilled intentionally. Leadership accountability increased. Students rose accordingly.

Leadership Development: Students as Multipliers

At 70 students, leadership feels manageable. At 170,

leadership must be systemic. We expanded our student

w Section leader training workshops w Peer mentoring systems w Leadership contracts w Structured evaluation cycles

leadership model to include:

Students were not simply given titles; they were given

The invitation to perform in the 2026 London New

responsibility and mentorship.

Year’s Day Parade represents not only present excellence

ing for direction, growth accelerates naturally. Retention

decades of educators and students who contributed before

When students begin leading culture rather than wait-

improved significantly once leadership became aspirational rather than ceremonial.

Addressing the Critics

but accumulated credibility. That opportunity belongs to this growth phase. Legacy should never be a finish line. It should be a launchpad.

What Other Directors Can Replicate

w Start with feeder relationships. limits neighboring programs or creates imbalance. But w Prioritize visibility year-round. w Establish non-negotiable standards early. growth is not a zero-sum equation.

Students choose environments where they feel chal- w Invest in leadership training. w Maintain stability during crisis. lenged and valued.

Programs expand when they are nourished consistent- w Pursue experiences that stretch student identity.

Growth sometimes invites misunderstanding.

Occasionally, there are suggestions that expansion

ly.

Sustainable growth requires daily labor that is often

w Phone calls to parents w Feeder school coordination w Grant writing w Equipment inventory management w Bus logistics w Uniform fittings w Fundraising infrastructure

invisible:

The visible success represents thousands of invisible

Growth is contextual, but certain principles are universal:

There is no shortcut. As I often say: “I can give you the

recipe—but it takes years to bake.”

Looking Ahead

We are not finished. Facility and facility upgrades are

in progress. Community partnerships continue expand-

ing. International performance preparation has begun.

Alumni engagement is increasing. But the true goal

remains unchanged: to create an environment where students feel seen, challenged, and capable of excellence.

From 70 to 170 is not just numerical growth. It is cul-

decisions.

tural expansion.

The Power of Legacy

Not for doubt. Not for distraction. Not even for the

Perhaps the most personal aspect of this story is legacy. As an alumnus, I am acutely aware that none of this began

with me. Former directors built the foundation. They established discipline. They instilled pride. Leadership, in this context, is stewardship.

It is belief multiplied, and this train does not stop.

Brightline. One hundred seventy strong and still growing.

Joshua Velez, MME, is director of bands, Ram Regiment Band, Palm Beach Lakes High School.

M AY 20 26

13

F E AT U R E

The Sound Using Visuals to Elevate Music Education and Performance

F

BY CHRISTINE L APK A , EdD

For many music educators, the classroom is primarily an auditory sanctuary. We educate our students to hear the nuances of a flat

pitch, the subtle shift in a choral vowel, or the rhythmic precision of a percussion ensemble. However, while music is an art of sound, the human brain is a powerhouse of visual processing.

Recent educational research suggests that we may be underuti-

lizing one of the most potent tools in our pedagogical arsenal: the visual display. Far from being a mere supplement or a “crutch” for

younger students, visuals—when integrated through research-

based frameworks—can fundamentally transform how students analyze, evaluate, and perform music.

Reaching Every Musician: Why Universal Visual Strategies Benefit All Learners

In the heart of every music teacher is the desire to reach every stu-

dent in the room. This commitment to inclusivity is why the concept of “learning styles” (the idea that some students are “visual,” “auditory,” or “kinesthetic” learners) became so popular. It offered a way to honor the individuality of our students.

14

FLORIDA MUSIC DIRECTOR

continued on page 16

of Sight

M AY 20 26

15

The Sound of Sight

Sounds on a Beat

continued from page 14

However, as our understanding of cognitive science

has evolved, researchers like Cuevas (2016) have helped

us refine this perspective. While students certainly have preferences for how they take in information, psycho-

of 44 studies found that

visuals help students move

beyond

simple

recall to analyze, evalu-

logical research has consistently shown that matching

ate, and create.

improve learning outcomes. Instead, the most effective

this means moving away

into styles, but by providing Universal Visual-Verbal

ly say “this is a quarter

instruction to a self-reported “style” does not actually

way to reach “every” student is not by segmenting them Integration.

In a music context,

from visuals that mere-

note” and toward visuals that help students under-

The Power of Dual Coding

stand why a phrase feels

The reality is that nearly all human brains are wired to

unresolved (see the open

taneously. The foundational theory behind this is Dual

ic harmony functions.

process information through multiple channels simul-

Coding Theory, pioneered by Clark and Paivio (1991). This theory suggests that the brain has two distinct subsys-

bridge) or how a specifSchraw and Richmond (2022) argue that visual

w The Verbal System: Processes language, whether heard tive scaffolds.” or read (e.g., a director’s explanation of a crescendo) w The Non-Verbal System: Processes imagery and men-

tems for processing information:

displays serve as “cogni-

tal representations (e.g., a hand gesture or a graphic

KEY Drums = Beat Clap = Sound

Hunt the Cows

representation of that same crescendo)

Crescendo

Crescendo Related to Math

2

9

The

sun

is

hot ---- 2 ---- 3 ---- 4 ----

KEY Red Ruler = Beat because the beat measures the length of sound

When we provide information in both formats, we cre-

ate “double coding” in the brain. This doesn’t just help the “visual learner”—it strengthens the cognitive pathways

for every student in the ensemble. By using visuals, we aren’t catering to a preference; we are reducing the cog-

nitive load on the brain and making it easier for students to retrieve musical concepts during the high-pressure environment of a performance.

Visual Displays as Tools for Thinking

Visuals in the music classroom shouldn’t be “decorations.”

According to Guo et al. (2020), visuals have a profound

impact on higher-order thinking. Their systematic review

16

FLORIDA MUSIC DIRECTOR

Beyond Literacy to Meaning-Making

Farrar, Arizpe, and Lees (2024) emphasize that “visual

literacy” is not just about identifying what is in a picture;

it is about “meaning-making.” In music, this means teaching students to interpret visual representations of sound.

This interpretive process engages the brain in critical and ethical thinking, allowing students to connect emotionally and intellectually with the repertoire.

Practical Applications for Elementary Music Teachers

For elementary music teachers, visuals are often a staple,

3. Icon-Based Foundations

Before introducing traditional notation, use icons that

w The Strategy: Use a square icon for the beat and split

represent the duration of the sound.

square icons for divided beats. This visual representation of a full beat versus the division provides a

concrete foundation for the abstract mathematics of

rhythm, making the eventual transition to standard notation much smoother for every child.

Dividing Beats Into Smaller Sounds

but they can be elevated from simple identification tools to “thinking tools.”

1. Student-Generated Shape Maps

Following the findings of Guo et al. (2020), student-generated visuals are more powerful than those provided by the

Full Beat

Divided Beat

w The Activity: Play a recording of a piece with clear Practical Applications for Secondary Ensembles

teacher.

contrast (like Grieg’s In the Hall of the Mountain King).

After the teacher models shapes that connect to sound,

In band, choir, and orchestra, the music score is the primary visual. However, the score is often so dense that

struggle to prioritize information. Visual interw The Thinking: Dots might represent a staccato section students ventions can bridge this gap. have students draw “Shape Maps.”

while a smooth, wide wave represents a legato section.

By asking them to draw what they hear, you are forc-

1. Score Mapping and Color Coding

in real time.

help with “depth of processing.” Ensemble directors can

ing them to analyze musical texture and articulation

Staccato

Legato

2. Timbre Galleries and Visual Metaphors

Timbre is an abstract concept for young children. Use

Schraw and Richmond (2022) suggest that visual displays

use color-coding to help students see the “architecture”

w The Activity: Have the ensemble “map” their scores during a sectional. w The Code: Use yellow for the primary melody, blue for counter-melodies, and green for harmonic support. w The Result: This visual display allows a student to

of a piece.

immediately see their “role” at any given moment. It

the page from a wall of notes into a funcw The Activity: Create a “Timbre Gallery” where differ- transforms tional roadmap. ent instruments are paired with tactile textures. w The Strategy: Pair a flute with a picture of silk, a trum- 2. Evocative Imagery for Tonal Color

visual metaphors to help them “see” the sound.

pet with a picture of bright, polished metal, and a cello

We often use abstract words like “majestically” or “with

gration helps students internalize the specific “color”

with evocative images displayed on a screen or a board. continued on page 18

with a picture of heavy velvet. This visual-verbal inteof an instrument’s sound.

fire.” To ground these in Dual Coding Theory, pair them

M AY 20 26

17

The Sound of Sight continued from page 17

w The Tool: Provide a visual “Practice Decision Tree” on a poster in the band or choir room.

