Florida Music Director - October 2018

Finding the Theory in the Music The Florida Bandmasters Association

PLUS: Prelude to the 2019 Conference FEMEA President-Elect Candidates

Lighthouse Project

Launch your musical aspirations today.

School of Music and Fine Arts 2019 Audition Dates: March 2

|

March 16

|

March 30

THIS IS YOUR TIME TO LAUNCH. www.pba.edu/music 888 GO TO PBA (468-6722) West Palm Beach, Florida

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)

Contents October 2018 Volume 72 • Number 3

Editor-in-Chief

Mark A. Belfast, Jr., PhD Southeastern University College of Arts & Media 1000 Longfellow Blvd.

Lakeland, FL 33801 (863) 667-5104 (office) (mabelfast@seu.edu)

Editorial Committee Terice Allen (850) 245-8700, Tallahassee (tallen1962@hotmail.com) Judy Arthur, PhD Leon High School, Tallahassee (850) 488-1971 (arthurj@leonperformingarts.org) 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 Pinellas County Schools, Largo (727) 588-6055; (reynoldsj@pcsb.org) John K. Southall, PhD Indian River State College, Fort Pierce (772) 462-7810; (johnsouthall@fmea.org)

F E AT U R E S

FEMEA President-Elect Candidates. . . . . 8-9 Prelude to the 2019 Conference

Registration Fees and Procedures. . . . . . . . . 11

Registration and Ticket Policies.. . . . . . . . 12-14 Frequently Asked Questions.. . . . . . . . . . . . 14 2019 Contracted Hotels.. . . . . . . . . . . . . . . 15

Student Conference Experience. . . . . . . . . . . 16

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

Official FMEA and FMD Photographers

Bob O’Lary

Finding the Theory in the Music . . . . . . . . 18 The Florida Bandmasters Association Lighthouse Project. . . . . . . . . . . . . . . . . 22

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..

Advocacy..

. . . . . .

. . . . . . . . . . . . . .

Advertiser Index.

. . . . . . . . .

Academic Partners.

. . . . . .

Corporate Partners.

. . . . . .

Component News.

. . . . . . .

5

Committee Reports. .

6

Research Puzzles..

7

. . . . .

. . . . . . .

2018-19 FMEA Donors. .

26

. .

32

36 38

Executive Director’s Notes. 40

27

Officers and Directors.

28

. . .

October 2018

41 3

UNIVERSITY OF FLORIDA SCHOOL OF MUSIC

Welcomes new faculty

Dr. Laura Dallman Rorick Lecturer, Music History

Undergraduate

Dr. Shannon Lowe

Assistant Professor, Bassoon

Bachelor of Music Performance Theory Composition Combination with an Outside Field (Interdisciplinary Music) Bachelor of Music in Music Education Bachelor of Arts Music Theory & Composition History & Literature History & Literature (Ethnomusicology)

Dr. Jemmie Robertson

Assistant Professor, Trombone

Graduate

Master of Music Performance Music Education Conducting Theory Composition History & Literature Sacred Music Ph.D. in Music Education Ph.D. in Music Composition Musicology/Ethnomusicology

Auditions

School of Music application

arts.ufl.edu/music

INCOMING FRESHMEN (scholarship consideration) January 19, 2019 January 26, 2019 January 27, 2019 TRANSFER STUDENTS March 16, 2019

President’sMessage

Choices

Kenneth Williams, PhD

I

t is all about choices. Yes, the choices we make about what to teach, how to teach it, when to teach it, and through what music we will convey that knowledge, those skills and, most

President Florida Music Education Association

important, that moment when the making of music touches the soul. (Remember, Hot Cross Buns can be incredibly artful, if artfulness is our primary goal.)

