Florida Music Director November 2022

Page 1

Keep tending the fire!

Recruiting and Maintaining Performing Ensembles Post-Pandemic

PLUS: FOA President-Elect Candidates FVA President-Elect Candidates FVA Middle School Chair-Elect Candidates

HELP, I feel like a fraud

Music Teachers and the Impostor Phenomenon

Prelude to the 2023 FMEA Professional Development Conference

November 2022



Conservatory-Style Training at a Research I University


November 19 | February 4 | March 18 Additional dates are available by appointment. Graduate assistantships are available.

Undergraduate Degrees (B.M.) Instrumental Performance | Jazz Performance Music Business | Music Composition | Music Education Music Technology | Musical Theatre | Organ Performance Piano Performance | Vocal Performance

Graduate Degrees (M.S.) Music Education - Traditional & Certification Tracks

Graduate Degrees (M.M.) Conducting | Instrumental Performance Jazz Performance | Music Composition Music Management & Production Music Technology | Musical Theatre Organ Performance | Piano Performance Vocal Performance 4 + 1 Track (B.M + M.M.) Vocal Performance | Composition | Musical Theatre

Wertheim School of Music & Performing Arts at Florida International University 10910 SW 17th St., Miami, FL 33199 | (305) 348-2896 | music@fiu.edu | music.fiu.edu

2    F l o r i d a

Music Director

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

Hinckley Center for Fine Arts Education

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


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

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

Contents Volume 76 • Number 4

November 2022


PRELUDE TO THE CONFERENCE.. . . . . . . 25-38 FVA President-Elect Candidates. . . . . . . . . . 10-11 FVA Middle School Chair-Elect Candidates. . . 12-13 FOA President-Elect Candidates. . . . . . . . . . 14-15 FSMA Board of Directors. . . . . . . . . . . . . . . . 18 FSMA Position Statement. . . . . . . . . . . . . . . . 19 Help, I feel like a fraud Music Teachers and the Impostor Phenomenon . . . . . . 20

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

Keep tending the fire! Recruiting and Maintaining Performing Ensembles Post-Pandemic.. . . . . . . . . . . 40

Advertising Sales

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

Official FMEA and FMD Photographers

Bob O’Lary Debby Stubing

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

Circulation & Copy Manager

Valeria Anderson, (800) 301-3632

Copy Editor

Susan Trainor

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

2022-2023 FMEA Donors. . . .

FCAP Committee.. . . . . . . . . . . . 7

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

Advocacy Report. . . . . . . . . . . . . 8

Executive Director’s Notes. . . . . . 60

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


Advertiser Index. . . . . . . . . . . . . 61

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


Corporate Partners. . . . . . . . . . .


Component News.. . . . . . . . . . . 48

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


November 2022

52-54 55



Be the Guiding Light in Your Community


reetings, colleagues! First I would

light in their communities. As an exten-

part of your “think tank” on and off cam-

recovery for all of our communities that

you “let your light shine,” other people

ers who are music teachers in our district,

like to convey my sincere hope of

have been impacted by Hurricane Ian.

Our hearts go out to each of you, your students, and your programs, offering

sion of this, if you are a good example, if

who see your good example will potentially model your behaviors for success.

Spreading the light can mean being the

positive momentum during adversity. I’m

candle or being the mirror that reflects

anxiety, anger, and I hope some opti-

light into shadows and darkness. Others

sure emotions are high with sadness, mism. I encourage you to stay positive.

One of the greatest traits of being a music teacher is the ability to work through dif-

ficult situations. Florida Music Education

Association (FMEA) is here to serve our

it. When we are the candle, we emit see the light, find their way, and then reflect that light, emulating us. Like mir-

rors, your students mimic your positive actions.

As you are developing academic

component groups. We have a page on our

achievement strategies in your class-

you can offer help or request help related

and use creative learning techniques.

FMEA website (FMEA.org/help) where

to your program’s specific needs at this time. I’m reminded of a quote that urges

us to “Let your light so shine, that oth-

ers will see your good work.” Amongst

everything going on in our world today, this is certainly an opportunity for music

teachers across our state to be the guiding

rooms, continue to think outside the box What kinds of new models would your music students find interesting? Are you

connecting with students, parents, and your communities? Are you providing the

resources and materials needed for students’ success? How often are you committing to being self-reflective? Who is a

The challenge to teach music from a multicultural perspective is important and can seem overwhelming. We play a principal role in the cultural formation of society, and music teachers can have a direct impact on the musical and multicultural sensitivity. — Patricia Shehan Campbell

4    F l o r i d a

Music Director

pus? We certainly can all learn from othstate, and national communities. Some

of my best learning outcomes are those that take place in non-teaching settings,

i.e., private score study with other direc-

tors, master classes, composers’ lectures to music students, observing colleagues

in rehearsals, etc. This might place you out of your normal comfort zone, but I submit to you, it can be of significant

value as you build your community. Your students’ music-making will become even

more rewarding as the following skills



« «

Cognitive Domain (knowledge, comprehension, evaluation)



Cognitive Functions (introverted/ extraverted sensing, feeling, thinking, and intuition)

Music Achievement (success after making consistent effort)

Shelby R. Chipman, PhD President Florida Music Education Association

Education is the movement from darkness to light.

— Allan Bloom

FMEA Professional Development Conference CO NTENTS



« «

Music Creativity (divergent and con-

more credence to the idea of the pro-

Music Transfer (applying learning

to make transfers to other scenarios in

vergent thought processes)

outcomes from one situation to a setting that is similar)

The quote above by Allan Bloom is

profound. Studies have supported the importance of an education. Furthermore,

we’ve seen the data focused on music students’ success and its relationship to

inclusiveness, productivity, scholastic

achievement, and life beyond high school

cess, which emphasizes an opportunity music, and certainly in life.

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

— Maya Angelou

in communities. But most important is

tions where students might give up. We’re

so grateful to our FMEA teachers who believe in our mission statement: “promoting a quality, comprehensive music education in ALL Florida schools.”

I challenge each of our music teachers,

students, administrators, parents, stakeholders, and communities to be the guiding light for our students of today, tomorrow, and the future. Finding solutions is a

prerequisite to educating students in our


Important Dates




Contracted Hotels


Personal Health and Safety


the ability of our music teachers to motivate and be that guiding light in situa-



I look forward to

seeing you in-person and



Remember, our 2023 FMEA Professional

Development Conference promises to be amazing, so please register NOW at FMEA.org.

Shelby R. Chipman, PhD, President

Florida Music Education Association

Concert Tickets / FAQ


All-State Rehearsal Locations


3K Run & Walk


Student Experiences


Pilot Program


In 2022 and beyond, we should consid-

er being less product-oriented and give November 2022



Idyllic Southwest Florida destination awaits the right candidate! For over 50 years, the Naples Concert Band has been charming its loyal audience in the beautiful setting of Cambier Park in the heart of the City of Naples. Boasting a member strength of nearly 100 musicians and an average audience size of 1,500‐2,500 throughout the playing season (October – April), we have been recognized by the City of Naples as a “cultural institution” that contributes to the quality of life and growing reputation of the city known as “Paradise” on the Coast of Southwest Florida. There is nothing more satisfying than a concert in the park on a sunny Sunday afternoon in the dead of winter! The Music Director / Conductor plays a leading role in the success of the organization, and is supported by an active Board of Directors, an enthusiastic and talented membership, and a healthy operating budget made possible by our devoted audience and generous sponsors. We are looking for a candidate to lead us into the next 50 years of musical magic.

FOR MORE INFORMATION 6    F l o r i d a

Music Director

Interested candidates are asked to provide their qualifications by December 31, 2022. When responding to the opportunity, we ask for the following: 1. A cover letter describing your interest and experience 2. A resume of your professional experience and educational background 3. Samples of 3 recent concerts you have programmed 4. Links to recordings of your work (i.e., YouTube) 5. Three references including contact information Finalists will be selected in January 2023, and all candidates will have an opportunity to work with the ensemble during the 1st Quarter of 2023. A decision is expected by April 2023.


Contact: Bud Gartland, Vice President NCB Email: bud@evg3consulting.net Additional details can be found on our website: www.naplesconcertband.com/conductor-search

CommitteeReports It’s a Marathon … and a Sprint.


Fred Schiff, Chairperson



ong after the cameras are gone and

a unique position to centrally facilitate

education caught in the path of Ian—

Hurricane Ian have faded, our music

fundraisers. You should also know that

programs—were hurt in some way, but

the images of destruction from

teaching friends will be left with the daunting task of figuring out how to rebuild what they need.

For those affected, we want you to

know we are working on short- and longterm solutions. The Sprint

contributions you may take in from your 100% of the money donated to FMEA is used for its intended purposes. Full dis-

closure: while my company and family have been significant contributors to this

fund, I do not serve on the FMEA com-

mittee that determines recipients, nor will I ever.

For those of us who were unaffected

Because needs are just beginning to be

by the storm, please consider a cash dona-

funds available for immediate projects.

future. Just go to FMEA.org/help.

defined, the best way to help is to have

The good news is FMEA has the Mel

tion so we can respond—now and in the

and Sally Schiff Music Education Relief

The Marathon

help those in crisis. With FMEA as the

demic partners and exhibitors can really

Fund, which was specifically created to clearinghouse for donations, we are in

Here is where our corporate and acahelp. We know that every level of music

from elementary schools to collegiate once again, we just don’t know how

badly yet. My ask is simple—if I haven’t already spoken to you, contact me so we

can develop a plan to match the needs of our teachers with the resources your

company or institution has available. Rest

assured, music educators will need your help.

If you have a secure roof over your

head, a place to go to work, and a functioning school for your children, then this

is the time to consider the people who don’t. Because after the news cameras are

gone and the images have faded, we will be the ones still here—ready, willing, and able to help.

November 2022


AdvocacyReport We the People –


ast month, I reflected on a perfor-

mance of the Broadway revival of

Into the Woods that I was lucky enough to attend in August. I marveled at how a

widely diverse group of strangers could have a profound shared artistic experience (“We the People – Part One,” Florida

Music Director, October 2022, page 6). Our

democracy is an inspiring ideal just like the positive, hopeful vision of Act One of

Jeanne W. Reynolds

Chairperson Government Relations Committee


young people who have not

grown up around a culture of

voting. Recently I volunteered to

register high school students to

vote. It was enlightening. After

completing a paper registration

form, one young woman shared

that she would be voting online.

Obviously, she had no idea how to

vote. And worse yet, I had not clear-

ly explained how to vote. Going to

a polling place and voting by mail are foreign concepts to some young people. I was surprised to find some students did

not know how to address and stamp an

envelope until I realized that students born in 2004 would have had very few Into the Woods. In this follow-up article, I

experiences mailing a letter.

Into the woods to find there’s hope Of getting through the journey.

will discuss what happens after the inter-

mission. Those familiar with the show know that Act Two is much more compli-

cated and dark. In the words of Stephen Sondheim,

Into the woods But not too long: The skies are strange, The winds are strong. Into the woods to see what’s wrong ... Just like Act Two of Into the Woods,

How do we find hope to get through

Voting is hard.

Voting requires effort. Getting to the

polls can be expensive and time consuming, and it requires reliable trans-

portation. Voting is especially hard for

8    F l o r i d a

Music Director

a mail ballot so it is counted on time

and how to check the status of a mail ballot

You can find this information on the

site of your local supervisor of elections:

https://www.myfloridaelections.com/ Contact-your-SOE

Informed Voters

Being an informed voter takes effort.

is our job to vote for the best candi-

frustrating. Think about the scaffolding

we do to teach beginning instrumentalists. We take nothing for granted. We give the students the step-by-step tools they need to be successful.

Voting is no exception to that. Use

cases, students to make a voting plan to

or cynical. That’s not necessarily true.

lots including how and when to return

skill can be difficult, challenging, and

teachers, we know that learning a new

unpack some of the issues around voter don’t vote because they are disinterested

Providing information about mail bal-

Just as there are no perfect performanc-

your significant intellectual property and

turnout. Many hypothesize that people


this challenging voting journey? As

democracy is complicated, difficult, and darker at times. Last month, I promised to

Read Part One of “We the People” on page 6 of the October edition of FMD. (bit.ly/fmd-oct)

skills to help friends, family, and in some

« « « « «


Registering or checking registration status

es, there are no perfect candidates. It date. I am perplexed by people who vote for candidates who don’t appear to be aligned with their interests. I’m guessing these voters are persuaded by simple

name recognition, political ads, or worse yet, misinformation or mal information.

Being an engaged voter means doing your

own research. Nonpartisan sites like https://www.vote411.org maintained by the League of Women Voters is a good place to start.

As arts educators, we know that out-

Finding the voter’s polling place

standing artistic performances don’t hap-

Knowing what identification docu-

attention to detail, time, and effort. This

Reviewing sample ballots

ments are acceptable to vote in person

Securing transportation to the polling place

pen magically. They require tremendous is true for voting as well. It takes time and effort to make informed voting choices.

And if we are going to strengthen our

democracy—“we the people” must make this effort.

If you are reading this article after the

November 8 election—no problem. Just as you reflect after a performance regard-

ing the improvements you want to make going forward, this is a great time to talk about election results, what percentage of

voters turned out to vote, and what you

will do differently in the future to inspire greater engagement and to strengthen

our democracy. It is also the perfect time to reach out to newly elected school board

members, local legislators, and state legis-

lators to congratulate them and to make them aware of your arts programs. Inspiration

People are engaged and vote when they

are inspired. As the saying goes, where

there’s a will, there’s a way. It is our job as advocates to motivate friends and col-

leagues to understand “we the people” means each one of us. Let’s think back to

those beginning instrumentalists. Like Act One of Into the Woods, at the beginning of the year, we present an exciting, compelling vision of a future as a successful musician, complete with shiny new

instruments. When things get challenging in Act Two, we dig deep to provide

constant support, scaffolded instruction,

and inspiration to keep students engaged by building a collaborative, supportive, inclusive culture. Turns out these are

the same unique skills needed to inspire fellow educators and citizens to engage enthusiastically in the shared experience

of American democracy. Are you willing

to take on that challenge and go on that journey?