THE FLOW: 1. Play the passage.

2. Did I miss a note? (Yes/No) 3. If Yes → Isolate the interval and slow it down.

4. If No → Can I add the written dynamic marking?

This visual display guides the student through the

w The Strategy: Attach a specific image to a rehearsal

and making their practice time more efficient.

letter. For a pastoral section in an orchestral work,

Visual Feedback via Video Analysis

modern choral work, show a piece of abstract expres-

a specifically visual tool.

display a photo of a rolling landscape. For a dissonant, sionist art. This creates a nonverbal anchor for the desired tonal color that words alone cannot convey.

3. Tension-Release Graphs

Guo et al. (2020) highlight that student-created visuals

w The Activity: After a rehearsal, ask students to draw

facilitate evaluation.

a “tension-release graph” of the piece. Where did the

w The Discussion: Comparing these visual graphs allows

Recording a rehearsal is common, but viewing a video is

w The Strategy: Record the ensemble and have them watch it with the sound muted. w Ask students to describe the “visual energy” of the group.

— Do the physical movements of the string players match the phrasing of the music?

— Ask singers, “Do our breaths clearly show when phrases begin and end?”

intensity peak? Where did it bottom out?

— Does the choir look like it is shaping the line, or

for a high-level discussion on musicality. If the flutes

— Bands might be able to see if releases are coordi-

draw a peak at measure 40 but the low brass draw a

peak at measure 45, you have a visual starting point for a conversation about ensemble balance and intent.

Visuals and Metacognition: Teaching Students to

standing still while music happens? nated visually or scattered.

By isolating the visual, students become more aware of

the physical aspects of performance that contribute to the audience’s experience.

Practice

Implementing Research-Based Visuals:

is the key to independent musicianship. Schraw and

To move toward effective visual-verbal integration, teach-

Metacognition—thinking about one’s own thinking— Richmond (2022) highlight that visuals are excellent for

improving metacognition because they make internal processes external and visible.

The Practice Flowchart

Often, students don’t know how to practice; they simply play through the music and hope it gets better.

18

problem-solving process, building their independence

FLORIDA MUSIC DIRECTOR

A Template

ers can follow a template inspired by the synthesis of Schraw and Richmond (2022) and Farrar et al. (2024):

1. Selection: Choose a visual that is directly relevant to the musical goal (e.g., a diagram of the vocal tract).

2. Integration: Explicitly link the visual to the verbal

instruction. “Look at the shape of this dome; this is the space we want to create in our soft palates.”

“IF THIS PHOTO WERE A SONG, WOULD THE TEMPO BE LARGO OR ALLEGRO?

3. Active Engagement: Don’t just show it; have students interact with it. Ask them to point to the most complex part of a visual rhythm chart.

4. Meaning-Making: Ask students to interpret the visual.

“If this photo were a song, would the tempo be Largo or Allegro? Why?”

Conclusion: The Integrated Music Room

WHY?”

Farrar, J., Arizpe, E., & Lees, R. (2024). Thinking and learning through images: A review of research related to visual literacy.

Education 3–13, 52(7), 993–1005.

Guo, D., McTigue, E. M., Matthews, S. D., & Zimmer, W. (2020). The impact of visual displays on learning across the disciplines: A systematic review. Educational Psychology Review, 32, 627–656.

Schraw, G., & Richmond, A. S. (2022). Using visual displays to improve classroom thinking. Educational Research: Theory and Practice, 33(2), 80–102.

The evidence from contemporary educational research is clear: the human brain does not function in isolated “styles.”

Instead, it thrives on the synergy between what we hear and

what we see. By embracing Dual Coding Theory and mov-

ing toward Universal Visual Strategies, music educators can provide a more robust, research-based experience for their

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students.

Visuals—whether they are teacher-provided diagrams

or student-generated maps—are not distractions from the

music. They are the scaffolding upon which musical under-

standing is built. As we integrate these tools into our elementary classrooms and secondary rehearsal halls, we move our

students beyond simple recall toward a deeper, more critical, and more expressive engagement with the art of music.

Christine Lapka, EdD, is dedicated to preparing teacher education candidates in the areas of music

exceptionalities and elementary music methods at

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the University of Central Florida (UCF). Prior to joining UCF, she served as a professor of music

at Western Illinois University. Dr. Lapka’s dual undergraduate

degrees in music education and music therapy continue to inform and enrich her teaching and scholarship.

References Clark, J. M., & Paivio, A. (1991). Dual coding theory and education.

Educational Psychology Review, 3(3), 149–210. https://doi.org/10.1007/BF01320076 Cuevas, J. (2016). An analysis of evidence supporting dual coding versus learning styles. Psychology of Education Review.

Scan for more details!

M AY 20 26

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

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

June M. Hinckley Scholarship

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ARTIST’S CIRCLE

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What are you doing this summer?

Have no plans this summer?

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

Think Tank June 8–10 The Florida Hotel & Conference Center Orlando, Florida By application/invitation FMEA.org/programs/ summer-institute

Elementary Leadership Workshop and Emerging Leaders Summer Leadership Conference June 10–11 The Florida Hotel & Conference Center Orlando, Florida

22

FLORIDA MUSIC DIRECTOR

Multicultural Network Summer Professional Learning Workshop

FBA Summer Professional Development Conference

FVA Summer Professional Development Conference

July 7–10

July 22–24

June 12–13

DoubleTree by Hilton Orlando at SeaWorld Orlando, Florida

Hilton Orlando/ Altamonte Springs Altamonte Springs, Florida

fba.flmusiced.org

Please note: There are separate registrations for Summer Conference and Choral Panorama

The Florida Hotel & Conference Center Orlando, Florida For more information and registration: FMEA.org/programs/ multicultural-network

fva.net/summer

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FLORIDA MUSIC DIRECTOR

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PARTNERS

BRONZE PARTNERS Cathy’s Choir Class Hal Leonard Head’s House of Music J.W. Pepper & Son, Inc. Music and the Brain - Building for the Arts

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25

FLORIDA BANDMASTERS ASSOCIATION

Jeff Cayer, EdD President

s the school year comes

work. Maintaining focus

of the most meaningful parts

students continue to grow

to an end, we enter one

and momentum ensures that

of the year. Following music

and finish the year with

performance assessment,

purpose.

there is still so much to look

While enjoying your

forward to. Rather than

summer break, I encourage

few weeks are filled with

for our outstanding

winding down, these last

you to mark your calendars

opportunities that continue

to inspire both students and

professional learning

educators.

is an ideal time to introduce

and build confidence. Also,

students are often ready to

repertoire, allowing them

toward preparing for next

In these final weeks,

take on new challenges. This

more advanced and engaging to stretch their abilities

SUMMER CONFERENCE

SCHEDULE AT A GLANCE

attention begins to turn

year’s ensembles and perhaps college auditions. These

preparations not only reflect how far students have come but also help them begin

visioning their future growth as musicians.

It is also time to celebrate

opportunity. The FBA

Summer Conference will

be held July 7–10, 2026, at

the DoubleTree by Hilton

Orlando at SeaWorld. This

annual event provides music educators with valuable

insights, practical strategies, and renewed inspiration to carry into the next school year.

the accomplishments of the

past year! End-of-year awards, banquets, and incentive

events give us the chance to recognize the commitment

Monday, July 6: Board Meeting, Community Band Rehearsal Tuesday, July 7: Adjudication Training, Community Band Rehearsals, Past Presidents Reception Wednesday, July 8: Community Band Concert, 7-Star/9-Star Rehearsals, Conference Day 1, Family BBQ, Southern Winds Concert Thursday, July 9: 7-Star/9-Star Rehearsals and Concert, Conference Day 2, Jazz Institute Day 1 Friday, July 10: Jazz Institute Day 2 Registration is available at:

and accomplishments of our students. Celebrate

your students’ abilities and

encourage them to continue

Wycliffe Gordon as this

In my last FMD article,

Known worldwide for

future.