I suppose that each of you, at some pivotal moment in your life, was transmogrified (verb:

transform in a magical or surprising manner … I really like that word. KW) by a musical experience that took your breath away, that gave you shivers up and down your spine, that made your

heart swell, that touched your inner being. That experience was so powerful and wonderful

that you have spent the rest of your life, thousands and thousands of hours, hoping to capture another moment of musical bliss. We never know when it might happen. Often when we least

expect it, music electrifies us to our core. (NO! I don’t need an intervention … this is one addiction that I am happy to own as it markedly enriches the value of my existence. KW) I would guess that, like me, this is what drove you to become a musician and perhaps prompted you to invest much

of your life in opening the door to others so they might experience that life-changing moment

Today is only one day in all the days that will ever be. But what will happen in all the other days that ever come can depend on what you do today.

– Ernest Hemingway

where musical lightning strikes … and to do that, you became a teacher of music.

Today, after many years in education administration, I find myself back in the classroom. I

confess that I am never happier than when I am teaching and making music, and one might

think after these many years that I would find the task so simple, like falling off a log. Yet I find myself waking in the middle of the night and agonizing about the choices I am making

for what I choose to teach and how I will lead my students on this journey of musical discovery and acquired skill. I agonize because the choices I make may very well be the determining

factor of whether those kids experience a lightning bolt that sparks a lifelong love of music

making. So I must ask myself, could any of those choices extinguish the light? This profound

Only those who will risk going too far can possibly find out how far one can go.

– T.S. Eliot

responsibility is sometimes overwhelming.

«« I must present my students with the highest quality of literature that has a goodness-of-fit to their technical and musical skills and abilities, for commonplace does not touch the heart. «« Although gaining ownership of technique is necessary and can be a source of great pride and a feeling of accomplishment, it does not raise gooseflesh on your skin. «« Without purposeful intent to be artful in all we do, the opportunity for that moment of Over the years I have learned that a few choices are nonnegotiable:

“Aha!” may be lost forever.

Promise me that you will have intent of purpose for the choices you make, as you bear the

responsibility for the musical lightning bolt for each child in your care.

Respectfully,

Kenneth Williams, PhD, President

Florida Music Education Association

October 2018

5

AdvocacyReport I

n this most unusual climate of zero-sum, transactional, polar-

ized politics, we have taken time to reflect and to adapt our

committee to be most effective in the 2018-19 school year. We invite all FMEA members to be actively engaged in advocacy

efforts. There has never been a more important time to vote and to be an informed voter.

«« All FMEA members are encouraged to vote. Best data avail-

November Elections

able suggest that 72% of FMEA members are registered to vote and 69% voted in a past election. There is still work to

«« October 9 is the deadline to register to vote in the November do.

elections. Reach out to ensure all FMEA members, friends

«« Research candidates. Go beyond written statements. Attend candidate forums and talk to candidates. «« Consider volunteering for a candidate you support. Make calls. Knock on doors. It will make a big difference. «« FMEA cannot endorse candidates. We do suggest you con-

and relatives are registered to vote in this important election.

sider the following. From school board member to super-

intendent to state representative to governor, think about which candidate will ensure a high-quality, comprehensive music education for ALL students and vote accordingly.

Jeanne W. Reynolds

Chairwoman Government Relations Committee

«« Explanation of train bills and why FMEA opposes them «« How parents can advocate for music education/the legislative process, etc. «« How to advocate at the state level/how to contact your legislators «« How to advocate at the national level «« How to advocate at the local level «« Legislative session recap This grant will enable us to capture video from students at the

FMEA conference who will respond to a prompt such as “What my music class means to me …” We can use this footage on the website, in webinars and in short advocacy videos.

We are developing plans to build a parent advocacy database.

This will include a link on the website where parents can opt in to be part of our advocacy network. This comes as a result of

parent requests. Parents have indicated that they want to com-

municate directly with FMEA on advocacy issues because they understand how busy music teachers are.

Cohort Data

We will continue to pursue getting a new cohort data update from the class of 2016-17 or 2017-18. This is a work in progress.

Advocacy Steering Committee

FMEA member online renewal included a question asking members if they would be interested in advocacy work and issues.

More than 740 members indicated an interest. This is great

news! We are rebuilding an advocacy steering committee of 15 to 20 members from the 740 members who indicated interest.