Into the woods, no telling when, Be ready for the journey. November 2022


F VA P R E S I D E N T - E L E C T C A N D I D A T E

Jennifer Rock A

Florida native, Jennifer Rock graduated

with a bachelor’s degree in music edu-

cation from Southeastern University and a

master’s degree from the College of Music at Florida State University. Ms. Rock is in her 22nd

year of teaching, spending 12 years teaching at Stone Middle School in Melbourne, Florida,

and the last 10 years at Heritage High School

in Palm Bay, Florida. Jennifer is a board-ap-

proved Florida Vocal Association adjudicator and has served as chairperson of FVA District

10 representing Brevard and Osceola counties from 2009 to 2012 and from 2018 to 2020. She

has also served on the Music Leadership Team

and Music Advisory Board for Brevard Public Schools.

If given the honor of serving the Florida

Vocal Association as president-elect and president, Ms. Rock would like to continue to celebrate and promote the beautiful diversity of

our association and the students we serve. It is her belief that we must continue the necessary work to remove barriers that our underserved populations face within our schools and com-

munities. She would also like to work with our association to provide greater support for

schools and choral programs that struggle to retain highly qualified choral educators.

Ms. Rock was blessed to attend schools with

strong music programs and highly qualified

music educators in elementary, middle, and high school, and it is her desire that every student in Florida has the same opportunity.

10    F l o r i d a

Music Director

F VA P R E S I D E N T - E L E C T C A N D I D A T E

David Verdoni D

avid Verdoni has the privilege of serving as choral

mentor teacher as part of the county’s Induction Program

Sarasota. He holds the BA in music education from Florida

and service opportunities in his teaching community. As

director at his alma mater, Riverview High School in

Atlantic University, the MME from Florida State University,

and the MEd in educational leadership from the University

of West Florida. He is a native of Mexico City but considers himself a Floridian having moved to the state at the age of five. Mr. Verdoni has been teaching since 2009.

FVA has played a special part

in Mr. Verdoni’s musical upbringing. As a middle school and high

for new hires giving him a broad perspective in leadership an arts education advocate, he is a member of the steering committee of the Community/Schools Partnership for the

Arts in Sarasota and collaborating teacher in districtwide arts initiatives. Along with his wife, he is the co-cre-

ator of the Inspire and Empower SA Festival that invites SA singers,

grades 8-12 for a day of leadership and musical learning. If




school student, he was given sever-

ty to serve as president-elect and

experiences that he believes had

Association, he would like to

al opportunities to access musical

an essential impact in his inter-

est in pursuing music education.

Experiences such as MPA as a vocal soloist, student conductor, small

ensembles, choral MPA, and AllState were a huge part of what

made Mr. Verdoni fall in love with music-making and teaching. He is

honored to be considered for the opportunity to serve the very organization he grew up with.

Mr. Verdoni enjoys working on

president of the Florida Vocal increase support and services to FVA members that correlate to their

needs and experience in the class-

room. He would like to explore developing and improving systems to solicit feedback and suggestions

for improvements to FVA initiatives throughout the academic year. Develop ways to create greater con-

tinuity in the organization as board

members change to ensure that FVA is meeting short-term and long-term

behalf of others to encourage and support personal and

goals. Find ways to capitalize on relationships with the

he served on the FMEA board as president of the Florida

will support our current members’ needs and engage new

professional growth in fine arts education. While in college

Collegiate MENC (now Florida NAfME Collegiate) between 2007 and 2009. Since beginning his teaching career, he has

other FMEA components and other organizations that members including collegiate students.

Mr. Verdoni is humbled to have the opportunity to be

served as coordinator and chairperson for FVA District 11,

considered as the president-elect candidate and would

board-approved adjudicator, and has served as the all-state

and his three boys, David, Jacob, and Lucas, as well as his

participated in FMEA’s Emerging Leaders Program, is a chairperson for FVA since 2017. Mr. Verdoni is the chair of Riverview High School’s School Advisory Council and lead

be honored to serve. He is thankful to his wife, Whitney, friends, colleagues, and mentors for their encouragement to pursue leadership opportunities throughout his life. November 2022


F VA M I D D L E S C H O O L C H A I R - E L E C T C A N D I D A T E

Miguel Oquendo M

iguel Oquendo is a graduate of the University

of South Florida, earning the BS in music stud-

ies. Mr. Oquendo was a member of the award-winning USF Chamber Singers under the direction of John

Richmond and Richard Zielinski. One of his most memorable choral experiences was going on tour with the

USF Chamber Singers, participating in a choral compe-

tition in Miedzyzdroje, Poland, and being named Grand Champions. While at USF Mr. Oquendo was also a member of the Opera Theatre Program under the direc-

tion of Teresa Andrasy. He serves as a cantor for Nativity Catholic Church and as the musical theatre director of the

Showcase Players and the Jr. Showcase Players in Brandon, Florida.

Mr. Oquendo has served as choral director at Barrington

Middle School for the past nine years. In his time at

Barrington, he has worked very hard to build his choral program. His choirs have consistently earned superior

ratings at music performance assessments. Barrington

students have participated in all-county, all-state, Florida ACDA, Southern ACDA, and National ACDA honor choirs as well as solo and ensemble MPA. Mr. Oquendo also serves as the Master Musician choral advisor in

Hillsborough County Public Schools. He is an active mem-

ber of ACDA and FMEA/FVA. In 2022 Mr. Oquendo was named his school’s Ida S. Baker award recipient.

Mr. Oquendo is an active FVA board-approved adju-

dicator and has served as an ACDA and all-state judge. He has enjoyed giving of his time helping past all-state

coordinators and learning the process. He believes that

All-State is an integral part of choral students’ lives. The

experience they gain and what they in turn share with their fellow classmates is priceless. It would be an honor to serve the association as middle school chair-elect and pro-

vide future all-staters with a life-changing experience as

he experienced as an all-stater in Oklahoma All-State 1994.

12    F l o r i d a

Music Director

F VA M I D D L E S C H O O L C H A I R - E L E C T C A N D I D A T E


Gina LaVere ina LaVere earned the BME at

Florida State University. She is

the choral director at Dr. David L.

Anderson Middle School where she

serves as elective department chair. During her 22-year teaching

career, she has been Teacher of the

Year in 2010 and 2019. Mrs. LaVere’s

choirs have consistently received the highest ratings at all FVA events. She has served as adjudi-

cator and clinician for the DoDDea European regional talent show for

two years. Additionally, during her career she has been a clinician for

the Santa Rosa Middle School AllCounty Honor Choir, choir director at St. Sylvester Catholic Church for

five years, director of the TCCS (Treasure



Singers) for middle school youth group, conducted pieces for the Martin County Music in Our Schools performance for four years, and built two choir programs, in Santa Rosa County and in Martin County where she continues to teach. Her leader-

ship roles have included coordinator of secondary choral music for Santa Rosa and Martin counties, and she is in her second year as chairperson of FVA District 13. Mrs.

LaVere is a member of NAfME, FMEA, and FVA. She strongly believes in the all-state process, having had students participate in an all-state choir 21 of her 22 teaching years.

If elected Gina LaVere would continue to make the all-state process more accessible

for all directors and their students. She believes that by providing the support needed

from preparation for the test to more reminders to directors during the audition pro-

cess, everyone will benefit beyond the test by creating a high standard of excellence in

the choral programs in our state. She also intends to work with new Florida directors to guide them through the all-state process.

November 2022



Raine Allen R

aine Allen is the director of orchestras at Dr. Phillips High School, the conductor of the Overture Strings

ensemble with the Florida Symphony Youth Orchestra in Orlando, Florida, and the former district chairper-

son for FOA District 8. In 2011, she earned a bachelor’s degree in instrumental music education (magna cum

laude), and in 2015, she earned the MME (magna cum laude), both from the Florida State University.

After returning to the classroom, Mrs. Allen con-

tinued contributing to the field of music education by

working with Orange County Public Schools to develop

and publish curriculum resource materials for middle and high school directors. She has also been pub-

lished by the American String Teachers Association’s The String Section, with her article entitled “Student Leadership: It’s For Your Program, Too!”

In the summer of 2018, she was nominated to

the Florida Music Education Association’s Summer

Institute. In 2022, Mrs. Allen was asked to contribute to the FMEA think tank “Visioning Resilience for Music

Education in the State of Florida” and to attend the FSMA Leadership Summit. Mrs. Allen is also a frequent presenter at professional development conferences, giv-

ing presentations on topics like teacher burnout and pedagogical diagnostic techniques.

Mrs. Allen has over a decade of experience in the

classroom and is a highly sought-after conductor, cli-

nician, and intern supervisor. The orchestras under her

direction consistently receive superior ratings at both district and state events, and are active in the community through arts outreach performances.

14    F l o r i d a

Music Director


Andrea Szarowicz A

ndrea Szarowicz is in her 20th year as a music educator. She

received her undergraduate degree from the University of

South Florida with a bachelor’s degree in music and gerontology.

She also holds an MBA from the University of Arizona and the MME from Florida State University. Currently she is the director of orchestras at Steinbrenner High School in Lutz, Florida. Over the

span of her career, she has taught all levels, elementary through

high school, and has taught orchestra, guitar, keyboard, band, exceptional music education, and eurythmics. Because of her experience and successful teaching practices, Mrs. Szarowicz is regularly requested to supervise music interns for the state of Florida.

Mrs. Szarowicz’s orchestras have had the opportunity to per-

form in a wide variety of venues. They consistently attend both district and state MPAs and have performed at the FMEA Professional Development Conference and the ASTA National Conference. In addition, they have performed with Lindsey Stirling and Barrage 8, and have participated in multiple side-by-side concerts with the

University of Miami, Florida Gulf Coast University, University of Central Florida, Jacksonville University, and Florida State University.

Mrs. Szarowicz has served on the FOA Executive Board since

2010. She has served as a district chairperson and currently has the honor of serving as the 11-12 all-state symphonic orchestra

coordinator, a position she has held since 2012. In addition, she has served on the FMEA conference and mentoring committees, pub-

lished articles for American String Teacher Association and GIA publications, and presented at ASTA and FMEA conferences. Mrs. Szarowicz is an active adjudicator for FOA and FBA, and she enjoys time with her family.

If Mrs. Szarowicz is honored to serve as president-elect, she

hopes to increase membership, actively celebrate the diversity in our organization, and further support our teachers and students.

November 2022


2023 FMEA Professional Development Conference


The Florida Music Education Association’s Annual Professional Development Conference Tampa Convention Center January 11 -14, 2023 Attended by more than 10,000 people including elementary and secondary music teachers, music supervisors, college students, college music teachers, school administrators, K-12 students performing in the


November 15, 2022

all-state ensembles, students and professional musicians performing with invited performing ensembles, and parents of performing students.




Florida Music Education Association II : 402 Office Plz Tallahassee FL 32301 : ll 1-800-301-FMEA(3632)

16    F l o r i d a

Music Director

November 2022



Florida School Music Association Board of Directors 2021-2023

PRESIDENT Jane Goodwin Sarasota County School Board

PAST PRESIDENT Valerie Terry Retired

ADVISOR Michael Dye Executive Director, Florida Vocal Association


Florida School Boards Association


Jane Goodwin Sarasota County School Board

Jeanne Reynolds Pinellas County Schools (retired)

Bill Slayton Escambia County School Board

Florida Association of District School Superintendents NORTH REGION Russell Hughes Walton County School District SOUTH REGION Bob Shayman Hardee County Schools

Florida Association of School Administrators Benny L. Bolden, Jr., PhD Principal, R. Frank Nims Middle School

18    F l o r i d a

Music Director

Florida Parent Educators Association & Home Education Foundation, Inc. Rebekah Ricks

Florida Music Education Associations Representatives FLORIDA MUSIC EDUCATION ASSOCIATION Steven Gabin Tradition Preparatory High School Vivian Gonzalez Miami Arts Studio 6-12 @ Zelda Glazer FLORIDA BANDMASTERS ASSOCIATION Jeff Cayer Marshall Middle School

FLORIDA MUSIC SUPERVISION ASSOCIATION Lindsey Williams, PhD Seminole County Public Schools FLORIDA ORCHESTRA ASSOCIATION Cheri Sleeper Strawberry Crest High School FLORIDA VOCAL ASSOCIATION David Pletincks Powell Middle School

Advisory Members Neil Jenkins FBA Executive Director Donald Langland FOA Executive Director Michael Dye FVA Executive Director Kathleen D. Sanz, PhD FSMA & FMEA Executive Director


The Florida Music Supervision Association (FMSA) brought forth a request to the Florida School Music Association (FSMA) to develop a position statement about the use of music in school music programs and for performance at Music Performance Assessments. Please see the position statement below.

FSMA Position Statement on Music Literature Selection The Florida School Music Association (FSMA) is responsible for the oversight of all interscholastic music events in Florida. FSMA has empowered the following Florida Music Education Association (FMEA) component organizations to facilitate and supervise music performance assessments annually for ensembles and solos/small ensembles: Florida Bandmasters Association (FBA), Florida Orchestra Association (FOA), and Florida Vocal Association (FVA). Each component curates a required Music List(s) for at least a portion of Music Performance Assessment programing. Inclusion of a specific composition is reviewed by a committee of professional music educators who follow a procedure to evaluate each composition for artistic value and quality and then each music selection is further categorized based on instrumentation/voicing and difficulty. Music literature selected is added to the requisite association’s required Music List. These lists span nearly the entire length of music history through today. Each list is then revised annually with new music selections added as well as extant selections removed from the list. Music selections included on the required Music Lists for each component are not included as a part of, nor to promote any ideology, faith tradition, or social movement either past or present. Discussions of the demographic background of each and every composer/arranger is encouraged. These discussions can help to inform and possibly inspire students to discover that there are and have been composers with whom they can identify.

Adopted by the FSMA Board of Directors on October 17, 2022.

November 2022


Help, I feel Music Teachers and the Impostor Phenomenon by Rachel Sorenson, PhD

Have you ever felt like ...

Everyone around you knows more than you do? Your achievements and successes have somehow been the product of luck? You exhibit perfectionistic tendencies and have to be “the best” at things? You procrastinate when starting new projects due to a fear you may fail? Evaluations and assessments of your work are a great source of stress and anxiety?


like a fraud!

The feelings listed on the previous page are just a few examples of the effects of what researchers

and psychologists refer to as the Impostor Phenomenon (often colloquially referred to as “Impostor

Syndrome”). The term Impostor Phenomenon (IP) was coined in 1978 by professors Pauline Clance and Suzanne Imes, who discovered that their intelligent and high-achieving female students were experiencing many of the symptoms described (Clance & Imes, 1978).