I mentioned that it might

have been too early for the “countdown to summer”

posts. Now is the time! I love the creative and imaginative ways that directors count

break. While the anticipation of summer break is well

deserved, it is essential that we stay intentional in our

26

FLORIDA MUSIC DIRECTOR

We are honored to feature

to do great things in the

down the days until summer

fba.flmusiced.org

GORDON

year’s keynote speaker.

his contributions to jazz

performance and education and currently serving as

director of jazz studies at Augusta University, Mr.

Gordon brings a dynamic and engaging perspective you

will not want to miss. You

can learn more of Wycliffe’s accomplishments on his

website: wycliffegordon.com

This conference is more

than just a professional

gathering. It is a chance

to collaborate, exchange

JENNINGS

ECKMAN

The conference will also

a respected retired member

program with fresh energy

Association. These ensembles

recommend taking advantage

include a wide range of

clinics, performances, and

ensemble experiences. One

of my favorites is the 7-Star Honor Band. This year, the

7-Star Honor Band will be led

by Hannah Jennings of Lake Nona Middle School, and

the 9-Star Honor Band will

be conducted by Jose Lopez,

ideas, and return to your

of the Florida Bandmasters

and perspective. I highly

will showcase exceptional

of this opportunity.

offer inspiration to all

weeks of the school year,

As we enter the last few

time to rest, reflect, and

attendees.

let’s continue to guide our

of musical growth and

Community Band will be

celebrating all they have

director of bands at Bartow

strong is just as important as

Bartow Adult Concert Band.

summer will arrive, offering

student musicianship and

In addition, the All-Star

students with intention while

prepare for another year excellence.

Wishing you a rewarding

directed by Jon Eckman,

accomplished. Finishing

end to the school year! I hope

High School and of the

starting well. Soon enough,

Summer Conference.

to see you this July at the Go, Band!

Jon’s thoughtful approach will be educational for us

all. This ensemble is always a favorite and promises to

be an enjoyable experience LOPEZ

for performers and audience members alike.

Partners Make It Possible The Florida Corporate and Academic partners help strengthen music education in Florida through their tireless work to support teachers.

Join or Renew TODAY …

For more information, visit:

FMEA.org/partners M AY 20 26

27

FLORIDA VOCAL ASSOCIATION

Jeannine Stemmer President

A Little Goes a Long Way

I

love completing tasks. I

off the water to a house?” I

even more than that, I love

a normal Tuesday activity.

love finishing projects, but

doing them well.

When I was younger, I

casually asked, as if this were She did not take it casually.

When I admitted I had

would set my goals high, but

already started demolition

them work within the time I

the shut-off valve was, she

I often struggled to make actually had.

After I had my second

child, my husband left for a

week-long work trip. As the school year was wrapping

up, I had what can only be

and didn’t know where basically yelled, “STOP

TOUCHING THINGS,” and

immediately called a plumber friend to come rescue me from myself.

By the time my husband

described as a brilliant idea. I

got home, my grand HGTV

before he got home.

and a working toilet. And

must also learn to balance the

who isn’t there.

toilet felt like a major victory.

ones.

effective?

would remodel our bathroom In my mind, this was a

cinematic moment. He would walk in, drop his bags, and

reveal consisted of some tile honestly, at that point, the He walked in, looked

good days with the difficult Above all, we must

So, how can we remain How do we teach and

be stunned by a perfectly

around, clearly trying to piece

remember that good

ensure growth when the

bathroom. Maybe there

and just stood there silent,

vital to ensure learning.

and even the culture feel like

finished, magazine-worthy would even be a slow clap.

I started demolishing the

bathroom with absolutely

together what had happened, understanding exactly what had happened.

But, as he has for the past

no real plan. I ripped out the

26 years, he humored me.

because clearly I had lost all

the disaster, and then helped

sink, tore up the tile, and

sense of reason, removed

the toilet. All of this while

postpartum and home alone

He gave me a hug, surveyed me finish what I had very enthusiastically started.

As time has passed, I’ve

classroom management is

w If the environment is With that in mind:

disrupted, minimize the material for successful

w If the environment is stalearning.

a lot more time, a better plan,

the year, disruptions can feel

of my limitations.

field trips, and students who

At some point, I found

myself sitting in the middle

That mindset applies

of the destruction thinking,

directly to teaching.

know how to turn off the

role in ensuring we have

“Huh … I should probably

water.” So I called my mom.

“Do you know how to shut

28

Administration plays a

adequate time to cover course materials. But as teachers, we

FLORIDA MUSIC DIRECTOR

learning.

I can teach the wall

professional responsibility?

for successful learning.

even in my delusion, I knew

and a clearer understanding

that students experience

No matter what, learning

should never be off the table.

that was above my pay grade.

Our responsibility is not

just to teach. It is to ensure

solfège, but if the wall never

learned that if I want a

remodeled bathroom, I need

they’re working against us?

ble, maximize the material

with two small children. The tub survived only because

environment, the situation,

As we approach the end of

nonstop. Testing schedules, are absent both physically

and mentally all contribute to distractions that can feel insurmountable. Even the

students sitting right in front

of you are often distracted by

learns, am I fulfilling my

More importantly, am I

fulfilling my purpose?

I would argue no.

So, what’s the solution?

A little goes a long way.

Small successes are still

w Perfecting four measures

successes:

is better than rushing through 16 with little focus.

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Meghan Alfaro President

M

ay has arrived, and summer is on its way!

w Dictation still matters,

even if it’s just one mea-

w Sight-reading still counts sure.

in 3/4 time with only

w Progressions still matter do, re, mi.

even if it’s just tonic in root

w Music terminology still position.

sticks when you yell forte

w A performance still matand whisper piano.

ters even if it’s one song learned by rote and a

20-minute mini-concert.

Because tomorrow, you can

This means you have successfully led your

students through another year of elementary

music education. Let’s take a few moments to remember exactly what that means.

You’ve shared the joy of music-making.

Elementary music educators build the foundation for a child’s whole musical journey. There is nothing quite like the sound of a young person exploring music in new ways through

singing, moving, listening, and playing. You get to provide those pivotal first experiences that shape a child’s life.

You’ve expanded creativity.

When many other areas of school prioritize one right answer, you provide a space where

your students can explore possibilities. Which timbre to choose for this story sound? How loud or soft should we perform? What movements could we add to this performance? The

possibilities are endless, and you give them a chance to explore their thinking and innovate solutions to musical problems.

You’ve helped grow their brains.

always add another measure,

You’re strengthening pathways that support learning far beyond your classroom. When your

add fa, so, la to your sight-

regions at once. Coordination, memory, emotion, and cognition are all working together. This

introduce another chord, and reading.

You might even start

a song you never end up

students sing, play, move, and listen, their brains are forming connections across multiple is proven neuroscience!

You’ve built courage and confidence.

performing, and that’s OK.

Every time a child walks into your room and tries something new, you’ve built courage.

learning doesn’t have to be

could do, you’ve built confidence. These lifelong skills are invaluable. When children can

The bigger picture is that

big to be meaningful. It can happen in small, consistent successes every day.

Every time a child leaves your classroom with a new musical skill they didn’t know they

imagine for themselves new possibilities and then be brave enough to try them, a big world becomes a little less intimidating.

By the end of the week,

Remember to be brave.

More importantly, your

music education. What elementary music teachers do is vitally important. Don’t be afraid to

you might surprise yourself.

A common theme in my communications this year is to share the good news of elementary

students will have grown.

share the great things you do in your classroom. Invite your administrator to come watch a

You will have fulfilled

your professional purpose.

As you wrap up your year,

make sure to finish strong.

You are an essential

part of the learning for this

generation of young people,

and an essential part of their lives.

lesson. Share your performances with community members. Include advocacy information in your performance programs. As FMEA Advocacy Co-Chairperson Jeanne Reynolds has said, “The best advocate for music education is a strong music program.” A strong

elementary music program builds a strong middle school program, and finally a strong high school program. Just as first grade teachers are foundational in a child’s reading journey, so

are elementary music teachers foundational in a child’s musical journey. Keep spreading the good news! You make a difference every single day.