Steering committee members should represent the diversity of

FMEA members and include representatives from all component groups. Please send your recommendations for this comGovernment Relations Advocacy Information

FMEA has won a CMA (Country Music Association) Foundation Grant to support our 2018-19 advocacy efforts, which include a

plan to develop a series of 10- to 15-minute webinars and short (30- to 60-second) marketing videos suitable for social media

«« The importance and ease of voter registration in Florida «« Explanation of FMEA’s 2019 legislative platform «« Collegiate Music Education Day at the Capitol on the following topics:

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Florida Music Director

mittee to reynoldsj@pcsb.org.

Please provide the name and

contact information and the reason you are recommending this individual. The responsibilities for the steering committee will

«« Help develop the 2018-19 FMEA legislative platform «« Help boost the FMEA social media efforts «« Participate in and/or advise on the webinars/videos mentioned above «« Help build and advise on the parent advocacy database «« Advise on the advocacy video project «« Advise FMEA staff to keep advocacy webpages current be as follows:

«« The platform will be finalized after the December Capitol Hill Group meeting. «« The highest priority platform item is to get some legislation 2019 FMEA Legislative Platform Development

written and sponsored that includes music and arts educa-

tion in some part of the state accountability formula, most

«« Addressing financial literacy legislation will be a high priority. «« FMEA board members are encouraged to share their most likely in the acceleration area.

pressing issues to be considered for legislative platform development.

Important Dates October 9, 2018

Deadline to register to vote in

November election

November 6, 2018

Election Day

December TBD

Capitol Hill Group meeting with

FMEA, FAEA, FSMA, CFAE to finalize 2019 platform

December-March

Legislative committee meetings

March 5, 2019

Regular Legislative Session begins

May 3, 2019

Regular Legislative Session ends

«« VOTE in all elections—local, state and national. «« Ensure all colleagues, friends and neighbors are registered to vote. «« Talk to all colleagues, friends and neighbors about the power of music and arts education. «« Be actively engaged in local decision making, whether at the school or school board level. «« Evaluate individual music programs for their inclusiveness and commitment to ALL. «« Check the FMEA and CFAE websites for advocacy information. «« Deliver a stellar music program at your school. There is no

All FMEA Members To-Do List

better advocacy than an outstanding program.

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

CIRCULATION: 4,500 educators. Published eight times annually

by The Florida Music Education Association, Hinckley Center for Fine Arts Education: 402 Office Plaza Tallahassee, FL 32301-2757.

FMEA reserves the right to approve any application for appearance and to edit all materials proposed for distribution. Permission is granted to all FMEA members to reprint articles from the Florida Music Director for non-commercial, educational purposes.

Non-members may request permission from the FMEA office.

SUBMISSIONS: Article and art submissions are always considered and should be submitted on or before the 1st of the month, one month prior to the publication issue to: Mark A. Belfast, Jr., PhD, mabelfast@seu.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.

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.

2018-19 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.

to learn Visit FMEA.org/membership more about the benefits of active membership.

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.

ADVERTISERS

Florida Atlantic University............................................................................ 17 Negro Spiritual Scholarship Foundation....................................................... 25

Palm Beach Atlantic University................................................................. ICF

Smoky Mountain Music Festival.................................................................... 32 University of Florida......................................................................................... 4 Advertisers shown in bold provide additional support to FMEA members through their membership in the Corporate and Academic Partners program. These advertisers deserve your special recognition and attention.

October 2018

7

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

ASHLEY PEEK

A

shley Peek is a native of Oxford, Alabama. She earned the BME from Auburn University in 2012.

She completed Orff Schulwerk certification in 2015

under the instruction of Jennifer Donovan and Sue Mueller.

She is now in her seventh year as the general music teacher at Holley Navarre Intermediate School in Navarre, Florida. In

addition to teaching general music, Mrs. Peek also conducts

an after-school auditioned fifth grade chorus as well as an auditioned fifth grade percussion ensemble. Outside of school, she performs with the Pensacola Civic Band. In 2014, she was

awarded the Santa Rosa Arts and Culture Teacher of the Year award. She serves as chairwoman of FEMEA District 6 as well

as southern division representative for NAfME’s Council for General Music.