Over the past four decades, research on IP has expanded immensely. Although Clance and Imes

originally studied IP among female graduate students specifically, subsequent researchers have

gone on to study IP among various populations, including men, undergraduate students, working professionals, and underrepresented and marginalized individuals (Bravata et al., 2020). Reports

vary, but some researchers estimate that more than 70% of individuals may experience IP at various times. Although IP is not a diagnosable medical condition, experts agree that its effects are real

and can negatively impact the mental and emotional well-being of those experiencing it. So, what exactly do experts know about this seemingly prevalent phenomenon?


Feelings of fraudulence – One of the defining characteristics of IP is a feeling of fraudulence.


Many individuals with IP feel as


such as fear of evaluation, perfectionistic tendencies, and the overestimation of the abilities of others. Fear of evaluation and assess-

else knows more than they do.


ment – For someone who has a

viduals to self-report. Research on IP is scarce on trans

formance, competence, or intelli-





defense mechanism for those who fear evaluation. Many with IP

feel the need to achieve perfection (thereby often overextending

themselves) to stave off criticism

rience IP more frequently and

measurement scales require indi-

as a fraud than to have your per-

ers have found that women expe-

rately, especially because most

What better way to be exposed


Gender – Although some research-

can be difficult to measure accu-

peers is particularly challenging.


in unhealthy comparisons with others.

been shown to experience IP. IP

evaluation by their superior or


Feelings such as these can result

intensely than men, men have also

fear of being exposed as a fraud,

gence assessed?

IP have a skewed perception of

of others, assuming that everyone

rent position and will eventually issue manifests in different ways,

of others – Many people with

the competence and intelligence

if they don’t belong in their cur-

be “found out.” This fundamental

Overestimation of the abilities

and gender expansive individuals, but some suggest


that these populations may be particularly susceptible to IP feelings (Joshi & Mangette, 2018). Anxiety – Due to factors such as fear of failure and unhealthy

comparisons to others, many with IP suffer from generalized anxiety (Clance & O’Toole, 1987).

and negative evaluations and to avoid being exposed as a fraud.

Continued on page 22

November 2022


Impostor Phenomenon Continued from page 21

Valerie Young (2011), scholar and IP

expert, defined five IP personality types to help individuals identify and label

their impostor tendencies. Many people find it helpful to discover that they fall


into one or more of these categories:

“The Perfectionist” sets unrealisti-

cally high goals for themselves and feels like a failure when they don’t

live up to these goals. They are often


accused of being overachievers or micromanagers.

labeled as “workaholics.”

“The Natural Genius” judges their competence based on the speed with

which they can learn a skill or accom-

rectly on the first try and can have

a track record of being straight A students.

“The Soloist” feels the need to

play through public performances such

coin the term Impostor Phenomenon.

This scale is called the Clance Impostor Phenomenon Scale (CIPS) and is com-

posed of 20 statements to which a person rates their level of agreement between

1 (not at all true) and 5 (very true). Some

can give the impression that I am more compare my ability to those around me

and think they may be more intelligent than I am.” Individuals taking the test

are urged to answer the questions with the first response that comes to mind

everything about a given subject. They

never feel as if they know enough and even avoid new experiences or job opportunities for fear there must be others who know more or are better suited for the role.

22    F l o r i d a

Music Director

participate in adjudicated music perfor-

mance assessments receive actual grades for their groups’ performances—grades

that are public knowledge. (This is in addition to each teacher’s school- and

district-specific evaluation policies for their classroom teaching.) For someone who may dread feedback and evaluations due to IP, the idea of putting their

teaching on display in the form of concerts, parades, and music performance

assessments is a recipe for added anxiety.

Furthermore, many who experience

their responses to the 20 items. The full

a field where competence is assessed

son’s IP level is determined by adding CIPS is available for personal use through Dr. Clance’s website at https://pauline roseclance.com/pdf/IPTestandscoring.pdf.

research on IP and music teachers, it is

“The Expert” feels the need to know

as concerts and parades. Those who also

IP compare themselves to others con-

or accept help from others for fear it tent.

hard work and competence are on dis-

rather than dwell on the answer. A per-

IP and Music Teachers

might make them seem less compe-

All teachers are evaluated. However,

designed by Pauline Clance, who helped

accomplish tasks on their own, at all costs. They struggle to delegate and/

day life of a music educator.

music teachers are among the few whose

IP. The most commonly used scale was

competent than I really am” and “I often

everyone else has gone, and are often

and competence required in the day-to-

to which someone may be experiencing

work. They often take on more work

ily concerned with how hard they

cerned with getting things done cor-


scales designed to measure the extent

examples of these statements include, “I

plish a task. They are primarily con-


Over the years, experts have developed

“The Superwoman/man” is primar-

than others, stay at work long after


How is IP measured?






reasonable to assume that music teachers are a group of people who are highly sus-

ceptible to IP feelings. As a group, music teachers are generally hardworking, intelligent, and high-achieving individuals. The undergraduate requirements to become a music teacher are among the

most stringent and demanding of any degree program, to say little of the skill

stantly, often to an unhealthy extent. In publicly and the work of our peers is on display all around us, comparisons are

difficult to avoid. We must also remem-

ber that before music teachers were classroom educators, they were musi-

cians. For many, the comparative nature

of a performance-based task such as music-making has been eliciting stress

and anxiety for many years. In a study of IP among student music teachers, some

admitted that IP feelings as a music teacher are intertwined with IP feelings as a musician (Sorenson, 2022). For many

musicians, music-making is not a career choice, but a way of life and a primary

component of one’s identity. To put one’s

efforts and creative product on display

Register for Ensembles

for others is unavoidably linked to evaluation of oneself.


You are describing me! What can I do?

Many people with IP harbor feelings such as those described here without discuss-

ing them with others for years. Therefore,

A marching-style ensemble will perform as part of the Thursday General Session at the FMEA conference. The purpose of the FMEA Collegiate

the first step in alleviating IP feelings for

Ensemble is to promote collaborative quality

a name. There is validation in knowing

Professional Development Conference.

this reason, discussing your IP-related

Medley, (2) America the Beautiful, (3) Do What

step toward conquering them.

Marching Band. All music parts will be distributed to those who register.

and Imes recommended group therapy

mentary T-shirt and music to practice prior to rehearsal on Thursday, January

many is learning that those feelings have

music participation during our 2023 FMEA

that others have similar experiences. For

Music selections include (1) Bruno Mars

feelings with others is an important first

Cha Wanna and Drum Line feature … arranged by Mr. Lindsey Sarjeant, FAMU

In their initial studies on IP, Clance

Each participant who registers by November 10, 2022, will receive a compli-

as an effective tool for people dealing

12, 2023, at 8:00 am in the Tampa Convention Center, Ballroom A-B.

who participated in group therapy and/

School of Music at Southeastern University, will coordinate the ensemble, along

they were not alone” (Clance & Imes,

Chipman, FMEA president.

tions are not necessarily required for


with IP. Women in their initial studies or discussion sessions were “relieved that 1978, p. 6). Formal therapeutic interven-

Dr. Mark Belfast, advisor of Florida NAfME Collegiate and chair of the

with Ms. Allison Yopp, president of Florida NAfME Collegiate, and Dr. Shelby

with colleagues and peers. In the age of

A concert-style ensemble made up of music teachers and directors will perform as part of the Friday General Session at the FMEA conference.

awareness of mental health concerns—

Ensemble is to promote collaborative quality

those experiencing IP. Support can be

found in the form of online discussion forums and informal group discussions

social media—and a generally increased conditions such as IP are more readily advertised and discussed.

In addition to group discussion, indi-

viduals with IP should try to find men-

tors to share their feelings with. Not only can mentors serve as sounding boards,

but they can also offer much needed per-

spective on what it means to be successful in a given field. Sometimes all that is

needed is a reality check from someone who has walked the road before.

Another helpful tip for alleviating IP

feelings is to try to let go of perfection-

istic tendencies and to celebrate your

The purpose of the FMEA Music Teacher

music participation during our 2023 FMEA Professional Development Conference.

Music selections include (1) Amazing Grace

(traditional/arr. L. Sarjeant), (2) Lift Every

Voice and Sing, (arr. Roland Carter), and

(3) Unity (Maria Corley/arr. L. Sarjeant, FAMU Marching Band. All music parts will be distributed to those who register.

Each participant is requested to wear ALL black attire for the performance.

Rehearsals are Thursday, January 12, 2023, at 10:00 pm and Friday, January 13, 2023, at 8:00 am in the Tampa Convention Center, Ballroom A-B.

Dr. Jeffrey Redding, director of choral activities at UCF, and Dr. Lindsey

Williams, music supervisor at Seminole County, will coordinate the ensemble, along with Dr. Shelby Chipman, FMEA president.

successes. Many credit American business executive Sheryl Sandberg with the

statement “done is better than perfect.” Continued on page 24

To register, visit FMEA.org/Conference November 2022


Impostor Phenomenon Continued from page 23

Often, people with perfectionistic ten-

Want more information on IP?

of burnout. Others find that their need

impostor, you are not alone. In fact, many

dencies obsess over details to the point

for perfection prevents them from taking the initial first step in a task (“paralysis

by analysis,” if you will). An alternative approach is to realize that sometimes just getting the job done is a success.

Many with IP have an unnaturally

strong fear of failure and struggle when success is not achieved instantly. In addi-

tion, IP often manifests through constant comparisons to others. Therefore, another helpful tool for overcoming IP is for

Rest assured, if you are feeling like an of the most successful people in your life may be feeling the same way. The good

news is there are many resources avail-

able to learn more about IP and ways to

overcome it. Consider visiting the web-

« «

sites below for more information.

https://paulineroseclance.com/ impostor_phenomenon.html erie-young/

Rachel Sorenson, PhD, is

have recently gained popularity. Failure

education at Kennesaw State

their failures. To this end, failure resumés resumés summarize the times when things did not go to plan—when success

was not achieved. When individuals with

IP see the trial and error required to

achieve success, it helps to temper their expectations of instantaneous success.



Georgia. She holds degrees from Stetson University (2012) and Florida State University (2019, 2022). Her research interests include

preservice music teacher education, mentoring, and Impostor Phenomenon.

Raise your hand if your students are great at sight reading...

Sight Reading Factory builds confident sight readers with unlimited, on-demand exercises.

SightReadingFactory.com 24    F l o r i d a

Music Director

Clance, P. R., & Imes, S. A. (1978). The imposter phenomenon in high achieving women: Dynamics and therapeutic intervention. Psychotherapy: Theory, Research & Practice, 15(3), 241–247. https://doi.org/10.1037/ h0086006

Joshi, A., & Mangette, H. (2018). Unmasking of impostor syndrome. Journal of Research, Assessment, and Practice in Higher Education, 3(1), 1–8.

assistant professor of music University

Bravata, D. M., Watts, S. A., Keefer, A. L., Madhusudhan, D. K., Taylor, K. T., Clark, D. M., Nelson, R. S., Cokley, K. O., & Hagg, H. K. (2020). Prevalence, predictors, and treatment of impostor syndrome: A systematic review. Journal of General Internal Medicine, 35(4), 1252–1275. https://doi. org/10.1007/s11606-019-05364-1

Clance, P. R., & O’Toole, M. A. (1987). The imposter phenomenon: An internal barrier to empowerment and achievement. Women & Therapy, 6(3), 51–64. https://doi. org/10.1300/J015V06N03_05


successful individuals to publicly share


Sorenson, R. A. (2022). The prevalence of Impostor Phenomenon among music student teachers: A mixed methods approach [Unpublished doctoral dissertation]. Florida State University. Young, V. (2011). The secret thoughts of successful women: Why capable people suffer from the impostor syndrome and how to thrive in spite of it (1st ed.). Crown Publishing Group.

Why use SRF:

Integrations with Clever, Google Classroom, Canvas, Schoology & Classlink

Assess students with built-in Assignments feature & Practice Logs

Multiple levels of difficulty & customizable

Affordable - Teachers $35/year; student accounts as low as $2/ student Go to sightreadingfactory.com/ fmea2 to activate a free trial with student accounts.* *Terms & conditions apply


Building Community: Your Voice Matters! 2023 FMEA Pre-Conference

Wednesday, January 11, 2023—1-5 pm Do you remember who or

Participant interest will guide our facilitated discussions as we engage

to become a music educator?

the profession, what led us to this point, and how we move forward with

what influenced your decision The noise of today’s news, politics, and social media

can challenge your emotional

health and cause you to lose sight of your why.

with teacher leaders throughout Florida to examine the current state of

a renewed passion for music’s essential and vibrant role in the curriculum.

This open and honest dialogue will be the catalyst for a plan of action to build camaraderie and to be a more inclusive professional community of

music educators. FMEA values each member’s unique perspective, so come and let your voice be heard!


Ernesta Chicklowski

Beth Cummings

Bernie Hendricks

Shelby Montgomery

Jeanne Reynolds

Scott Sheehan

Ajori Spencer

Jeannine Stemmer

November 2022


2023 FMEA Professional Development Conference

UNITY IN MUSIC EDUCATION Building Communities One Note at a Time January 11-14, 2023 Tampa Convention Center, Tampa, FL

We can’t wait to see you in Tampa this January! The FMEA Professional Development Conference is one of the largest music education professional development events in the United States. In addition to approximately 250 clinic sessions and concerts, it is host to 23 all-state

ensembles featuring Florida’s top band, orchestra, chorus, guitar, Orff, and

popular music students conducted by world-class conductors and teachers. It is attended by more than 10,000 people, including secondary music

directors, elementary music teachers, music supervisors, college students,

college music teachers, school administrators, K-12 students performing in

the all-state ensembles, students and professional musicians performing with invited performing ensembles, exhibitors, and parents and family members of performing students.

26    F l o r i d a

Music Director


So many reasons to participate:

« « « «

An exhibit hall with world-class exhibitors providing products and services for music educators and students

More than 2,800 music teachers and 200 administrators

More than 120 sessions, covering a variety of topics for all music educators, with

on-demand access to recordings after the conference

Performances and mini-concerts from some of Florida’s top music programs

Networking opportunities, college fair,

awards ceremony, and other special events

Important Dates November 12, 2022

Hotel room cancellation deadline at 5 pm EST

November 14, 2022

Hotels will charge your credit card a nonrefundable deposit

December 11, 2022

Preregistration closes at 12 midnight EST. Payment must be

for the first night of each room reserved.

postmarked on or before December 4 if you are paying by

check. Preregistration is by credit card only after December 5. December 12, 2022

You can begin the on-site registration process online to

generate an invoice with the on-site prices, but you must bring your payment to the conference.