Take some time to relax and reflect this summer. You deserve it! It is truly a privilege to

serve our community of elementary music educators. Thank you for this opportunity.

M AY 20 26

29

FLORIDA ORCHESTRA ASSOCIATION

Leading With Gratitude, Looking Ahead With Purpose s the school year winds down, we transition

from the whirlwind of music

our students under your guidance.

A sincere thank you to our

supporting music education

to serve alongside such

educators this year. I extend

At the Florida Orchestra

outstanding state solo and

Association, our mission

stretch of spring concerts,

Rachel Friedman, Dr. Jesus

the needs of our students

banquets, and year-end

celebrations. It often feels as though our work is never truly finished. Yet, in the

midst of this activity, it is important to pause and

reflect on the extraordinary accomplishments of our

students and educators across the state.

ensemble adjudicators—Dr. Alfonzos, Dr. Steven Thomas, Dr. Megan Maddaleno, Dr.

Robert Hasty, and Professor

David Bjella. With 44 schools

participating and 291 entries, this event showcased the depth and excellence of

orchestral programs across Florida.

We are equally grateful

I would like to take a

to our state concert MPA

incredible performances at

Dr. Alex Jimenez, Professor

moment to recognize the

our State Solo and Ensemble, held at Florida Southern

College on March 28, 2026, as well as State Concert MPA, held April 13–15, 2026, at

Titusville High School. It was truly an honor to hear your orchestras and to witness

the dedication, artistry, and growth demonstrated by

judges and clinicians—

Bruce Walker, Dr. David

Saccardi, Dr. Robert Gardner,

remains steadfast: to serve and educators while fostering excellence in orchestral

education. This year, the FOA Board has worked diligently on several important

initiatives, including revisions to assessment sheets,

updates to the music list, and continued development of

We are deeply appreciative of their commitment to

growth, clarity, and service to our membership.

As we look ahead, I

calendars for our upcoming

which will take place October 15–16, 2026, at the Hilton

Orlando. We are excited to

present this year’s conference theme: The Orchestra

the continued success of the

Florida Orchestra Association.

Your commitment to our

students and to one another is what makes this organization so exceptional.

I am honored to continue

the coming year, and I look work ahead as we continue

to build a strong and vibrant future for FOA. As always, we value your input—

whether regarding conference planning, handbook

updates, or new ideas—and

I encourage you to reach out to me or any member of the board.

As the academic year

comes to a close, I hope you

Programs That Last. We are

many successes you and your

honored to welcome Professor Bruce Walker as our keynote speaker. This conference

promises to be an inspiring

and meaningful experience, filled with opportunities

take time to reflect on the

students have achieved. The impact we make as music

educators is profound—we

shape lives each day through the power of music.

Thank you for the privilege

for professional growth,

of serving this incredible

with colleagues from across

restful, rewarding, and well-

collaboration, and connection the state.

FLORIDA MUSIC DIRECTOR

all who have contributed to

Classroom That Matters:

Engagement, Care, and Building

30

clinicians, volunteers, and

forward to the important

FOA/ASTA Fall Conference,

the 58 participating schools.

board members, adjudicators,

our shared commitment to

These ongoing efforts reflect

encouragement provided students and directors of

my heartfelt gratitude to our

serving as your president in

encourage you to mark your

invaluable guidance to both

dedicated and talented

all-state and committee work.

and Dr. Kirk Moss. Their expertise, feedback, and

It has been a privilege

at the highest level.

performance assessment

season into the equally busy

Andrea Szarowicz President

organization. I wish you all a deserved summer break.

M AY 20 26

31

FLORIDA NAfME COLLEGIATE

Mark A. Belfast, Jr., PhD Advisor

Reflecting, Celebrating, and Looking Ahead

N

ow that we’ve reached the end of the academic year, it’s

This month, I hope you feel both a sense of accomplishment

worth taking a moment to reflect on all you’ve contribut-

and the anticipation of what lies ahead. Summer offers a

education. This year was marked by dedication, creativity, and

continued growth. Whether you’ll be teaching, attending

ed to your chapters, communities, and the profession of music a clear commitment to serving others through music. From

organizing events and engaging in meaningful field experienc-

es to building community within your chapters, your work has made a lasting impact.

valuable opportunity to recharge, but it is also a time for camps, performing, or preparing for student teaching, I

encourage you to stay connected to your purpose as a future music educator. Each experience you pursue strengthens

your musicianship and pedagogy, equipping you to make a

FLORIDA NAfME COLLEGIATE

Grace E. Wieckowski President

I

t’s hard to believe I’ve finished my first semester as president of Florida NAfME Collegiate. So many wonderful

things have happened this semester that I’d like to reflect on.

Starting back in January, we had our FMEA conference. It

schools and teachers in classrooms. This event keeps getting bigger every year, and it’s inspiring to see so many of our collegiates getting involved in advocacy.

March was Music in Our Schools Month,

was wonderful to have so many of our collegiates gathered

and we had many of our chapters participate

when I assumed the role of president and we elected our

social media campaign. Through this

and able to make connections with one another. This is also new state board. A huge shout out to the current state board members, Emma, Ella, Leo, Christina, and Calliope, for

the support they’ve given me in their positions. I’d also be

in the NAfME Collegiates in Action Week

campaign we were able to see the amazing work being done around the country by NAfME Collegiate members.

In April, NAfME Collegiate announced the winners of

remiss if I didn’t thank the outgoing board members, Jason,

the individual and chapter awards, and I could not be more

did for Florida NAfME Collegiate during their terms.

chapters and one individual win awards. Congratulations to

Kathryn, Loanne, Elizabeth, and Alana, for everything they In February we had our 10th annual Collegiate Advocacy

Day. This was my second time attending the state “hill

day,” and it’s such

FGCU, UM, FIU, and Jordan Mash (member of FIU Chapter) for all your hard work these awards showcase.

Looking to the future, we have so many amazing things

a special event. If

coming up: from NAfME Collegiate Leadership and

event brings together

many ways for our members to get involved and make

you’re unfamiliar, the collegiates from

across the state to our state capitol building

Advocacy Summit to Fall Conference to FMEA. There are a difference, and I’m excited to see how engaged our membership can be.

We had such a strong semester as Florida NAfME

in Tallahassee to

Collegiate, and I can’t wait to see what next semester holds

that supports music

to be your president. Let’s keep up the amazing work. Go,

advocate for legislation education in our

32

proud of our Florida chapters! We had three of our Florida

FLORIDA MUSIC DIRECTOR

for us. Every member inspires me and makes me so proud Florida NAfME Collegiate!

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

Kyle Prescott, DMA, President

meaningful impact in the communities you will one day serve.

I will also take this opportunity to recognize several

outstanding achievements within our community.

Congratulations to the following chapters for being named

w Florida Gulf Coast University (Recruitment) w Florida International University (Service) w University of Miami (Advocacy) NAfME Collegiate Chapters of Excellence:

These honors reflect sustained effort, thoughtful leadership,

Plan Your Proposals s the spring semester moves forward, faculty across the country begin preparing papers, clinics, and

research presentations for the 2026–27 conference cycle.

While our own FMEA Professional Learning Conference

and a deep commitment to advancing music education. South

remains a central priority, it is only one of many

Mash (FIU) for being selected as a recipient of the 2025–26

and international conferences will soon open their calls

recognition highlights exceptional promise and dedication to

share our work as artist-teachers and scholars.

within our state. Well done, Jordan. Proud o’ you!

their deadlines can quickly become

recognized at the NAfME Collegiate Leadership Advocacy

traditional searches, faculty

Virginia. This summit is an incredible opportunity for

leverage AI tools to generate

level advocacy. Attendees will join collegiate leaders from

aligned with their interests,

experiences and will travel to the U.S. Capitol to speak

links and timelines. These

Florida NAfME Collegiate members are invited to attend. Go

proposal topics and shaping

NAfME.org/Advocacy/nafme-collegiate-summit

late spring and summer months.

with FMEA leadership later this month to reflect on this

Music Educators Association has compiled a centralized

academic year. We want Florida NAfME Collegiate experiences

available at FCMEA.org. This resource is designed

your voice plays an important role in that process. Please do

individual goals.

suggestions or requests. Use the contact form on the website

across our profession. Applications are now open for two

gmail.com.

and the Award for Research and Creative Activity.

commitment to music education. I am truly proud to be

website.