Vision Statement

Music is a medium that can reach each and every person in the world in some way. Every year I make it my goal to do that for my students, whether it’s the student who feels that music “just

isn’t their thing” or the student who already has big dreams to win NBC’s The Voice or become a symphony orchestra super-

star. For that reason, I strive to expose my students to a wide variety of mediums each year. Before they leave my class, my

students can say they have experienced world music; have travelled through musical time periods; and

have been composers, innovators in music and even scientists. Through singing; dancing; and performing on Orff instruments, percussion instruments, recorders and ukuleles, my students leave as true performers

of music, with the teamwork and critical thinking skills that each of those things requires. Music teaches responsibility, adaptability, perseverance and dedication. By giving my students the performing oppor-

tunities and tools to be successful musicians, I know they will leave with the ability to be successful in whatever they may choose to do in life.

My vision for FEMEA is that we provide teachers with the resources needed to give their students that

feeling of success and musicianship. Professional development is vital for teachers to strengthen their

educational foundation and keep the joy of music alive in their classrooms. I believe in the power of our All-State Chorus and All-State Orff Ensemble. Serving on the FEMEA board for District 6, I have seen

great progress in these ensembles. Our All-State Chorus program has grown each year and continues to flourish. The addition of the All-State Orff Ensemble has enhanced the conference experience for our

teachers and students by adding another outlet for teaching and sharing music. I would like to continue the development of these ensemble experiences.

Finally, through professional development and our performing ensembles, I envision that we use these

components to strengthen music advocacy in our state. If our members have incredible conference experi-

ences and leave with a renewed spark, they will be our very best advocacy resources as they take back that spark to their classrooms and pass it along to their students.

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Florida Music Director

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

J

JOANI SLAWSON

oani Slawson is a proud product of Brevard County Public Schools. She was active in chorus throughout her formative

years and is a 1995 graduate of Eau Gallie High School in

Melbourne, Florida. In 1999, she graduated summa cum laude

from the University of Central Florida with the BME. Her primary instrument is voice, and her specialty is choral directing.

She has taught music in Florida public schools for 19 years and is currently the music teacher at Saturn Elementary School in

Cocoa. Joani was a 2018 semi-finalist for the Grammy Music Educator Award. Saturn Elementary has earned the Florida

Arts Model School Designation, 2018-21. At the 2017 FMEA Professional Development Conference, Joani served as the clinician for the Elementary Choral Reading Session. In 2011,

Joani was selected a Yale Distinguished Music Educator. In

2007, she was the Saturn Elementary Teacher of the Year. Ms.

Slawson is chairwoman of FEMEA District 8. She has served as a member of the Brevard County Curriculum Writing

Team and is currently on the Music Advisory Board, Music Leadership Team and Brevard County Mentor Council. She is the director of the Brevard Youth Chorus and also has a thriving private studio of voice and piano students.

Vision Statement

Elementary music instruction is the foundation of a compre-

hensive, sequential music education for ALL Florida students.

Young children are receiving the tools they need to begin a lifelong love of music when they are able to sing, move and play instruments. The inherent life skills embedded in music educa-

tion contribute to students becoming productive members of

society. A college professor once told me music education majors are the hardest working stu-

dents on campus; after 19 years of teaching elementary music, I know elementary music teachers are some of the hardest working teachers at school. The many performances and extracurricular

activities on top of teaching general music classes make our job very demanding. In order for elementary music teachers to continue to do their job with a smile on their face and a song in

their heart, it is essential for teachers to attend relevant and uplifting professional development.

I believe the Florida Elementary Music Educators Association provides these vital tools to sup-

port teachers on their teaching journey. It is my belief that when elementary music teachers come together to learn, laugh and strengthen their practice, they will be better able to deliver a complete music education to inspire generations to come.