December 16, 2022

All school lodging checks are due, payable to the hotel where reservations were made for yourself and/or your students.

December 16, 2022

The final deadline for discounted

hotel blocks. Unsold rooms in the FMEA blocks are released back to hotels.

November 2022



Membership in FMEA and NAfME is a prerequisite for registration. See the

Registration Policies on our website for details.

All registration information must be

entered online, beginning September 17. At the end of the online form, you will

have the opportunity to print an invoice

to send in with a check until one week before the preregistration deadline or to

pay online instantly with a credit card until the preregistration deadline.

Please Note: To assist our members,

their students, and chaperones as they

visit exhibit booths, all badges will have a barcode encoded with contact infor-

mation. Attendees will be able to allow exhibitors to scan their badges rather than manually writing information on contact cards or mailing lists at their booths.

In order to maintain a positive relation-

ship with our exhibitors who can benefit

your students through scholarships, new equipment, sheet music, software, and more, we ask that you please provide


ADDRESS and EMAIL for each of your

Registration Fees Preregistration Rates: Sept. 17-Dec. 11

On-Site Rates:




Collegiate Member



Retired Member



Non-Teaching Spouse



Non-Teaching Spouse of Retired Member



Paid Chaperone



Free Chaperone




All-State Student



Tri-M Student



Preconference Workshop



Preconference Workshop (First-Year Teacher)



Student Experience – Student



Student Experience – Chaperone



To take advantage of early discounted rates, you must register and pay before the deadlines.

students and chaperones and do NOT

Note: If you are mailing a check to the FMEA office to pay for your registration, it must

incorrect information.

preregistration deadline.

simply enter your school address or other

28    F l o r i d a

Music Director

be postmarked early enough so that it will ARRIVE in the FMEA office before the

Chaperone Registration

Chaperone registration

is based on the following rules:


Elementary Students

Registration Policies 1.

All participants—directors, students, chaperones, and guests—must be


Only directors may register their groups or pick up registration materials if


All participating students must be chaperoned. As required by FMEA and

registered for the conference. preregistered.

FSMA, at least one chaperone other than a director is required for every ten (10) students or fraction thereof; however, FMEA policy allows for one free chaperone for every six (6) students or fraction thereof.


registered or (b) for each all-state rehearsal site where registered students are If a participating student is not accompanied by the director from that student’s

school, then the principal from that school must furnish a letter designating the person from the school or school district who is to be in charge of that student.

The letter should be addressed to the FMEA executive director, must explain the extenuating circumstances preventing the director from attending, and must be submitted with registration materials. The school will be notified of approval. 6.

Student observers are not allowed to attend the conference. If any student

observers are brought to the conference, the offending school’s participation in

registered, one free chaperone

and one paid chaperone may be registered.

Any additional attendees must

purchase a guest pass at on-site registration for entry into the convention center.

Middle School and


High School Students

An additional paid chaperone may be registered for (a) each six (6) students performing.



For each elementary student

For every six (6) students

registered, one free chaperone

and one paid chaperone may be

registered. No other chaperones

« «

may be registered until the

seventh student is registered. Any additional attendees

(chaperones or guests) must

purchase a guest pass at on-site registration for entry into the convention center. Exceptions

more than one performing

the conference may be eliminated the following year. (Tri-M students registered

ensemble, you may pay

from this rule.)

performing ensemble in

for a chaperone for each

and participating in sessions or working for the all-state concerts are exempt 7.

If you have students in

which you have registered

All school music teachers must register for the conference as FMEA directors and must be current members of the FMEA. This includes directors of

invited performing groups or mini-concerts, and session presenters. All-state conductors from Florida schools, colleges, or universities must also be FMEA members. No current music teacher may register as a chaperone.

Refund Policies 1.

Full registration refunds are available for cancellation requests made through


No registration refunds will be made for cancellations made after December 15,

December 15, 2022.

2022, except for emergency situations. These will be reviewed on a case-by-case basis.


Refunds must be requested in writing (email is acceptable).


All requests for refunds must be received no later than January 31, 2023.


All refunds will be issued after the conference is completed.


There are no refunds for concert tickets.

Requests received after that date will not be processed.


If you have students from

different schools, you may

pay for a chaperone for each school for which you have registered students.

Chaperones are not allowed to bring

other children who are not participating in an all-state ensemble. Only

registered students, teachers, and chaperones wearing a conference

badge are allowed in and around the rehearsal areas. Directors are asked to make sure their chaperones are

aware of this policy before agreeing to serve as a chaperone.

November 2022


Hotels Greetings! It’s that wonderful time of year when we start planning our very special conference event. The Florida Music

Education Association has contracted the following Tampa hotels for the January 11-14, 2023, Professional Development Conference. Please telephone your hotel of choice directly from

the list below beginning Sept. 24, 2022, at 9 am EDT. Guest

A maximum of five (5) guest rooms may be reserved per

rooms at the contracted rates are available until the room block is

teacher or parent. Each and all rooms reserved on Nov. 14, 2022,

EST. If your hotel of choice is sold out, please continue to try to

sible credit cardholder. (Invalid credit cards risk reservation

full or until the cancellation deadline of Nov. 12, 2022, at 5 pm make a reservation until Nov. 12, 2022, as FMEA attendees will periodically release surplus guest rooms.

will be charged a non-refundable, one-night fee to the responcancellation.)

We urge any guest holding surplus reservations/rooms to

cancel excess reservation(s) as soon as possible and no later

than 5 pm EST on Nov. 12, 2022, and you must secure a cancel-

lation confirmation number. (This courtesy will make surplus rooms available to other guests.) In order to receive complimentary rehearsal and meeting space, you should book guest rooms in the hotel you are using for your group functions.

NOTE: FMEA IS NOT offering a housing bureau service.

All participants MUST call the hotels directly beginning

Sept. 24, 2022, at 9 am EDT to request the “Florida Music Education Association” room block rate and confirm the guest

room rate listed on the next page. We look forward to seeing you in Tampa!

30    F l o r i d a

Music Director

2023 FMEA Professional Development Conference January 11-14, 2023 Tampa Convention Center, Tampa, FL

Contracted Hotels HOTEL RESERVATIONS – Cutoff date: 11/12/22





Barrymore Hotel Tampa Riverwalk 111 West Fortune Street, Tampa, FL 33602 Comp. internet & self parking

(813) 223-1351 #1 for reservations Group Code: FMEA





Courtyard by Marriott Downtown Tampa 102 East Cass Street, Tampa, FL 33602 Comp. internet; $30 valet only

(813) 229-1100, ext. 1 Group Code: FMEA





Embassy Suites Downtown 513 South Florida Avenue, Tampa, FL 33602 Comp. internet & breakfast; $24 valet only

(813) 769-8300 #1 Group Code: FM3





Embassy Suites Tampa Airport Westshore 555 North Westshore Blvd., Tampa, FL 33609 Comp. internet, self-parking, & breakfast

(813) 875-1555 #2 Group Code: FME or FMEA 2023



(up to 5 in room)

(up to 6 in room)

Four Points by Sheraton Suites Tampa Airport Westshore 4400 West Cypress Street, Tampa, FL 33607 Comp. internet & shuttle to Tampa airport; $10 self parking

(800) 368-7764 Say “Associate” No cell text reservation link Group Code: FMEA





Hampton Inn Tampa Downtown Channel District 1155 East Kennedy Blvd., Tampa, FL 33602 Comp. internet & breakfast; $22 self parking

(813) 525-9900, ext. 1 Group Code: F23





Hilton Downtown 211 North Tampa Street, Tampa, FL 33602 $9.99 internet (Comp. for HH); $35 valet only

(800) 445-8667, ext. 1 Group Code: FMEA





Home 2 Suites Tampa Downtown Channel District 1155 East Kennedy Blvd., Tampa, FL 33602 Comp. internet & breakfast; $22 self parking

(813) 525-9900, ext. 2 Group Code: FM3





Sheraton Tampa Riverwalk Hotel 200 North Ashley Drive, Tampa, FL 33602 Comp. internet; $36 overnight valet; $20 daytime valet

(888) 627-8105 #1 Say “Associate” No cell text reservation link Group Code: FL3





Tampa Marriott Water Street Hotel (formerly Marriott Waterside) 505 Water Street, Tampa, FL 33602 Comp. internet for Bonvoy members; $33 overnight valet; $23 daytime valet

(888) 789-3090 #1 Group Code: FMEA





Westin Tampa Waterside 725 South Harbour Island Blvd., Tampa, FL 33602 Comp. internet; $30 valet only

(800) 937-8461 Say “Associate” Group Code: FMEA






November 2022



Personal Health and Safety

Releases Health Risk Acknowledgement By registering for this event, I hereby

acknowledge that I fully understand the

nature and extent of the risk related to the COVID-19 virus and other contagious diseases and agree that by attending this

conference and any related events, I do so

at my own risk. Additionally, I expressly

« « « «

acknowledge the following:

Security Procedures The Florida Music Education Association is working with the Tampa Police Department and Allied Security at the Tampa Convention Center (TCC) to enhance the conference experience for the students and attendees.

Great News! In order to help keep attendees safe, there will be a

heightened security presence throughout the TCC

and at various hotels. All entrances to the TCC will be patrolled by uniformed

officers of the Tampa Police Department and uniformed Allied Security person-

nel. They will be patrolling the TCC as well. The Tampa Police Department will be at the crosswalks between Marriott Tampa Water Street and the TCC, at concerts,


infection by COVID-19 can result in death;

COVID-19 is highly contagious;

the risk of infection and transmission are higher in indoor facilities;

there are no safety precautions that totally eliminate the risk of contracting COVID-19; and

individuals with various underlying

medical conditions may experience worse outcomes.

Information about the precautions

we are taking is posted on our Health Information Page on our website.


and patrolling some of the downtown hotels during rehearsals.

By registering for this event, I hereby

participants) must wear their conference badge during the conference once the

graphic imagery and video footage taken

All attendees (this includes members, exhibitors, chaperones, and student

authorized registrant obtains the conference packet.

Please be prepared for random bag and/or purse searches. It is encouraged,

if at all possible, to use a clear bag, similar to those used at sporting events, for entrance.

Enjoy the Conference Experience.

32    F l o r i d a

Music Director

grant permission to use any and all photoof me at this event and activities pertaining to this event, without payment or any other consideration. I understand that

such materials may be published electron-

ically or in print, or used in presentations or exhibitions.

Frequently Asked Questions Do I get free tickets for my students’ family members to attend the concert? No. You can pre-order and pay for their tickets when you preregister for the

concert, but there are no free tickets.

Concert Tickets All Concert Ticket Sales Are Final. No Refunds or Exchanges.

Please make sure you know the exact name of the all-state ensemble for which you need tickets before approaching the ticket sales window. 1.

Registered (BADGED) attendees do not require tickets to attend any all-state

name badge, so no ticket is necessary.

Attendees that are not registered for the conference (parents, family, etc.) must

Can I buy extra tickets anytime?

All nonregistered (NONBADGED) attendees (parents, family members, guests,

etc.) are required to purchase tickets for any all-state concert they wish to attend


There are no “free” or “allotted” tickets. All concert attendees must either wear


Directors who preregister online may reserve and prepay for all-state concert

their conference badge or purchase a ticket.

tickets for nonregistered attendees for concerts in which they have registered

If you are an FMEA member registered for the conference, you may purchase

tickets at the computers in the on-site registration area anytime during the

regular registration hours. Everyone else

may purchase tickets beginning at 11 am on Thursday.

nonregistered attendees for concerts in which they have registered all-state

There are more family members and guests coming to watch my all-state student than I have tickets. How and when do they get tickets?

Directors with all-state students may purchase additional concert tickets for

general ticket sales open. Tickets will be

the on-site registration desk or at a designated ticket sales location at anytime.

cost $20 each.

all-state students. If paid for online, these tickets will be preloaded into the director’s registration package.

Directors who register on site may purchase all-state concert tickets for students during the on-site registration process.


admission to concerts with their

retired members, and VIP guests that you entered as part of your conference

at $20 per ticket.


chaperones, students) are allowed

purchase tickets.



No. Registered attendees (directors,

concert. This includes directors/members, directors’ non-teaching spouses,

performing all-state students, registered chaperones, collegiate student members,


Can I get free tickets to any concerts?

nonregistered attendees for concerts in which they have performing students at General ticket sales for all-state concerts will begin at 11 am on Thursday at the FMEA registration desk. There is no requirement that the director or any other registered attendee be the person purchasing these tickets after this time.


All ticket sales are final. Concert tickets are nonrefundable.


For entrance, ticket, and concert purposes, a concert is defined as the group of ensembles that are performing in the same venue in a common, defined block of time. An example of a “concert” for purposes of entrance, ticketing, etc., is

the 6 pm concert on Saturday for the All-State Middle School Band, the All-State Concert Band, and the All-State Symphonic Band.

NOTE: No concerts will be held at the Straz Performing Arts Center.

Extra tickets may be purchased when

sold at the main registration area and

Does my young child need to buy a ticket? Everyone who will be taking up a seat

will need a ticket. Babies that are being

held by a parent or sitting on a parent’s lap for the duration of the concert are

welcome without a ticket, but children who are old enough to sit in their own seat will need a ticket.

November 2022


All-State Rehearsal Locations All-State Concert Band

Sheraton Riverwalk

All-State Concert Chorus

Tampa Marriott Water Street

All-State Concert Orchestra

Tampa Marriott Water Street

All-State Elementary Chorus

Tampa Convention Center

All-State Elementary Orff Ensemble

Tampa Convention Center

All-State Guitar Ensemble

Tampa Marriott Water Street

All-State High School Jazz Band

Tampa Convention Center

All-State Intercollegiate Band

Barrymore Hotel Tampa Riverwalk

All-State Middle School Band

Hilton Tampa Downtown

All-State Middle School Jazz Band

Westin Tampa Waterside

All-State Middle School Mixed Chorus

Hilton Tampa Downtown

All-State Middle School Orchestra

Tampa Marriott Water Street

All-State Middle School Treble Chorus

Hilton Tampa Downtown

All-State Popular Music Collective

Tampa Convention Center

All-State Reading Chorus

Embassy Suites Downtown

All-State SSAA Chorus

Westin Tampa Waterside

All-State Symphonic Band

Tampa Convention Center

All-State Symphonic Orchestra

Tampa Convention Center

All-State TTBB Chorus

Embassy Suites Downtown

High School Honors Band

Sheraton Riverwalk

High School Honors Orchestra

Embassy Suites Downtown

Middle School Honors Band

Hilton Tampa Downtown

Middle School Honors Orchestra

Sheraton Riverwalk

34    F l o r i d a

Music Director





.. T I O D


PATELCONSERVATORY.ORG • 813.222.1040 November 2022


36    F l o r i d a

Music Director



FMEA now offers two experiences for high school students who are not participating in an all-state ensemble,

the Student Conference Experience and the Tri-M Conference Experience. Read the comparison here

Student Leadership Session Wednesday, January 11, 2023, 1-4:30 pm Presenter: Anne M. Fennell, MEd

In It to Win It, for Everyone! This workshop is designed for all high

school student leaders who want to learn, thrive, and become the best leader for their schools, peers, and themselves. Attendees will participate in active

conversations and team and relationship

building activities while also discovering their personal strengths and needs to continue to grow on their leadership journeys. Everyone will be engaged

in a culture of inclusivity to see and hear all students whle revealing the

unique strengths and knowledge of our combined voices and experiences.