I wish you a restorative, inspiring summer, and I look forward

consider how your work can contribute to the broader

Florida in the house! Furthermore, congratulations to Jordan

opportunities available. Numerous regional, national,

NAfME Collegiate Professional Achievement Award. This

for proposals, each offering meaningful platforms to

the field, and we are proud to see such excellence represented Representatives from FGCU, FIU, and UM will be

Identifying these opportunities and tracking

time intensive. In addition to

Summit (CLAS), taking place June 22–24, 2026, in Reston,

may find it helpful to

professional growth, leadership development, and national-

curated lists of conferences

across the country to engage in meaningful learning

complete with submission

directly with legislators in support of music education. All

tools can also assist in refining

to this link to read about CLAS and to register for the event:

abstracts, providing a useful starting point during the

Looking ahead, your State Executive Board will be meeting

To support our membership, the Florida College

year’s successes and to continue planning for the upcoming

webpage of conference application links and deadlines,

to be accessible, meaningful, and impactful for you, and

as a starting point that you may further tailor to your

not hesitate to reach out to your state board members with

(flnafmecollegiate.com) or email them to flnafmecollegiate@ Finally, thank you for your passion, professionalism, and

associated with such an exceptional group of young educators. to all you will accomplish in the coming year.

In addition, FCMEA continues to recognize excellence

new faculty awards: the Award for Teaching Excellence Details and submission portals are available on our As we look ahead, I encourage each of you to

conversation in our field.

M AY 20 26

33

FLORIDA GUITAR EDUCATION ASSOCIATION

Christopher Perez President

s we wind down the

second semester, we have enjoyed or are making

final preparations for our spring concerts. It’s certainly been a busy and productive year.

Join FGEA!

I encourage colleagues from around the state who

teach guitar to join our newest FMEA council, the Florida Guitar Education

2027 All-State Guitar

FGEA and FMEA, together

Ensemble audition items

Update

As of May 4, the 2027 All-

Association! By joining

State 9–12 and 7–8 Guitar

we will continue to grow and

support the best in music

education for all students!

Go to this link to join

or renew: FMEA.org/

Membership

are available for immediate download and summer

practice. We are honored to

have Dr. Stephen Mattingly (FSU) (9–12) and Bobby

Koelble (Rollins College/

UCF) (7–8) leading our 2027

FMEA Guitar Page for info

Both conductors have

programs/guitar/

All-State Guitar Ensembles. chosen a challenging and

and download: FMEA.org/

varied program that will

FGEA Development

audience members alike at

reach out to our FMEA guitar

surely excite performers and the 2027 FMEA Professional Learning Conference & AllState Concerts.

Go to this link for the

At the end of May, I will

education teachers/directors and schedule a summer

meeting to be held in late July.

The FGEA is in a position for incredible growth. Here we can discuss and share our

SUMMER GUITAR WORKSHOPS Summer is a time to recharge and renew. While individual counties will hold their own

pre-planning professional learning opportunities in August, I urge all guitar teachers and their students to consider participating in one of the many summer guitar workshops to

elevate and upgrade your teaching and playing. Having participated in and contributed to different workshops in the past, the personal growth, learning, musical experiences, and

performance opportunities always proved most invaluable heading into a new school year.

Links are here:

TGW (Teaching Guitar Workshops) GFA (Guitar Foundation of America) Leyenda Convention Peabody Summer Guitar Institute

concerns, forward ideas, gain input, and seek assistance from our membership in

w FGEA Handbook w FGEA district chairperson nominations w FGEA Guitar Ensemble helping develop:

Music List committee/

w FGEA Summer editors

Various dates and locations Denver, Colorado Oklahoma City, Oklahoma Baltimore, Maryland

teachingguitarworkshops.org guitarfoundation.org/page/2026Convention leyenda-foundation.com peabody.jhu.edu/preparatory/ways-to-study/ departments/guitar/summer-guitar/summerguitar-institute/

Professional Learning

Conference/Workshop, and more …

Congratulations on a

fantastic year! I look forward

to working with our members on future collaborations as we continue to grow the FGEA.

34

FLORIDA MUSIC DIRECTOR

FLORIDA MUSIC SUPERVISION ASSOCIATION

John J. Dupuis President

The Program Between the Programs

Rethinking the ‘In-Between’ Spaces in Music Education

M

usic programs are

often measured by

concerts, assessments, community performances, and enrollment numbers. Yet

some of the most meaningful

learning happens in the spaces between these moments.

These “in-between” spaces (before school rehearsals,

passing periods, bus rides to performances, post-concert

reflections, and even the first five minutes of class) form

an unofficial curriculum that

some classrooms, this is

unstructured time where

students trickle in, chat, and

wait for instruction to begin.

In others, it is intentionally designed: students warm

up on their own, place their music in order, and engage immediately in musical

activities. These routines over time can significantly impact

student ownership, leadership development, and overall program cohesion.

Transitions are another

shapes the student experience

powerful space. Moving

mal lesson plan.

full ensemble to sectionals,

Programs that intentionally

from isolated events to a

can either feel rushed and

through quick discussions,

experience.

just as effectively as any forFor music supervisors,

these moments are rarely

part of district conversations, yet they are where culture is built, relationships are

strengthened, and student identity as musicians is

often developed. A student

may forget a specific warmup exercise, but they will

from one activity to another, or rehearsal to dismissal

disconnected or purposeful and efficient. Teachers

who intentionally design transitions create a sense

of momentum and clarity,

room, how they were

After the performance is over,

whether they felt a sense of belonging and purpose.

Consider the first few

minutes of a rehearsal. In

and grow as musicians.

lives. It is where students

internalize their experiences One practical step is to

pedagogy, and assessment,

“in-between” space of all.

what happens next? Is there

time for immediate reflection, celebration, and constructive dialogue? Or do students

simply pack up and move on?

Ultimately, the “program

between the programs”

Post-performance moments

of the rehearsal has value.

more continuous student

feedback, help students

ask questions. Instead of

may be the most impactful

welcomed by others, and

written responses, or peer

reinforcing that every minute

remember how they felt

walking into the rehearsal

build in reflection, whether

focusing solely on repertoire, we can ask: How are

teachers structuring the

first five minutes of class?

What routines are in place for transitions? How are

students engaged during

travel or downtime? These questions shift the focus

is where much of culture

decide whether they belong, whether their voice and

opinion matter, and whether music is something they

will carry with them beyond the classroom. By bringing intentionality to these

spaces, teachers can help

ensure that every minute

contributes to a rich, robust, and meaningful music education experience.

M AY 20 26

35

FLORIDA CONTEMPORARY MUSIC & MEDIA ASSOCIATION

Clint Randles, PhD President

Introducing the Florida Contemporary Music and Media Association

T

he launch of the Florida Contemporary Music

and Media Association

(FCMMA) marks an excit-

ing and much-needed step

forward for music education in our state. As classrooms

and rehearsal halls continue to evolve alongside rapid

technological and cultural

shifts, this new organization arrives at a pivotal moment, when contemporary music

and media are no longer supplemental, but essential components of a well-rounded

band, orchestra, and choral

teaching contemporary

set national standards. At the

Florida. Whether it is

programs that continue to same time, many teachers

have been expanding their offerings to include guitar,

keyboard, music production, songwriting, and digital media. These programs

engage students who may

not otherwise see themselves

class, building a

recording studio, or

guiding students through composition and beat

production, this association aims to be a central hub of

creative, and future-facing

aspects of FCMMA is its

where teachers can share

The FCMMA has been

learning. As technology

opportunities.

educators have demonstrated

is clear: to provide resources,

traditional ensembles—

a beginner guitar

workshops, conferences,

providing them with relevant,

established to support and

remarkable excellence in

a teacher launching

support and inspiration.

in traditional pathways,

music education.