Tri-M Conference Experience


Student Conference Experience Thursday, January 12-13, 2023

The purpose of the Florida

Music Education Association

Tri-M Conference Experience is to provide students with

Presenter: Anne M. Fennell, MEd The purpose of the Florida Music Education Association Student Conference Experience

experiences that will build

is to expand access to the annual conference

their leadership and advocacy

to students from throughout the state.

skills, as well as expose them

Participating students will interact with

to the experiences available

amazing clinicians and educators, college

Participating students will

groups. These students will have memorable

and educators, college

and share with their high school music

at the annual conference.

representatives, and incredible performing

interact with amazing clinicians representatives, and incredible performing groups. These

programs. The program will take place on Thursday and Friday of the 2023 FMEA

students will have memorable

experiences they can take back

and share with their high school music programs.

experiences that they can take back

Professional Development Conference. Students will participate in

workshops, observe rehearsals, attend

College Night, and engage in networking and social activities with their peers.

Anne M. Fennell, MEd, is the president of

Education, the GRAMMY Foundation, the

and the K-12 music program manager for

Little/Baby Einsteins. She presents sessions

the California Music Educators Association San Diego Unified School District in San

Diego, California. She holds the BME, the

MEd in educational leadership studies, and

Orff-Schulwerk certification Levels I-II-III, and has more than 90 graduate hours in

music and additional education course-

work. Her experiences include 32 years of teaching music composition and steel

Percussion Marketing Council, and Disney’s

and gives keynotes both nationally and

internationally, including state MEAs, the American Orff-Schulwerk Association, the

National Association for Music Education, the

Organization of Economic Cooperation and Development, China music education conferences (through the support of the International

Music Products Industry (NAMM)), and the

drum ensembles in grades 9-12, teaching K-8 integrated

International Society for Music Education. She has received

vocal and instrumental ensembles in civic and profession-

Music Education National Teacher of the Year, 2017 Magnet

arts and music through Orff-Schulwerk, and leading both

al performances, including national music conferences and the annual NAMM Board of Directors’ meetings in 2013 and 2016. She is a published author through Pearson

numerous state and national awards: the 2020 Technology in Schools of America National Teacher of the Year, top 10 GRAMMY Music Educator Finalist for 2016, and top 3 Music Educator Award from Music and Arts in 2015.

November 2022




A Pilot Program First for the 2023 FMEA Conference

Dr. Matthew Arau


Fred Schiff, Chairperson

Dr. Rollo Dilworth

Dr. Robert Gillespie

fter meaningful discussions with our part-

This is an ideal partnership, whereby each presenter

Academic Partners Committee (FCAP) is thrilled to

the issues they encounter in and out of the classroom,

ners at Hal Leonard, the Florida Corporate and

announce that three incredible sessions featuring three

of the best educators in world will present on Friday at

will be offering music teachers additional tools to face allowing all of us to improve.

As I have stated before, the quality of the music

the 2023 FMEA Professional Development Conference.

business community is dependent on quality class-

short list of names they wanted their members to see,

of our communities grow and flourish.

In a nutshell, FVA, FOA, and FBA were asked for a

and Hal Leonard made it happen. It is my pleasure

room teaching, and it is our intention to make sure all If you are a Corporate or Academic Partner that has

to announce that Dr. Matthew Arau (FBA), Dr. Rollo

an idea on how you can help any of our FMEA compo-

in Tampa in January to address our members.

2024 conference, then please contact me. I look forward

Dilworth (FVA), and Dr. Robert Gillespie (FOA) will be

These Pilot Program sessions, though funded by

Hal Leonard, are not about the products they sell.

Renew your partner membership TODAY! 38    F l o r i d a

Music Director

nents and would like to be seen on another level for the to our conversations.

For more information, call 850-878-6844 email info@flmusiced.org

visit FloridaMusicEducation.org/partners

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


BRONZE PARTNERS Florida Southern College Rollins College Department of Music St. Thomas University

University of North Texas University of Tampa

Partners as of October 17, 2022.

*Please visit FMEA.org/partners for partnership details or call 850-878-6844. November 2022


Keep tending the fire!

40    F l o r i d a

Music Director


Recruiting and Maintaining Performing Ensembles Post-Pandemic


by John A. Lychner, PhD

Throughout the pandemic, we have all been searching for ways to engage students in performance experiences, try-

ing to “keep the fire burning.” The “fire” I refer to here is our passion for performing ensembles, including orchestra, choir, band, and others. Just like a well-built and

well-tended campfire, our schools’ performing ensembles

were burning brightly with our passion to perform in our established traditions. Then, like a summer thunderstorm, the pandemic hit and our fire was struggling to stay lit.

Even without a storm, we know that when we have a

campfire that is burning brightly, it remains a strong blaze only when it is tended. Over the years we have developed

a wide range of recruiting and retention strategies to maintain the momentum of our performance programs.

We have tended the fire! However, the pandemic brought with it new challenges that required us to operate in ways that did not even begin to reflect our long-running Continued on page 42

November 2022


Keep tending the fire Continued from page 41

traditions. We met those challenges, but we also learned

The Foundation

and together. So, now, as we’re coming out of the pan-

categorize ourselves and our work (age of the students,

performing and new tools that resulted from our work

tently heard directors talking about the following things

that nothing equaled the experience of performing live

Regardless of any factors we might traditionally use to

demic and beginning to construct a new normal with live

type of ensemble, location of the school, etc.), I consis-

during the pandemic, it is important both to revisit tried-

as basic or foundational to any success they were experi-

and-true approaches to recruiting and retention so we

can update them to fit our current situation and to seek out new approaches that fit our new situations. We must tend the fire that has been challenged by severe weather, keeping the spark alive and adding new fuel to reach a full blaze.

Throughout the pandemic, I kept in touch with col-

leagues and former students from across the country who were experimenting with a wide variety of meth-

ods to keep their students engaged. I heard numerous stories describing new approaches and new takes on old approaches they were trying in their programs. It was a

truly creative time, a time when successful directors did not say things like “______ will never work” but rath-

er “let’s try ______.” There was a new level of analysis regarding what engages students coupled with a new



« « «

space, whether physical or virtual, where the students feel comfortable, valued, accepted, and free from discrimination or harassment.

Stability – The environment we create must have a firm foundation of rules and procedures that are consistently followed.

Accountability – It is important to hold students and ourselves accountable to established expectations. These may be different from group to group, but they should be clearly defined by and for the group.

Flexibility – It is important to be flexible because

rigidity often leads to failure. We know this is true for

physical structures that must have some level of flexibility to withstand storms and earthquakes. However,

level of resolve that our music-making is far too important to let fall by the wayside in education.

Safe space – It is important to consciously create a


we often miss the fact that the same need for some level of flexibility is present in the work we do.

Don’t neglect basics—Listen and adjust – This includes

basics like characteristic tone quality, technical accuracy, posture, breathing, vowel formation, bow tech-

nique, sticking, etc. Don’t allow things like a mask or


a shield to change the musical outcome. Remain true to the music. Get the characteristic sound!

Focus on success – Deal with mistakes, but don’t dwell

on them. Find and reward every possible success, every step forward. Choose music that will include challenges while ultimately resulting in a perfor-

mance where everyone feels successful because of the way the director and the ensemble approached

« « 42    F l o r i d a

Music Director

the rehearsals and the performance through positive mastery learning.

Be creative and allow the students to be creative – Be

sure everyone is seen as an integral part of the path forward and able to contribute in meaningful ways

beyond merely singing or playing the right notes and rhythms.

Be positive and grateful – Don’t take any day or even a single rehearsal for granted. Celebrate every chance to make music together!

While we all can agree that virtually nothing in this

list is new, the fact that successful directors have been consistently saying these things during the pandemic,

“rehearsing” them in a way, is interesting and important. It demonstrates that our mindset, our attitude, and

our resolve make a huge difference in our outcomes. Successful ensemble directors set a strong and solid foun-

dation in the ways they approach the things listed above by being mindful and not taking these things for granted. Students are drawn to this foundation as much as to the music-making.

Recruiting and Retention

As I was listening to colleagues who are finding success, I noted that some of the most successful approaches came

to the fore in several places at once. I was reminded of inventors like Thomas Edison and Nikola Tesla who developed nearly identical things when working virtually

isolated from each other. When it comes to recruiting and

students and stepping back, but rather involving them so

heard about. Everything presented here was reported by

the value of the performing experience. This functions to

retention, I have been impressed by the creativity I have more than one director.

With regard to recruiting, all of the basics still apply—

advertising, meeting, involving current students, and

performing. However, these basics take on a new feeling with new technology and current situations. Advertising

is no longer a poster in the hall or an announcement over a loudspeaker. Those things can and should be included, but with the ability to produce high-quality visuals and

videos, traditional publicity approaches are a part of a larger package with incredible impact through email and social media that can include embedded video and audio.

Even traditional posters can include a QR code that takes

the students and parents to documents or websites with engaging visuals as well as high-quality audio tracks and

they are in their own way “rehearsing” their beliefs in

deepen those beliefs in the students and helps them find

appropriate ways to verbalize and actually incorporate them in what they do. All of this will help lead to what

is often the most important recruiting tool, performing. Choice of repertoire is particularly important here, once again involving the students in choosing the program

and having them suggest times and venues—live and recorded, both audio only and video with audio. These performances, whether live for a school assembly, outside of class times, for a single class, or recorded and presented on video monitors during passing time or lunch, should

demonstrate that performing is fun and something that is approachable.

Once students join an ensemble or program, keeping

videos. These initial contacts lead to group meetings of

them involved over time is critical. Several things that

Teams, or other platforms. In the past, these meetings

tive include increased parental involvement, reinforce-

various sorts, whether traditional in-person or via Zoom, were static and time sensitive, but today they are much

more flexible and, if we allow them to be, can engage more students and parents. During these meetings it is import-

ant to include current students to demonstrate what

ensemble directors have reported being particularly effec-

ment of procedures, being in person whenever possible, programming appropriately, and increased individualized and small-group instruction.

Regardless of the kind of ensemble, it is beneficial to

involvement in the ensemble or program looks like. In

get the students to engage with their parents when they

ly totally student led and/or produced. This is counter to

including demonstration and singing or playing, similar

fact, some of the most successful meetings have been neartradition where the director has been the primary speaker. Note that the director is not turning things over to the

get home each day by explaining what they learned, to what is standard in the Suzuki method. This requires Continued on page 44

November 2022


Keep tending the fire Continued from page 43

the student to remember and review what they did in

ning rehearsals, but as a result of this extra engagement,

of and appreciation for music education, not to mention

harder. Student engagement, positive daily experiences

rehearsal while increasing the parents’ understanding building the family bond. The importance of reinforcing procedures has already been mentioned, but I heard it

reported so often as a reason that successful programs

the students will have ownership and usually will work

with noted progress, and successful outcomes are critical to retention.

These important reminders and potentially new

have survived and rebounded that it bears repeating

approaches to retention were enhanced by several unique

ing stable during the pandemic, so consistency in daily

tion. All of these require some extra preparation by the

here. Students crave stability, but there was almost noth-

procedures provides an incredibly important foundation for retention, whether working in person or remotely. However, I think the pandemic experience has made it

clear to all of us that working in person is always going to be a better musical experience, positively affecting reten-

tion. As with procedures, choosing music was already

discussed but is repeated here because of the number of times I heard it mentioned in recent months. It has always been important to choose quality music that is at an

appropriate level for the students. The difference now is

how the choice is made. Engaging students in the process of choosing music and even in designing the program

for each concert produces a buy-in to the work that will have to be done to prepare and perform the music. The

director will obviously guide the process of researching and choosing the music with the students prior to begin-

approaches to individualized and small-group instrucdirector, but the potential dividends have been demon-

strated to be huge. With regard to individualized instruction, I found three approaches particularly interesting.

The first is based on Recorder Karate, a common part of the elementary music classroom, but here adapted for

middle school and high school ensembles. This involves the director choosing musical examples that represent

key skills and/or knowledge that each student must

acquire during the semester and then providing some

kind of recognition or award for demonstrating mastery of each, like the “belts” added to the recorder. This can

be expanded beyond the individual to include sections competing to see which successfully completes all of the

examples first. Obviously the director can be creative

in how they manage this to make it fun and rewarding based on what works for their students. The second is simply providing recorded examples of individual

parts for students to practice with outside of rehearsal. Technology allows us to do this with much greater ease than in the past. When done by strategically choosing

sections of the music to record, this assists the students

with some difficult passages but then requires them to apply what they have learned to other parts of the music

or other tunes. Correctly transferring the skill or knowledge demonstrates mastery and understanding. The third is employing a “lead sheet” for instrumentalists. Vocalists already have this because they see all parts in

their music whereas instrumentalists only have a single line on their part. Providing a lead sheet that functions

like a mini score, indicating when various parts have the melody, counter melody, and important accompanying

figures in relation to the part being played by each instrument, provides valuable insights into how each part fits into the whole. Highlighting the function of individual

parts, whether in choir, band, or orchestra, is important and can be a very beneficial visual aid. Note that just because choirs have all of the parts doesn’t mean they

44    F l o r i d a

discuss how each part functions or encourage sections Music Director

to look beyond their own line. So, providing individual

musicians, instrumentalists, and vocalists with the big picture and working through it with them helps them

to understand their value as a member of the ensemble. Students will want to continue to be a part of a group

in which they feel valued, whether because of accomplishing performance objectives in fun/creative ways or

because of interesting practice and performance aides that are provided to ensure their success in performance. In addition to these individualized options, I heard of

some small-group instruction options that are extensions of small-ensemble work that we often focus on once a year for MPA. One was designed as a club activity and

started as a Christmas Carol Club that met after school, but it was so popular that it expanded to all holidays throughout the year. The students choose who will be in

their small ensemble and the Christmas carol (or appropriate holiday tune—Valentine, Easter, etc.). Then they

program is beneficial both in regard to improved overall

voice parts or instrumentation, and perform the piece

ment in the program.

consult with the director, write the arrangement for their or pieces. Another approach was similar but focused on

musicianship and retention as a result of students’ invest-

more traditional chamber music, encouraging students

General Maintenance

consultation with the director, and creatively arrange the

built on relationships. We develop those relationships

to form their own ensembles, choose a chamber work in

music, whether for different voice parts or instrumenta-

tion than the original composition or in some different form or format. Then, like with the club activity, they

determine appropriate performance venues. Several of these small groups can perform on the same program,

or each group can develop their own repertoire of tunes. They can perform as people gather for events, during intermissions, or as a featured part of any gathering.

With this kind of small-ensemble program functioning

throughout the school year, there will always be one or more groups prepared to perform for any opportunity

that presents itself. Of course, for MPA the ensembles will be required to follow the established rules, choosing

the makeup of the ensemble based on the requirements of the music, in most cases foregoing the creative component of arranging and, possibly, composing. The director

will need to provide a structure and continually monitor the small-ensemble program for quality control, but the

majority of the work will be done by the students who

will have ownership in both the process and the product.

They will develop independence, and that will trans-

late into better outcomes in large-ensemble work. I was reminded numerous times that a strong small-ensemble

A performing ensemble or a performance program is

over weeks, months, and years. Often students work with

the same director for three or more years. They choose to

be in the program for a variety of reasons, including the music-making, the social aspects of the experience, and the director’s leadership. The successful directors I heard from often noted that as we come out of the pandemic, it is

especially important that there are opportunities to build

community through shared experiences, both musical and nonmusical. It is also important that everyone in the

group feels valued and believes they can succeed and contribute to the music-making in a meaningful way. So,

just as we check in on musical progress via playing tests or other assessments, we need to check in on personal well-being through various activities. Many directors

are setting aside time for group discussions, small and large, or have their students write daily journal entries

at the beginning or end of rehearsal. The most successful

versions of these exercises have specific parameters and

clear instructions to keep everyone focused and to allow all to participate as they deem appropriate. We are not

counselors, and we need to know when the situation calls

for professional assistance. However, directors whose Continued on page 46

November 2022


Keep tending the fire Continued from page 45

programs are bouncing back more quickly have found

the incredible disruption that resulted from the pandem-

so that everyone feels valued and heard, and feels like a

new normal or, better still, our new approach. However,

ways to nurture healthy relationships in their ensembles part of the successful outcome. Conclusion

To successfully move forward as we come out of the pan-

demic, we must continue to be observant and creative. We must provide a safe space for all students where

positive relationships are nurtured and there is stability as a result of established procedures and accountability.

Then, with this foundation established, we can focus on

ic, we may have to work a little harder to establish our we have more tools than ever at our disposal, and we have the opportunity to be creative and establish new

or better things rather than simply putting what we had

back in place. We have the opportunity for a new beginning through which we reimagine music education with

an eye to the future rather than a focus on the past. Let’s reinvigorate our passion for performing ensembles with a new vision and then carefully tend that fire!

meaningful music-making. Sharing the successful out-

John A. Lychner, PhD, is director of music

and enhanced recruiting approaches will draw more stu-

University and is an active clinician/conduc-

comes of this healthy approach through both traditional dents to the program, and the engaging opportunities for

music-making, personal growth, and community-build-

ing that are part of the normal workings of the program will keep students involved over time, especially those that include student leadership and input. As a result of

46    F l o r i d a

Music Director

education in the School of Music at Stetson

tor. Previously, he was professor of music in the School of Music at Western Michigan

University, Kalamazoo. Dr. Lychner taught

band, choir, and general music in St. Louis, Missouri, and Tallahassee, Florida.


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


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

Teaching to the Standards in Large Ensembles


n 1994, as part of a larger standards-based education move-

than the creating, responding, and connecting standards. The

Conference (now National Association for Music Education or

tion and composition—as the most difficult to teach, stating

ment in the United States, the Music Educators National

NAfME) published the National Standards for Music Education (MENC Task Force for National Standards in the Arts, 1994).

After 20 years, these standards were updated and revised by

music teachers from PK-12 and higher education, resulting

in the National Core Arts Standards (NCAS), which include specific music standards (National Coalition for Core Arts

teachers also identified the creating standards—improvisa-

they lacked the knowledge and skills necessary to facilitate

students’ experiences with creative learning outcomes. The participants did appear to desire professional development in

standards-based teaching for ensembles as long as that professional development was specific and relevant to their needs.

The music teachers cited time as a factor impacting their

Standards, 2014). The NCAS, released in 2014, are grouped into

ability to thoroughly address the standards. They stated

all of the arts—creating, performing, responding, and connect-

inhibited their capacity to teach to all of the standards, also

four categories that represent the artistic processes common to ing. The music standards are further organized into strands,

which include PK-8 general music, composition/theory, music

technology, guitar/keyboard/harmonizing instruments, and ensembles. While these national standards are voluntary, at least 28 states have adopted them, which makes them a required part of the professional lives of music educators in those states (National Coalition for Core Arts Standards, 2019).

A group of music teacher researchers (Harney et. al, 2022)

were interested in learning about middle and high school ensemble teachers’ perspectives on addressing the 2014 stan-

dards with their students. To do so, they recruited 306 music teachers from across the country to participate in a research study. All participants completed a survey that was composed

of questions that collected information related to their experiences with teaching to the standards in terms of their (a) train-

ing, (b) interest, (c) ability, (d) sense of responsibility, (e) knowl-

edge of resources, (f) need for assistance, and (g) perception of available time. In addition, one participant from each state was selected for a follow-up interview to delve more deeply into

that a lack of sufficient planning and instructional time

mentioning the number of performance obligations of their

ensembles as a factor. Despite this, the teachers indicated they felt a professional responsibility to provide comprehensive,

standards-based learning experiences for their students. In

addition, some teachers reported feeling pressured to teach to the standards by administrators or because their evaluations

would be at least partially based on doing so. Many of the teachers believed the NCAS could be used to support advocacy of music programs.

Additional details of this study can be found by accessing

it on the Journal of Research in Music Education (JRME) website,

https://bit.ly/nafme-jrme. All FMEA members can read the JRME as part of their FMEA/NAfME membership. References Harney, K., Greene, J. L. R., Katz-Cote, H., Mulcahy, K., & Stanley, L. M. (2022). A view from the inside: Ensemble directors’ perspectives on standards-based instruction. Journal of Research in Music Education. Advance online publication. https://doi. org/10.1177/00224294221126681

their survey responses.

MENC Task Force for National Standards in the Arts. (1994). The school music program: A new vision. Music Educators National Conference.


National Coalition for Core Arts Standards. (2014). National Core Arts Standards. State Education Agency Directors of Arts Education.

All of the study participants indicated they were familiar with the standards, but many weren’t fluent with the specific

details and seemed unclear about how they might be used on a regular basis. The ensemble teachers in this study reported

that their class time was focused on the performing standards significantly more than on any of the other artistic processes

and that they found the performing standards easier to address

National Coalition for Core Arts Standards. (2019). The status of arts standards revision in the United States since 2014: A publication of the National Coalition for Core Arts Standards. https://www. nationalartsstandards.org/

Email your questions and feedback to

wbauer@ufl.edu with a subject heading

Research Puzzles.

November 2022




Lindsey R. Williams, PhD, President

We find ways to help each other.


lobal and local events of the past

to say “What can I do to help?” or “Just

Despite all the pressures related to logis-

or perhaps reinforced—my sense of grat-

ant as lending a neighboring strings pro-

mances, we can be exceptionally adept at

several months have reawakened—

itude. As Florida continues to recover from Hurricane Ian, I am reminded of

our resilience and fortitude. When events such as these occur, our professional community comes together to find ways to help each other.

There’s a meaningful quote from the

late, great Fred Rogers:

When I was a boy and I would see scary things in the news, my mother

would say to me, “Look for the helpers. You will always find people who are helping.”

I believe we have all seen these helpers

in times of crisis, but I’m finding that I’m

seeing helpers doing wonderful things

every day. When I see veteran teachers reaching out to novice teachers simply

48    F l o r i d a

Music Director

checking on you,” that is just as import-

gram a 1/2-size bass or even a platoon of choir parents showing up to a flooded

music room with shop vacs, towels, and cleaning supplies simply because they want to help.

In my estimation, these seeming-

ly disparate examples are all coming from the same place. These helpers are

helping because they are able, and they are helping because they value what those

tics, calendars, and upcoming perfor-

noticing our students and colleagues and being attuned to even the most subtle changes in their moods and behaviors. It is in those times that a simple “Are

you OK?” or “Let me know if I can help” comment can make a world of difference

to them, simply because we know, value, and—dare I say—love our students and colleagues.

As we move toward the conclusion

in need provide. I have been the recipient

of our fall semester, let us continue to

life and quite recently got a pep talk I

kindness in our everyday interactions with

of these acts of kindness throughout my

didn’t realize I needed from a friend and colleague, but I’m so grateful they sensed that I might need some kindness.

Throughout my nearly 30 years of

teaching, I have seen a commonality

among our performing arts colleagues.

reinforce the concept of helping or grace or those around us. Also, let’s not only follow Mr. Roger’s wise words to “look for the helpers” in our classrooms, hallways,

teacher lounges, front offices, and com-

munity, but to revel in the joy of being a helper, too.


Mark A. Belfast, Jr., PhD, Advisor


ach November, as the temperature begins to drop and every menu seems to include some sort of pumpkin spice some-

thing or other, we are all bombarded with reminders to be thankful. We see it on billboards, in those annoying ads in the middle of

our YouTube videos, and painted on storefront windows. Indeed,

across the country, November opens our “holiday season” and is generally considered to be a special time to give thanks.

Nevertheless, things aren’t always peaches ’n’ cream, and

many of us might find it difficult to soften our hearts and main-

tain a posture of thankfulness this year. Only a few weeks ago,

the awesome power of nature was on full display as Hurricane Ian caused destruction across our state and was particularly

devastating for our friends in and around Fort Myers. Today, more than a month later, the recovery efforts continue, and our

colleagues work fervently to put the pieces of their lives back together. This year, we’ve also seen new wars raging overseas

and what seem to be incessant social and political conflicts here at home. Amidst it all, thankfulness is not usually the first word to come to mind.

Yet, WE remain. Here. Now. In the only time we get. So, take

heart, because you are not alone. TOGETHER, we will respond to life’s opportunities with persistent creativity and courage, and

I am certain you will prevail. My confident optimism is fueled

by my faith in your ability to thrive in spite of the hurdles placed in your path. Like forged steel, you too are capable of emerging

stronger and more malleable after the extreme pressures you’ve experienced.

As I observe, I am awestruck by both your brilliance and your

resilience, and I am thankful for YOU! I am thankful you will breathe new life into our profession. I am thankful our children will get to watch you model love, joy, patience, kindness, good-

ness, and respectfulness. I am thankful you will teach them how to persevere when the finish line may still be out of sight.

Finally, I am thankful for the community you have created

within NAfME Collegiate. It is precisely that community that

will enable you to conquer the world soon enough. King Solomon wrote, “A person standing alone can be attacked and defeated, but two can stand back-to-back and conquer. Three are even better, for a triple-braided cord is not easily broken” (Ecclesiastes

4:12, NLT). Therefore, let’s continue to lean on each other, look for reasons to smile, and be thankful. The best is yet to come!

November 2022




Marc Decker, DMA, President

Teddy bear hunts!


hat’s how my community came together to entertain our children in

the first month of the pandemic.

When the lockdown began in spring

2020, it was the children of Florida who

struggled the most. With parks, librar-

ies, beaches, malls, and museums closed,

it was hard to find things to do. My 6-year-old daughter was stuck at home for endless hours and desperately needed

entertainment. The first few weeks were

filled with online streaming, and by the

end of April, my wife and I could act out the entirety of Frozen 2 by memory. My

daughter found entertainment, but what she couldn’t find was social interaction.

The parents in our neighborhood knew

something had to be done, so in late April

giraffe count as a “teddy bear”? The teddy

days of the pandemic and how meaning-

ty. A teddy bear hunt! Nearly all the near-

were a testament to how a community can

We can rebuild our Florida community

of 2020 we came up with a creative activiby homes placed teddy bears in their windows. Some cuddling in large groups and

others sneakily hiding behind window

panes, all looking outward with those big

bear hunts in my small corner of Florida come together to solve one small problem

associated with an international disaster beyond our control.

Sadly, our Florida community is now

bear eyes. The teddy bears provided near

facing another devastating challenge in

children would talk about it while pass-

injury and loss, coupled with catastrophic

endless entertainment each day, and the

ing their friends. Which bears moved and how many did you count today? Was that bear wearing baby clothes? Does a stuffed

the aftermath of Hurricane Ian. Personal

Music Director

together through the smallest gestures,

either financially or by volunteering our time and creativity. It is through the

collection of many small gestures of kindness that we will overcome this challenge together.

My thoughts and prayers are with all

damage to property, have left communi-

those in Florida who were most affected

of the teddy bear hunts from the early

and become stronger.

ties in ruin. As we rebuild, I am reminded

Print. Digital. Direct.

50    F l o r i d a

ful such a small thing was to my family.

by the hurricane. We will rebuild together


Laurie Bitters, President


or many in the state of Florida, this

proceeds to music programs impacted

few weeks ago. The sessions were fantas-

and heartbreak. Some areas were devas-

instruments and other donations to help

all those musicians play such a wide

past month has brought many stresses

tated by Hurricane Ian, and many resi-

dents lost everything. I have been most impressed with how music teachers and students from around the state have ral-

lied to help in any way they can. Some

schools have had fundraisers at their concerts and have asked to donate the

by the hurricane. Others have collected these programs get back on their feet. How wonderful it has been to hear about

that level of generosity! If you are inter-

ested in helping, the FMEA website has a link to help donate.

It was so good to see many of you at

the FOA/FLASTA Fall Conference just a

tic, and the highlight for me was seeing

variety of music during the reading ses-

sions. David Eccles did an amazing job of showcasing diverse styles of music that featured underrepresented composers. I

hope you were able to take some of the information that was shared back to the classroom.