For years, Florida’s music

music and media across

unify these efforts. Its mission advocacy, and professional community for educators

One of the most promising

commitment to professional continues to reshape

how music is created and

consumed, educators must continually adapt. The

association plans to offer

and collaborative spaces

best practices, learn new tools, and stay current

with industry trends. This

kind of targeted support is invaluable, particularly for educators who may be the sole contemporary music

specialist on their campus.

Equally important is the

sense of community FCMMA seeks to foster. Teaching in emerging disciplines can sometimes feel isolating,

especially when curriculum models are still being

defined. By connecting

educators across districts

and regions, the association creates opportunities for

collaboration, mentorship,

and shared growth. These connections ultimately

strengthen programs and, most importantly, enrich student experiences.

Advocacy is another

cornerstone of the

36

FLORIDA MUSIC DIRECTOR

FLORIDA STEELBAND EDUCATION ASSOCIATION

Jared Allen, PhD President

Should You Join FSEA?

BY WILLIAM SAHLE Y F l o r i d a St e e l b a n d E d u c a t i o n A s s o c i a t i o n P r e s i d e n t- E l e c t organization’s work.

Contemporary music and

media programs often require specialized equipment, flexible scheduling, and administrative

understanding. FCMMA will serve as a voice at the state level, helping to articulate

the value of these programs

and ensuring they receive the recognition and support they deserve. By aligning with

broader educational goals, the association positions

contemporary music as an

integral part of 21st-century learning.

As we welcome the

Florida Contemporary Music and Media Association, we recognize that its

success will depend on the

collective energy of Florida’s music educators. This is

an invitation to be part of

something transformative— to contribute ideas, share

expertise, and help shape the future of music education in our state. The students

in our classrooms today are

growing up in a world where music and media are deeply intertwined. By embracing

this reality and supporting

organizations like FCMMA,

we ensure that our programs remain relevant, inclusive,

H

ello, fellow music educators! The end of the year is here, and the Florida

Steelband Education Association Board and its members wish you the best as we close out the 2025–26 school year. As you transition into the summer and consider the

coming school year, the FSEA would like to encourage you to become a member when you complete your FMEA registration.

How do you know if you should join

w Are you an elementary, middle school, FSEA?

high school, or collegiate music teacher

w Are you an elementary, middle school, who currently teaches a steelband?

SAHLEY

high school, or collegiate music teacher

w Do you teach a steelband “club” or “activity” before or after school? w Do you teach a curricular steelband during the day? w Are you a music director who teaches mostly band, chorus, orchestra, or any other musiwho wants to teach steelband?

cal discipline who also teaches one period of steelband?

If the answer to any of these questions is “yes,” then YOU are a perfect candidate for

the FSEA! By joining the FSEA, you gain a group of colleagues well versed in the ways

of steelband. You do not need to feel like you’re “on an island” when it comes to teaching

w Arranging for your instrumentation w Rehearsing a steelband w Setting up your classroom or rehearsal space w Moving steel pans from rehearsal space to performance locations w Gaining confidence transferring your

steelband. There are many directors across the state who can assist you with things such as:

musical knowledge to the steelband idiom

The FSEA is here for you. We are

excited to hit the ground running and

look forward to welcoming you to our council!

and inspiring for generations to come.

M AY 20 26

37

DIVERSE LEARNERS COMMITTEE

Christine Lapka, EdD Chairperson

AI for Access, Not Replacement

Supporting Diverse Learners in the Music Classroom AI is becoming an

Notation to Sound

in our classrooms, especially

notation into sound, offering

increasingly helpful partner when it comes to making

learning more accessible for everyone. Tools like text-tospeech (notation to sound), speech-to-text (sound to

notation), captioning, and

real-time language translation can open doors for students who struggle with reading,

writing, or communication.

These tools help students to access lessons in ways that work for them and allow them to show what they know or can do without unnecessary barriers.

1. Convert Written to Sound

Text-to-Speech (TTS)

converts written text into

spoken audio, supporting students with reading

disabilities, low vision or blindness, or decoding

challenges. It makes print

more accessible for learners

with diverse communication

This tool converts music

parallel support for students who rely on auditory access

­— Boosts motivation and self-efficacy, helping

students feel capable and independent

to the curriculum. Most

2. Convert Sound to

sound directly or export

Speech-to-Text converts

notation software will play audio files for students to

listen and view the notation.

Options include MuseScore or applications like forScore and Sheet Music Scanner.

w Helps students access Bottom Line

grade-level content even

when independent reading

w Supports comprehension is difficult

by pairing auditory and

w Research supports TTS visual input

(Raffoul & Jaber, 2023):

— Acts as a compensatory tool for decoding difficulties

— Improves reading

speed, fluency, and retention

needs. Try Balabolka—it is free for schools and noncommercial uses.

Symbol

spoken words into written text, benefiting students

with fine motor difficulties, dysgraphia, or expressive language challenges.

Captioning provides real-

time on-screen text during spoken instruction or

media. PowerPoint’s closed

captioning feature offers realtime, AI-powered rendering of spoken audio or video

content. In Slide Show mode, PowerPoint can display your speech instantly.

Sound to Notation

AI-powered transcription

converts audio into music notation. MelogenAI is a strong option. It allows

w Allows students to demon-

Bottom Line

strate understanding

without the barrier of

w Enables more efficient written expression w Supports students who are deaf or hard of hearing w Aids learners with auditory processing disorders w Helps multilingual learners follow spoken English w For students who think handwriting

musically but struggle

with notation, transcrip-

tion tools act as a bridge.

They can hum, sing, or

play an idea, convert it to

MIDI, and then refine the

w Ensures that students with score in notation software. dysgraphia, motor chal-

lenges, or early notation

skills can fully participate in musical tasks

3. Real-Time Language

Translation converts spoken

w Record or upload a melody student’s home language. For w Convert it to MIDI those of us who have ever w Edit or view notation struggled to communicate, it

students to:

in any free program

(MuseScore, Noteflight, etc.)

or written English into a

turns moments of confusion

into moments of connection.

w Supports multilingual stu-

Bottom Line

dents with disabilities who may face compounded barriers

38

FLORIDA MUSIC DIRECTOR

Summer Madness?

SummerCon 2026! w Makes the curriculum more inclusive

w Reduce barriers to accessing general education content w Support Universal Design for

4. Other Thoughts

Learning (UDL) by offering

multiple ways to receive and

T

he 2025–26 school year is just about done, and

Co-Chairpersons

Jason Locker Bernard (Bernie) Hendricks, Jr.

we are finally ready to sing those famous Alice Cooper lyrics:

School’s out for summer

School’s out forever …

No more pencils, no more books

No more teachers, dirty looks

If you don’t know, just google it!

Anyhow, we’ve reached that time of year

w Help educators differentiate express information

when the students are thrilled that summer

instruction for students with

here, and parents are terrified that summer is here.

w Free teachers from some files

“Summer Madness?” Interestingly, the song Summer

administrative tasks so they

In fact, Google AI says the song is “known for its smooth,

multifaceted learning pro-

EMERGING LEADERS COMMITTEE

is here, teachers are relieved that summer is

This array of feelings is why we themed this column Madness (1974 by Kool & The Gang) is anything but mad.

can focus more on relation-

laid-back groove that evokes feelings of long lazy summer evenings.”

support

that same lens: a multifaceted time to shift the focus from your students back to yourself.

ship building and direct

It’s important to note that the

Your FMEA Emerging Leaders Committee wants you to view this season through

Summer is also a time of rejuvenating your music education battery and thinking about

use of AI in music education

the ways you lead each and every day in your classrooms and if you’re ready to take it

replacing essential musicianship

our never-ending effort to always be thinking of the future. Not only of our organization,

aural skills to transcribe music

current leadership role and investigate new opportunities as well as identify who you

is not an endorsement of

one step further and share what you’re already doing with the rest of our profession. It’s

skills—such as developing

but the future of music education as well. It’s that time when you can evaluate your

independently. In fact, these

will lead, guide, and mentor as you prepare for the next school year.

for some typically developing

professional learning opportunities that are taking place all over the state throughout the

intention or balance. However,

place June 10–11, and the FMEA Multicultural Network Summer Professional Learning

these tools can level the playing

Orlando. These are just two of the many growth opportunities that will take place this

otherwise face barriers.

as music educators and music leaders throughout the lazy, relaxing, and chill summer

Reference

FMEA website: FMEA.org

AI tools can become crutches

While it is a time of rest, it’s also a time to continue to grow through summer

students if used without

summer months. The FMEA Emerging Leaders Summer Leadership Conference will take

for the reasons listed above,

Workshop is June 12–13. Both will be held at The Florida Hotel & Conference Center in

field for diverse learners who

summer and provide all participants with the ability to continue to grow and develop

Raffoul, S., & Jaber, L. (2023).

Text-to-speech software and reading comprehension: The impact for students with learning disabilities. Canadian Journal of Learning and Technology, 49(2). https://doi.org/10.21432/cjlt28296

months. Registration information for these and other activities can be found on the Have a great summer, everyone, and remember that whatever you decide to do

with your valuable time this summer, make sure you put you at the forefront of all your adventures! Taking care of yourself is the only way you can effectively and enthusiastically take care of others when we come back.

Take care, stay cool, and find your groove!

M AY 20 26

39

AWARDS COMMITTEE

Sondra A. W. Collins Chairperson

2026 F M EA COLLEGE M USIC 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

In the coming months I will continue to

share with you a little of the brilliance our

awardees have to offer you, speaking their truth about music education and the passion that

drives them. I share these words of inspiration to give you confidence to be the light to your

own students, as well as the drive to help shine

a light on others during our nomination period.

Here is your monthly dose of inspiration,

inspiring through words of purpose and

passion, from our 2026 FMEA College Music Educator of the Year, Dr. Mark A. Belfast, Jr.,

assistant professor of music education at Florida State University and advisor of Florida NAfME Collegiate.

➡

E DUC ATOR OF T H E Y EA R

Dr. Mark A. Belfast, Jr. “We are so fortunate to have world-class institutions of higher learning here

in Florida, and my colleagues in music education across the state are some of

the most brilliant, talented, and impactful people within our profession. That’s why I am truly humbled and

honored to be named FMEA’s

2026 College Music Educator of the Year.

I often tell my students

that teaching is really hard,

but teaching and learning are a natural part of the human experience. We are also

musical beings and we rely on musical sounds long

before we develop the ability to form natural speech and

other typical communication methods, which is why

intentional, systematic,

and purpose-driven music education is essential

throughout all stages of human development.

I love the time that I spent as a secondary music educator. And now, as a

teacher educator, I feel I have truly found my purpose. Few things make me

feel more fulfilled than serving others and watching them thrive. And

I strive to show my students that positive relationships and a posture of service lead to joy. So, thank you Florida State University, FMEA, and all of my students and colleagues, present and past, for allowing me to serve

well. Thank you, Dr. Steven Kelly, for opening the right doors at the right time so that I might live out my dreams. Thank you to the incredible educators who supported my nomination with letters of reference. Thank you to the FMEA

Awards Committee for granting me this honor. And thank you, most of all, to my incredible wife and my brilliant son—without them, nothing I did would

have meaning. Lee Iacocca said, ‘In a completely rational society, the

best of us would be teachers and the rest of us would have to settle for something else.’ I’m grateful I’ve never had to settle.

Thank you, FMEA. I am honored to serve as the 2026 College Music

Educator of the Year.”

✴ The all-call for nominations begins now! FMEA.org/programs/awards ✴ 40

FLORIDA MUSIC DIRECTOR

Research Puzzles

FMEA RESEARCH COMMITTEE

D. Gregory Springer, PhD, Chairperson Florida State University

FOR MUSIC TEACHERS

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

Elementary Music Teachers’ Communications in a Social Media Community

M

usic teachers find community through member-

ship in professional associations like FMEA and

in many other places. Social media is another source of community for music educators. Although some

bemoan the flaws of social media generally, there are online communities for music teachers that provide new information about best practices in teaching as

well as social connection and networking among col-

leagues. In previous studies, researchers have examined interactions on the Facebook Band Directors Group

(Brewer & Rickels, 2014; Rickels & Brewer, 2017), Choral Directors Facebook Group (Wayman, 2016), and the School Orchestra and String Teachers v2 (SOST v2)

Facebook group (Palmquist & Barnes, 2015). In a recent article published in Update: Applications of Research in

Music Education, Dr. Jennifer Gee (San Diego State University)

development, knowledge exchange, and mutual support”

those in the Elementary Music Teachers Facebook Group (Gee,

Update: Applications of Research in Music Education for free. I

conducted a content analysis of professional interactions of

2025). As stated in the article, “the purpose of this study was to examine professional interactions among music educators in the Elementary Music Teachers Facebook group” (p. 1).

(p. 8). All members of NAfME/FMEA can access articles in encourage you to read the entire article to see the complete results.

She systematically analyzed all the posts (n = 749), reactions

References

one-month period.

Brewer, W. D., & Rickels, D. A. (2014). A content analysis of social media interactions in the Facebook Band Directors Group. Bulletin of the Council for Research in Music Education, 201, 7–22. https://doi. org/10.5406/bulcouresmusedu.201.0007

(n = 11,271), and comments (n = 11,321) in the group across a As in previous research, Gee (2025) distinguished between

curricular (content directly related to student learning in

music), co-curricular (content not directly related to student

learning), and community (content related to social dynamics)

content. She found that the majority of curricular posts focused on repertoire suggestions and lesson planning, whereas

co-curricular posts primarily focused on performance logistics and instruments. Community posts were commonly about humor and sharing other information with other teachers.

Based on the findings of this study, it is clear that many

teachers make use of the Elementary Music Teachers Facebook Group and that it serves as a form of informal professional learning. Moreover, it seems to function as a place of

community for elementary music teachers. As Gee (2025)

explained, “Together, these interactions demonstrated how the group functioned as a community of practice, fostering skill

Gee, J. L. (2025). Exploring trends in social media and music education: A content analysis of the Elementary Music Teachers Facebook Group.

Update: Applications of Research in Music Education. Advance online publication. https://doi.org/10.1177/87551233251349832 Palmquist, J. E., & Barnes, G. V. (2015). Participation in the School Orchestra and String Teachers Facebook v2 group: An online community of practice. International Journal of Community Music, 8(1), 93–103. https://doi.org/10.1386/ijcm.8.1.93_1 Rickels, D. A., & Brewer, W. D. (2017). Facebook Band Director’s Group: Member usage behaviors and perceived satisfaction for meeting professional development needs. Journal of Music Teacher Education, 26(3), 77–92. https://doi.org/10.1177/1057083717692380 Wayman, J. (2016). Choral Directors Facebook Group: A content analysis of social media interactions. Missouri Journal of Research in Music Education, 53, 19–33

Email your questions and feedback to dgspringer@fsu.edu with a subject heading Research Puzzles.

M AY 20 26

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Executive Director’s

Scott Evans Executive Director Florida Music Education Association

NOTES

The mission of The Florida Music Education Association is to promote quality, comprehensive music education in all Florida schools.

The Beautiful Mess of Music-Making: Joy, Inclusion, and Learning

T

his week I had an experience that really moved me, and it tied back to the joy I wrote about in

my April piece—joy as the gateway to learning in the music classroom.

Like many of you, I’ve spent hours in

cafetoriums, auditoriums, and concert halls,

or utilized noise-canceling headphones. When it

felt fun, they didn’t wait for a cue—they laughed,

danced, and applauded on the spot. Their reactions were honest.

It was loud, at times chaotic, and really beautiful.

As a music educator, I enjoyed observing what

listening and enjoying music while being quiet

this true expression can look like. We often call

practiced audience member to show my respect

give students the dialects and space they need. This

and still. Making sure as a trained musician and for the artistry on the stage and allowing for the

music to be appreciated by all around me. Recently

I attended a concert for exceptional students as part of UCF Celebrates the Arts, and I was reminded how powerful and fulfilling it can be to invite

music a universal language, but we don’t always concert showed how when the space is created,

music can open real opportunities for students of all

abilities to be themselves and connect with what they hear.