We’ve just completed a major task: all-

state auditions. This process was not as FLORIDA VOCAL ASSOCIATION

Jeannine Stemmer, President

smooth as in other years because many districts could not complete their audi-

tions within the scheduled window. I am so impressed with our district chair-


persons who went out of their way to

by the storm. The city announced school closures and

days and/or driving to multiple sites to

hat do we do when our plans are derailed? What do we do when our

most basic needs are stripped from us? On September 24, 2022, Florida

prepared for Hurricane Ian. It was projected that Tampa would be hit directly prepared for the worst. However, on September 28, the catastrophic category 4 hurricane made landfall in Lee County, approximately 120 miles south of Tampa.

Many Floridians were affected by the devastation, but Lee County was left in pieces.

Years ago, I had a personal storm. On Friday, August

15, 2014, my colleague, Barbara Kingman, and I had a rehearsal with our advanced ladies ensemble a few

days before the beginning of the school year. That evening she told me she was in too much pain to get up from the piano. We quickly found out that an undiagnosed

illness had taken over her body, and she passed away the next afternoon. There I stood, the Saturday before the start of the school year, without my colleague,

my partner, my mentor, and my friend. As I walked through the double doors on

Monday morning, to my surprise I was greeted by two alumni and three parents. They had all taken the week off to get me on my feet and help me survive. One of those parents stayed for three weeks. I didn’t need to figure it out or do it on my

own. I had a community. A community that wasn’t necessarily doing me a favor,

but they were answering a calling that filled their hearts as much as it filled mine. How can one see the silver lining in Hurricane Ian? The answer is community.

Our communities will help pick up the pieces. They will get you on your feet and

help you survive. While the struggle is real, there is beauty to be seen through the devastation. FVA and FMEA will continue to support our state as we rebuild in such a time as this.


make sure that all of the students who

could complete their auditions did so. For some, that included multiple recording

complete this task. Thank you, district

chairpersons, for all of your hard work!

After the auditions were recorded, dozens of our members met in Orlando to adjudi-

cate them. In one day, these selfless judges

listened to many auditions from around the state to create our all-state groups. I

cannot adequately express my gratitude to those of you who volunteered your

time to assist in the audition evaluation

process. I am extremely impressed with the professionalism of the teachers who

participated. The results will be posted

on the website later this month. As we look forward to the FMEA Professional Development Conference, don’t forget to

check the deadlines for hotel room reser-

vations as well as conference registration. There are many great sessions scheduled. I hope I will see you all there!

Thank you for continuing to provide

such a wonderful musical experience for our young people. Never forget the difference you make in the lives of the children in your classroom and beyond. November 2022



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

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

June M. Hinckley Scholarship Professional Development for Members Mel & Sally Schiff Music Education Relief Fund

The following have graciously donated to FMEA from April 1, 2022, through October 17, 2022.

MAESTRO’S CIRCLE $10,000 and up

No current donors at this time.

ARTIST’S CIRCLE $1,000 – $9,999

All County Music Artie Almeida In Honor of June Audrey Grace & Katie Grace Miller Clifford Madsen Russell Robinson

SUSTAINERS $100 – $999

Carlos Abril In Honor of Dr. Nicholas DeCarbo Lucinda Balistreri In Honor of music educators in Sarasota Christopher Banks Kasia Bugaj Dale Choate Deborah Confredo Alice-Ann Darrow In Memory of Mr. & Mrs. O.B. Darrow Virginia Densmore In Honor of Vicki Rhodes Virginia Dickert In Memory of Lindsay Keller & Debbie Liles Scott Evans 52    F l o r i d a

Music Director

Kristin Greene In Memory of Charles E. Inderwiesen, Jr. Stanley Hoch Dennis Holt Frank Howes In Memory of Richard Bowles & Harry Grant Marsha Juday Steve & Beth Kelly Sheila King In Memory of John W. King Jason Locker In Memory of June M. Hinckley & In Honor of those impacted by Hurricane Ian David Martinez-Cooley Robert McCormick Carolyn Minear

SUSTAINERS continued John Nista In Memory of Stanley Dmitrenko Mary Palmer In Memory of Amy Catherine Palmer David Pletincks In Honor of Alexis & Jonathan Pletincks Jeanne Reynolds In Honor of Pinellas County Performing Arts Teachers Rollins College Department of Music Mary Catherine Salo In Memory of Gary Rivenbark & Wes Rainer Steven Salo In Honor of John “Buck” Jamison & Dr. William Prince Kathleen Sanz In Memory of June M. Hinckley Fred Schiff J. Mark Scott In Honor of Dr. Andre Thomas, Dr. Judy Arthur, & Dr. Judy Bowers Scott Sheehan In Honor of those impacted by Hurricane Ian

D. Gregory Springer Jeannine Stemmer In Memory of Barbara Kingman & Lauren Alonso Leiland Theriot In Memory of Clayton Krehbiel Richard Uhler James Weaver Howard Weinstein In Memory of Barry Weinstein Donald West In Memory of Ron Powell, Vista Audio Productions, Inc. Blair Williams David Williams Billy B. Williamson Marilyn Wirsz In Memory of Bill & Shirley Head Anonymous (1) In Memory of Bonnie Nista

PATRONS $25 – $99 Scott Apelgren Michael Antmann Judy Arthur In Honor of Raymond Kickliter & Nancy Marsters William Bauer David Bayardelle On Behalf of Harry Spyker Mark Belfast In Memory of Dr. Mark A. Belfast, Sr. Richard Bradford In Honor of William S. & Helen H. Bradford Greg Carswell Blair Clawson In Honor of Ginny Densmore, Alice-Ann Darrow, & Vicki Rhodes Dayna Cole In Memory of Linda Mann Paul Davis Marc Decker Dewey Dodds Judith Evans

Bradley Franks In Memory of Gary W. Rivenbark Julie Hebert Julia House In Memory of Dr. Kimberle Moon McKee Monroe Lewis Joseph Luechauer Kevin Lusk John Marshall Lloyd McIntyre In Memory of Bob Hager Kim Miles Katie Grace Miller In Honor of Artie Almeida Victor Mongillo Ree Nathan Galen Peters Edward Prasse Melissa Rawls John Sinclair Joanna Sobkowska Parsons John Southall Mark Stevens

Valerie Terry David Verdoni John Watkins Sondra Wenninger Collins Graeme Winder On Behalf of all our hardworking music educators Anonymous (4)

Continued on page 54

November 2022


DONORS Continued from page 53

FRIENDS up to $24 Crystal Berner Laurie Bitters Jessica Blakley In Memory of John Rose Antonio Borges Thomas Brown In Honor of Dr. Samuel A. Floyd Joseph Callaway Gwendolyn Carroll Bethany Confessore Beth Ann Delmar Jodie Donahoo Revae Douglass Ross Denise Dumala Christopher Dunn Monica DuQuette Debbie Fahmie Shelby Fullerton Michael Gabriel Tina Gill In Memory of Gary Rivenbark

Walter Halil James Hammond Angela Hartvigsen William Hazlett Jon Hutchison Jason Jerald Kathleen Kerstetter Mary Keyloun Cruz In Memory of George Paul Keyloun Deborah Mar In Dedication to Mrs. Barbara Kingman Kyle Matthews Katie McGuire Menges Ethan Morency Chad Norton In Memory of Cassandra Jean Norton Jessica Oyster In Honor of the new band director in my family John Parris Hank Phillips Amanda Quist In Memory of Patricia Koning

Diana Rollo Melissa Salek Ian Schwindt Joani Slawson Kelly Southall Eddie Steadman Andrea Szarowicz Mark Thielen Noiree Weaver Bradley Wharton Julian White In Memory of Kenneth Tolbert Lindsey Williams Jennifer Zahn Anonymous (11)

Print. Digital. Direct. Florida Music Education Association offers advertising in:

� The Florida Music Director Magazine � Conference Program � All-State Concert Program � Conference Sponsorships � Direct Sponsored Emails � Website Banner Ads

Florida Music Director reserves the right to refuse any ad not

prepared to the correct specifications OR to rework the ad as needed with fees applied.

54    F l o r i d a

Music Director

Information can be found at




Sondra A. W. Collins, Chairperson

It is not the joy that makes us grateful; it’s the gratitude that makes us joyful.


n this month of thankfulness, I find myself thinking of so many who have

done so much for me, for my work, for FMEA, and for music education as a

whole. I could not be filled with more joy over all those for whom I am so grateful.

I want to take this opportunity to thank

everyone who took the time to submit a

nomination packet for the 2023 FMEA Awards Program. It was obvious that the nominators put much time and effort

into the application process. We received applications representing all areas of the state, from large districts to small rural

districts. The selection committee was impressed by seeing evidence of quality

music education happening in a variety of demographic settings. We certainly have

Debbie Fahmie, past awards committee

FMEA shine when the success of the

chairperson, states it best:

conference is being realized. John has served in this capacity under seven

Just over a decade ago, Joe Luechauer

FMEA presidents now and somehow

established a Conference Planning

manages to meet the high demands of

Committee and appointed Dr. John

all the various components and com-

Southall to head it up. Having served

mittees. There is no one more deserv-

on that committee for 11 years, I have

ing of the FMEA Conference Service

gotten to know the real John Southall

Award than Dr. John Southall.

very well. I see John as the Wizard

of Oz … the man behind the curtain

who no one really sees, but who is responsible for making it all work.

It’s not just magic, but lots and lots of time, labor, and love that go into putting together a conference year

after year, despite whatever challeng-

es are thrown at you. John makes

Let’s hear from Dr. John Southall,

chair of the Performing and Visual Arts Department, director of bands, and coor-

dinator of music education and music therapy at Indian River State College, and

conference planning committee chairper-

son and past president of FMEA, in his own words, on gratitude:

many worthy individuals and programs we would love to celebrate.

I also want to seize the oppor-

I’d like to thank the

tunity to thank the dedicated members of the FMEA Awards

FMEA Awards Committee

job of selecting awardees for each

derful honor upon me. I

for bestowing this won-

Committee, who had the daunting

am deeply honored and

major category. Trust me when I

humbled by this wonderful

say it was no small job. The com-


mittee did due diligence in review-

This award should be

ing each and every list of achievement and letter of support pre-

given to everyone. I would

ultimately selecting our awardees.

every FMEA staff member,

like for every volunteer,

sented in each nomination packet,

Dr. Kathy Sanz, our execu-

Soon you will have the opportunity to read about all of the amazing

tive director, and everyone

2023 FMEA awardees. I know you will be

involved in making our FMEA conference wonderful—I would like for all of you

As you think about all those you would

ing professional development conference in the nation without the wonderful

just as inspired by them as we are.

like to thank this month, I’d like to put out one last special message of gratitude for the recipient of our 2022 FMEA

Conference Service Award, the amazing Dr. John Southall. His tireless work on behalf of FMEA as our FMEA conference

planning committee chairperson is so very appreciated by so many.

to accept this award with me. We would not have, arguably, the most outstand-

leadership from our staff members, our Executive Committee, our FMEA Board, and the hundreds of volunteers—event coordinators, ensemble coordinators, session coordinators, and more. It would not happen without all of these indi-

viduals. And of course—Val Anderson! We must all accept this award together, with the greatest humility and the greatest honor.

I appreciate all of the thought and the kindness for considering me for this

award, and I gladly accept it for everyone.

November 2022



CommitteeReports M

ost people, and especially teachers,

would agree the last two years

have been challenging. COVID affect-

ed our health, jobs, and socialization. Then, this fall we experienced one of the most devastating hurricanes to hit our

state. Life has been tough. I hope music educators throughout the state have felt

FMEA’s presence during these trying

times. I know that a good percentage of our board meetings are spent discussing

how to support and maintain contact

with our members. We have attempted to

do so through ongoing advocacy efforts, offering professional development, maintaining our publications, continuing our component meetings and conferences,

and providing relief funds for teachers and schools in need. Music educators are

amazingly resilient. It has been impressive to see the way our teachers have persevered and come back to the classroom still excited to teach.

FMEA 2023 is only two months away.

The FMEA conference committee, staff, components, and board are working hard

to make FMEA 2023 a rewarding and

Session Topics for FMEA 2023

The committee for Social Justice and Diverse Learners is facilitating three sessions at FMEA 2023. The social justice

topics for these sessions were selected because of their relevance to music edu-

cators. Social justice is the view that all people deserve equal rights and justice in

terms of economic and political opportu-

nities and privileges within a society. By its definition then, social justice is comprehensive. Because of time constraints,

our three session topics for FMEA are not comprehensive, but they do warrant atten-

tion due to issues facing music teachers and students in schools today. The session

topics for the 2023 FMEA Professional


Development Conference are:

« «

Transforming and Empowering

Women Through Choral Music and Community

Facilitating the Success of Students

With Disabilities Through University and School Partnerships

Supporting LGBTQ Music Educators and Students Through Gay Choirs

The following pages provide a glimpse

educationally productive conference. We

into the ideas that will be expanded on

to see you and to reconnect. This issue

readership will be interested in learning

hope you will be there. We are eager

and the December issue of Florida Music Director will publicize some of the conference highlights.

during the conference. I hope the FMD more about these topics at FMEA 2023. If

any member has an idea for future FMEA

session topics related to social justice and

diverse learners, please do not hesitate to contact me at alifsu@mac.com. I hope to see you in Tampa, January 11-14, 2023!

References American Association of Union Workers. (2022). The simple truth about the gender pay gap. AAUW Research and Data. Retrieved from https://www.aauw.org/resources/research/ simple-truth/ Block, M. (2022, March 30). Teachers fear the chilling effect of Florida’s so-called ‘Don’t Say Gay’ law. NPR News. Retrieved from https://www.npr.org/2022/03/30/ 1089462508/teachers-fear-the-chilling-effectof-floridas-so-called-dont-say-gay-law Field, K. (2022, May 23). Under new laws, some teachers worry supporting LGBTQ students will get them sued or fired. USA Today. Retrieved from https://www.usatoday.com/ story/news/nation/2022/05/23/lgbtq-civilrights-laws-worry-some-teachers-who-fearpunishment/9859737002/?gnt-cfr=1 Jones, J. M. (2021, February 24). LGBT identification rises to 5.6% in latest U.S. estimate. Gallup News. Retrieved from https://news.gallup.com/poll/329708/ lgbt-identification-rises-latest-estimate.aspx National Center for Education Statistics. (2022). Characteristics of public school teachers. Condition of Education. U.S. Department of Education, Institute of Education Sciences. Retrieved from https://nces.ed.gov/ programs/coe/indicator/clr Neile, R. (2020, June 16). Fired gay teacher ‘ecstatic’ after Supreme Court grants LGBTQ workplace protection. Florida Today. Retrieved from https://www.floridatoday. com/story/news/2020/06/16/fired-gayteacher-ecstatic-after-supreme-court-grantslgbtq-workplace-protectionfired-gayteacher-e/3197578001/ United States Census Bureau. (2022). What is the gender wage gap in your state? Retrieved from https://www.census.gov/ library/stories/2022/03/what-is-the-genderwage-gap-in-your-state.html Webb, L., Clary, L. K., Johnson, R. M., & Mendelson, T. (2021). Electronic and school bullying victimization by race/ ethnicity and sexual minority status in a nationally representative adolescent sample. Journal of Adolescent Health, 68(2), 378–384.