Really this experience was not unlike what I have

audiences to respond to the music as they hear it in

observed in music classrooms across our state. You

and feeling.

rooms can seem noisy and chaotic. They are not

a way that truly reflects what they are experiencing The concert was packed with young people, and

the energy was fantastic. From the start, caregivers were invited to let students engage with the music

in whatever way fit their needs. The fine musicians on the stage were prepared for the experience and welcomed the engagement. The room was alive—

are often told by evaluating administrators that your wrong. The music-making process is messy, noisy, chaotic, unkempt, and really beautiful. Because of

that, our students make deeper and more meaningful connections. This fosters those moments of joy we know are essential to learning.

Thank you for continuing to make spaces where

students talking, laughing, sometimes crying even

students can thrive and experience music their own

the music felt too loud, students covered their ears

wondrous process. Thanks for all you do!

screaming, and moving in response to sound. When

way by embracing the joy of a messy, chaotic, and

Scott Evans

42

FLORIDA MUSIC DIRECTOR

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

Officers and Directors

Secondary General Music.......................................................... Ed Prasse Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net

EXECUTIVE BOARD President

Harry “Skip” Pardee, EdD Collier County Public Schools 5775 Osceola Trail; Naples, FL 34109-0919 (239) 377-0087; pardeh@collierschools.com FBA President

Jeff Cayer, EdD FCMEA President

Kyle Prescott, DMA FCMMA President

Clint Randles, PhD FEMEA President

Meghan Alfaro FGEA President

Past President

Jason P. Locker

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

Grace E. Wieckowski FMSA President

John J. Dupuis FOA President

Andrea Szarowicz FSEA President

Jared Allen, PhD

Christopher Perez

EX-OFFICIO MEMBERS President/CEO.........................................................................Scott Evans Hinckley Center for Fine Arts Education 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793; scottevans@flmusiced.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

President-Elect

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

Ocoee High School 1925 Ocoee Crown Point Pkwy.; Orlando, FL 34761 (407) 905-3009; berniehendricks@fmea.org

FMEA COMPONENTS

Bernard (Bernie) Hendricks, Jr.

FLORIDA BANDMASTERS ASSOCIATION President............................................................................Jeff Cayer, EdD president@fba.flmusiced.org

FVA President

Past President..........................................Bernard (Bernie) Hendricks, Jr. Ocoee High School; 1925 Ocoee Crown Point Pkwy.; Ocoee, FL 34761 berniehendricks@fmea.org

Multicultural Network Chairperson

Executive Director................................................................. Neil Jenkins Florida Bandmasters Association; P.O. Box 840135; Pembroke Pines, FL 33084 (954) 432-4111; Fax: (954) 432-4909; exec@fba.flmusiced.org

Jeannine Stemmer Arnekua Jackson, PhD Member-at-Large

Steven N. Kelly, PhD

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

FLORIDA MUSIC SUPERVISION ASSOCIATION

President.............................................................................John J. Dupuis Volusia County Schools; 200 N. Clara Ave.; DeLand, FL 32720-4207 (813) 787-6790; jjdupuis@volusia.k12.fl.us

FLORIDA NAFME COLLEGIATE

President.................................................................. Grace E. Wieckowski Stetson University; gwieckowski@stetson.edu

FLORIDA STEELBAND EDUCATION ASSOCIATION

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

President......................................................................... Jared Allen, PhD Matanzas High School; 3535 Pirate Nation Way; Palm Coast, FL 32137 (386) 447-1575; allenja@flaglerschools.com

FSMA President................................................ Benny L. Bolden, Jr., EdD laruemusic99@gmail.com

MULTICULTURAL NETWORK

Hall of Fame Chairperson.............................................. Mary Palmer, EdD (407) 252-5172; mpalmerassoc@aol.com

Chairperson............................................................Arnekua Jackson, PhD St. Thomas University; 16401 NW 37th Ave.; Miami Gardens, FL 33054 arnekuajackson@gmail.com

Florida NAfME Collegiate Advisor.......................Mark A. Belfast, Jr., PhD (850) 644-3424; mbelfast@fsu.edu

COMMITTEES

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

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION President............................................................................ Meghan Alfaro Pinellas District Office; 301 4th St. SW; Largo, FL 33770-3536 (727) 588-6055; meghan@femea.flmusiced.org Past President........................................................................ Ashley Peek Holley-Navarre Intermediate; 1936 Navarre School Rd.; Navarre, FL 32566-7504; ashley@femea.flmusiced.org Executive Director.......................................................... Jennifer Sullivan 1750 Common Way Rd., Orlando, FL 32814; (321) 624-5433; slljenn@aol.com

FLORIDA ORCHESTRA ASSOCIATION President....................................................................... Andrea Szarowicz Steinbrenner High School; 5575 W. Lutz Lake Fern Rd.; Lutz, FL 33558-9234; (813) 792-5131; aszarowicz@myfoa.org Past President....................................................................Matthew Davis Harrison School for the Arts; 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 499-2855; matthew.lawson.davis@gmail.com Executive Director........................................................... Cheri A. Sleeper 1915 S. 47th St.; Tampa, FL 33619; (813) 363-4139; csleeper@myfoa.org

FLORIDA VOCAL ASSOCIATION President......................................................................Jeannine Stemmer Florida Christian School; 4200 SW 89th Ave.; Miami, FL 33165 (305) 226-8152; jeannine@fva.net

DOE Arts Education Consultant...........................................Erin O’Connor Florida DOE, Bureau of Standards & Instructional Support 325 W. Gaines St.; Tallahassee, FL 32399-0400 (850) 245-0762; erin.o’connor@fldoe.org

Advocacy........................................ Jeanne W. Reynolds, Co-Chairperson (727) 744-7252; jeannewrey@gmail.com

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

FMEA COMMITTEES & COUNCILS

Advocacy...........................................Angela Hartvigsen, Co-Chairperson School Board of Sarasota County; 1960 Landings Blvd.; Sarasota, FL 34231; (941) 927-9000; angela.hartvigsen@sarasotacountyschools.net All-State Eligibility............................................Harry “Skip” Pardee, EdD Collier County Public Schools; 5775 Osceola Trail; Naples, FL 34109-0919; (239) 377-0087; pardeh@collierschools.com

COUNCILS FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

President.....................................................................Kyle Prescott, DMA Florida Atlantic University; 777 Glades Rd.; Boca Raton, FL 33431-6424 (561) 297-3826; kpresco2@fau.edu

FLORIDA CONTEMPORARY MUSIC & MEDIA ASSOCIATION

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

FLORIDA GUITAR EDUCATION ASSOCIATION

President.......................................................................Christopher Perez Freedom High School; 2500 W. Taft Vineland Rd., Orlando, FL 32837 (407) 816-5600; christopher.perez@ocps.net

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

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

CENTER FOR FINE ARTS EDUCATION

Budget/Finance, Development.........................Harry “Skip” Pardee, EdD Collier County Public Schools; 5775 Osceola Trail; Naples, FL 34109-0919; (239) 377-0087; pardeh@collierschools.com

President/CEO............................. Scott Evans (scottevans@flmusiced.org)

Diverse Learners...................................................... Christine Lapka, EdD University of Central Florida; 12488 Centaurus Blvd.; Orlando, FL 32816-2372; christine.lapka@ucf.edu Emerging Leaders......... Jason P. Locker/Bernard (Bernie) Hendricks, Jr. jasonlocker@fmea.org; berniehendricks@fmea.org Florida Corporate & Academic Partners..................................Fred Schiff All County Music; 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fred@allcountymusic.com Professional Learning.......................................................... Ajori Spencer Pinellas District Office; 301 4th St. SW; Largo, FL 33770-3536 (727) 588-6055; spencera@pcsb.org Research............................................................D. Gregory Springer, PhD FSU College of Music; 122 N. Copeland St.; Tallahassee, FL 32306 (850) 644-2925; dgspringer@fsu.edu

402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793

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)

PROFESSIONAL LEARNING CONFERENCE Exhibits Manager................................................... fmeaexhibits@fmea.org Local Chairperson.....Jon Sever (813) 272-4861; jon.sever@sdhc.k12.fl.us

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FLORIDA MUSIC DIRECTOR