The Tri-M Music Honor Society is a program of the National Association for Music Education, which focuses on creating future leaders in music education and music advocacy. Learn more at:

56    F l o r i d a

Music Director


Transforming and Empowering Women Through Choral Music and Community Why women? Recent data indicate that 76% of the teachers in public schools are women (National

Center for Education Statistics, 2022). Women teachers experience inequities even today. For exam-

ple, the gender-based wage gap in the United States has narrowed in recent years, but disparities remain: the national wage gap for women was $10,150, though less in Florida at $7,705, according to the U.S. Census Bureau (2022). “Women working full time in the U.S. are still

In the future, there will be no female leaders. There will just be leaders. – Sheryl Sandburg

paid just 83 cents to every dollar earned by men—and the consequences of this

gap affect women throughout their lives. The pay gap even follows women into retirement: As a result of lower lifetime earnings, they receive less in

Social Security and pensions. In terms of overall retirement income, women have only 70% of what men do” (AAUW, 2021, para. 2).

Historically, inequities existed for women even in the arts. At one time,

women were told they were not going to be conductors or composers, and it was very unlikely they would ever play professionally in an orchestra. Women

were not allowed to participate in marching bands. Across the globe, many

women face restrictions personally, academically, medically, and socially based on their sex and gender. Only in the last half century have women in the United

States won the right to earn equal pay for equal work, the right to participate in educational or sports programs funded by the federal government, the right to be

hired and work while pregnant, and the right to apply for a credit card or a mortgage without a husband or father cosigning.

There is no doubt women have made considerable progress in recent years.

Yet, only in the last 50 to 75 years have women become conductors of professional orchestras, Pulitzer Prize winners in music, Supreme Court justices, secretaries of

Women belong in all places where decisions are being made. It shouldn’t be that women are the exception. – Ruth Bader Ginsburg

state, an attorney general, the speaker of the House, U.S. astronauts, and in 2020,

vice president of the United States. It is fair to ask the question: Will there ever be a woman governor of Florida or U.S. president?

November 2022


Facilitating the Success of Students With Disabilities Through University-School Partnerships Why students with disabilities? Title II of the Americans with Disabilities Act of 1990 (ADA) II states: “[N]o qualified individual with a disability shall, by reason of such disability, be excluded from participation in or be denied the benefits of the services, programs, or activities of a public entity, or be subjected to discrimination by any such entity.” Yet, the arts education gap is widest for students with disabilities and those living in poverty. The Every Student Succeeds Act (ESSA) calls on states to take advantage of opportunities to combat uneven access to quality instruction in music and the perform-

ing arts—a key component of a well-rounded education. Nevertheless,

students with disabilities still face barriers to access music education and

music-making. Many students are unable to find private teachers who

meet their needs, or the knowledge and funds to access adapted instru-

ments, and many music educators in schools still grapple with the challenges

of teaching students with disabilities, especially those with multiple disabilities. Music education, like all education for students with disabilities, has

improved for students with disabilities. We have moved from an exclusion

model, where students were educated in segregated, self-contained classrooms, to an inclusion model, where students with disabilities have the right to a free and appropriate music education in the least restrictive environment. Each

year, increasing numbers of students with disabilities participate in school music programs. Before the Individuals with Disabilities Act was passed, public schools educated approximately only one in five children with disabilities. Most children with disabilities were denied access to their neighborhood schools and were educated in segregated institutions if they were educated at

all. We have come a long way indeed, but we still must work to close the arts education gap for students with disabilities. University-school partnerships are one way we can narrow that gap.

Photo: alabamafamilytrust.com

University-school partnerships are mutually beneficial collaborations between institu-

tions of higher education and PK-12 schools for the purpose of supporting teacher education, in-service teacher professional development, and PK-12 student learning. They can also be collaborations between a university teacher preparation program and a local PK-12 school or district. Over the last

20 years, music teacher preparation programs have stressed the need for quality fieldwork experiences for university

students preparing to be music educators. Perhaps because the music education of students with disabilities is often seen as distinctly different from general music education, university-school partnerships in music and special education are

rare. By including a session on such partnerships at FMEA 2023, perhaps more university and school educators will seek to collaborate and thus promote the successful music education of students with disabilities in music classrooms.

58    F l o r i d a

Music Director

Photo: musicworxinc.com

Supporting LGBTQ+ Music Educators and Students Through Gay Choirs

Gay Men’s Chorus of Tampa Bay. Photo: cltampa.com

Why LGBTQ+ music educators and students? In 2022, more teachers and students than ever

before identify as LGBTQ+, yet we live in a time when policy and societal pressures can often make life difficult for many of our teachers and students (Jones, 2021; Block 2022). After years of increasing support, many teachers now report feeling unsafe and concerned about their job secu-

rity. LGBTQ+ youths’ educational success and personal well-being are also in potential jeopardy (Neale, 2020; Field, 2022). Recent research indicates that bullying is still having wide-ranging, negative, and cascading effects on young people’s overall mental and physical health, including

increasing odds of attempting suicide (Webb, et al., 2021). As music educators, we can make our classrooms a safe place for all students; however, musical refuge can happen in other spaces as well. Gay choirs are one means of providing support to our colleagues and students.

Gay choirs have existed for nearly half a century in the United States. Gay choirs create and

serve communities, foster music education, and share many pedagogical techniques with other types of musical ensembles. The first gay choir came into existence in 1978. Its director, John Reed

Sims, was committed to providing quality music. The choir was an instant success and continues

today. The mission statements of most gay choirs include sentiments such as “to create extraordinary music and experiences that build community, and foster compassion and understanding”— sentiments shared by many musical organizations. Like all music ensembles, gay

choruses provide community, friendships, and musical fulfillment. Choirs have also taken

the opportunity to extend the message of tolerance, especially concerning students who are bullied. Several directors have commissioned choral works that include lyrics intended to

provide support and comfort to these students. As music educators, we can also support

our students by including repertoire and performances that highlight the intersectionality of the LGBTQ+ community and some of our most prolific musical composers and artists.

November 2022


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

FMEA Responds to Hurricane Ian


MEA and the entire music community is

concerned about the welfare of our students,

families, and teachers who experienced the

devastation of Hurricane Ian. Our hearts and thoughts are with all of you. In an effort to assist

in the comeback, FMEA has established ways you can reach out for assistance as well as ways you can help those in need.

How to Request Assistance

Go to FMEA.org/help and click on the Submit A Help Request button.

How to Help

Donate to the Mel and Sally Schiff Music

Education Relief Fund on the FMEA Donation Page at FMEA.

impacted by the disaster that are in need of assistance can con-

form. This fund was started by FMEA board member Fred Schiff

org to learn more.

org/help. Just click on the Donate button to fill out the online

in honor of his parents shortly after Hurricane Irma in 2017.

tact MHOF Program Manager Eric Reynolds at eric@mhopus.

A committee will meet to determine the distribution of funds

Advocacy and Government Relations

You can find other ways to help by clicking on the View Music

the opportunity to help make important

among the schools that have submitted Help Requests.

Program Needs button. There you can browse the list of needs submitted by our schools and contact the teachers directly to let

them know how you can help. Even if you don’t have the specific items requested, perhaps there is another way you can help them recover.

FMEA is also working closely with national organizations to

seek assistance for Florida schools.

Mr. Holland’s Opus Foundation Administered Holland’s






VOTE! On November 8, 2022, you will have decisions on the future of education gener-

ally and music education specifically. Use

your voting privileges to make a difference in Florida students’ education.

You will have the opportunity to vote for

Florida governor, Florida senators, Florida representatives, local

elected officials, school board members, superintendents, and amendments to the Florida Constitution. Unity in Music Education: Building Communities One Note at a Time

(MHOF), Music Rising is a


affected by natural disasters in

Development Conference Unity

national relief fund for schools the United States and U.S. terri-

tories. In response to Hurricane Ian and its damage to Florida,




the 2023 FMEA Professional in Music Education: Building Communities One Note at a Time:


schools that experienced loss of

Be sure to watch the FMEA web-

of instruments through the Music Rising program. Schools

excellent conference in Tampa,

or damage to musical instruments may qualify for a donation

60    F l o r i d a

Music Director

site to take advantage of this

FMEA Executive Director Kathleen D. Sanz, PhD

2022-23 FMEA Membership:

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

January 11-14, 2023. The FMEA leadership and staff are looking forward to seeing everyone there.

The FMEA hotel block opened September 24. Please

note that the deadline to cancel an unneeded hotel room is November 12, 2022, at 5:00 pm, after which time

your credit card will be charged the first night’s stay. See more information in this magazine.

Professional Development Opportunities


for Members

Summer Institute – The FMEA Summer Institute will be held June 12-14, 2023, at the University of

South Florida in Tampa. The Summer Institute is

an inspiring multiday professional development training involving a relatively small number of successful, well-respected music educators. The Summer


Institute application is on the FMEA website.

FSMA Summer Leadership – Florida

School Music Association (FSMA) will

once again hold their Summer Leadership Seminar July 16-19, 2023, at the Renaissance Sea World in Orlando. Talk to your component leadership to

receive additional information on this excellent experience to develop your skills.

Health and Wellness

Please continue to be aware of your own as

well as your students’ physical



health. There will be a 3K walk/run during the FMEA

conference in January. Sign up on the FMEA website to participate.

Looking forward to seeing you in January at the

FMEA Professional Development Conference and AllState Concerts.

Kathleen D. Sanz, PhD


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


The circulation of the Florida Music Director is 4,500 educators. Published eight times annually by The Florida Music Education Association, Hinckley Center for Fine Arts Education: 402 Office Plaza, Tallahassee, FL 32301-2757. FMEA reserves the right to approve any application for appearance and to edit all materials proposed for distribution. Permission is granted to all FMEA members to reprint articles from the Florida Music Director for non-commercial, educational purposes. Non-members may request permission from the FMEA office.


Article and art submissions are always considered and should be submitted on or before the 1st of the month, one month prior to the publication issue to: D. Gregory Springer, PhD, dgspringer@fsu.edu. All articles must be provided in digital format (e.g., Microsoft Word). All applicable fonts and images must be provided. Images must be at least 300 dpi resolution at 100% of the size. All submissions must be accompanied by a proof (color, if applicable). Ads may be submitted via email to val@fmea.org.

Advertiser Index The Florida Music Director is made possible by the participation of the following businesses whose advertisements appear in this issue. They make it possible to provide you with a high-quality publication, and we gratefully acknowledge their support of our mission. We hope you will take special notice of these advertisements and consider the products and services offered. It is another important way you can support your professional association and the enhancement of Florida music education. The publisher does not endorse any particular company, product, or service. The Florida Music Education Association (FMEA) is not responsible for the content of any advertisement and reserves the right to accept or refuse any advertisement submitted for publication. Information for advertisers (rate card, insertion orders, graphics requirements, etc.) can be found at FMEAMediaKit.org. Florida Music Director reserves the right to refuse any ad not prepared to the correct specifications OR to rework the ad as needed with fees applied. ADVERTISER

Florida International University.......................................................................... IFC Naples Concert Band.....................................................................................................6 Patel Conservatory at the Straz Center for the Performing Arts.....................35 Sight Reading Factory...............................................................................................24 University of Florida................................................................................................ BC Advertisers shown in bold provide additional support to FMEA members through membership in the Florida Corporate and Academic Partners (FCAP) program. FCAP partners deserve your special recognition and attention.

November 2022


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



Mark Custom Recording Service, Inc.

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

Music Man, Inc. Orlando Sings West Music Company

Partners as of October 17, 2022.

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


Florida Music Director


Officers and Directors


Shelby Chipman, PhD

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

Steven N. Kelly, PhD

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

Jason Locker

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

Bernard (Bernie) Hendricks, Jr.

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

Marc Decker, DMA

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



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

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

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

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

FSMA President .......................................................................Jane Goodwin jane.goodwin@sarasotacountyschools.net


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

Conference Planning Committee.............................John K. Southall, PhD Indian River State College; 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810; johnsouthall@me.com Contemporary Media................................................... David Williams, PhD University of South Florida; 4202 E. Fowler Ave., MUS 101 Tampa, FL 33620; (813) 974-9166; davidw@usf.edu Emerging Leaders............................................................ Mary Palmer, EdD 11410 Swift Water Cir.; Orlando, FL 32817 (407) 382-1661; mpalmerassoc@aol.com Florida Corporate & Academic Partners..................................Fred Schiff All County Music; 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fred@allcountymusic.com Government Relations..................................................Jeanne W. Reynolds jeannewrey@gmail.com Health & Wellness........................................................ Revae Douglas Ross Brandon High School; 1101 Victoria St.; Brandon, FL 33510 (813) 744-8120, ext. 311; revae.douglas@hcps.net

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

Southeastern University ayopp@seu.edu Florida NAfME Collegiate Advisor

Mark A. Belfast, Jr., PhD

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

Lindsey R. Williams, PhD

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

Laurie Bitters

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

Jeannine Stemmer

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

Chad Norton

Miami Northwestern Senior High School cnorton@dadeschools.net


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

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

Allison Yopp

Past President..........................................................................Alexis Hobbs Southeastern University; (352) 220-2791; aphobbs@seu.edu

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

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

Florida NAfME Collegiate President

Florida NAfME Collegiate

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

FEMEA President

Joani Slawson

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

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

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

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

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

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


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


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

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

Public Affairs & Communications Coordinator..................................... Jenny Abdelnour, CAE (jenny@fmea.org)

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

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

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

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


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

November 2022


64    F l o r i d a

Music Director