October 2018

9

ARTISTRY:

Teaching &Performing

2019 CONFERENCE REGISTRATION All registration information must be entered online (click here  ). 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: Exhibitors will scan the barcode on your badge. Students and chaperones will also have a barcode on their badges. In order for them to receive information from the exhibitors, we ask you to provide the ACTUAL MAILING and EMAIL ADDRESSES for each of your students and chaperones.

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Florida Music Director

2019 FMEA Professional Development Conference & All-State Concerts January 9-12, 2019 // Tampa Convention Center

REGISTER FOR CONFERENCE

Registration Fees and Procedures

The following information is for your information only, and is not an invoice for registration. In order to register for the conference, you must click the Register for Conference button.

DESCRIPTION

Director/Member

Collegiate Member

Retired Member

Preregistration (Sept. 22 - Dec. 7)

On-Site Registration

$50

$80

$130 $0

$160 $0

Non-Teaching Spouse

$65

$90

Paid Chaperone

$45

$65

All-State Student

$55

$85

Non-Teaching Spouse of Retired Member Free Chaperone

$0

$0

$0

$0

Tri-M Student

$30

$30

Preconference Workshop (First-Year Teachers)

$25

$25

Preconference Workshop Concert Tickets

VIP Member

VIP Preconference Workshop

Leadership Workshop Student

Leadership Workshop Chaperone

Student Experience - Student

Student Experience - Chaperone

$50 $15 $0 $0

$30 $0

$30

$30

$60 $15 $0

$0

$30 $0

$30

$30

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

mailing a check to the FMEA office to pay for your registration, it must be postmarked SEVEN DAYS BEFORE the preregistration deadline.

October 2018

11

ARTISTRY:

Teaching &Performing

Registration Policies 1. All participants—directors, students, chaperones and guests—must be registered for the conference.

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

3. All participating students must be chaperoned. As required by the Florida School Music Association, at least one chaperone, other than a director, is required for every 10 students

or fraction thereof; however, FMEA policy allows for one free chaperone for every six students or fraction thereof.

4. An additional paid chaperone may be registered for (a) each six students registered or (b) for each all-state rehearsal site where registered students are performing.

5. If a participating student is not accompanied by the direc-

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

participating in sessions or working for the all-state concerts are exempt from this rule.)

tor from that student’s school, then the principal from that

7. All school music teachers must register for the confer-

school or school district who is to be in charge of that student.

FMEA. This includes directors of invited performing groups,

school must furnish a letter designating the person from the The letter shall 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.

ence as FMEA directors and must be current members of

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.

Concerts at the Straz Performing Arts Center If tickets have not been purchased for them by a registered director, all nonregistered attendees (parents, family members, guests, etc.) may pur-

chase tickets for any Straz concert they wish to attend at $15 per ticket

at the FMEA registration desk between 11 am on Thursday and 7 pm on Friday. Starting at 9 am on Saturday, all remaining tickets for Straz con-

certs will be sold outside of the Straz Performing Arts Center.

Registered (BADGED) conference attendees no longer need to pick up free

tickets in advance.

There will be a separate line for badged attendees. An FMEA staff

member or volunteer will be standing at the front of this line leading into the Straz center to distribute tickets to badged attendees as they walk into

the performing arts center. Only one ticket per badged person will be dis-

tributed, and that person must immediately walk into the Straz center and give the ticket to the Straz staff member who is collecting tickets.

12 F l o r i d a

Music Director

All-State Ticket Policy 1. Registered (BADGED) attendees do not require tickets to attend any all-state concert. This includes directors/members, directors’ non-teaching spouses, performing all-state

students, registered chaperones, collegiate student members, retired members and VIP guests that you entered as part of your conference registration.

2. All nonregistered (NONBADGED) attendees (parents, family

members, guests, etc.) are required to purchase tickets for any all-state concert they wish to attend at $15 per ticket.

3. There are no free or allotted tickets. All concert attendees

must either wear their conference badge or purchase a ticket.

4. A director who preregisters online may reserve and prepay for all-state concert tickets for nonregistered attendees for concerts in which he or she has registered all-state students.

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

5. A director who registers on site may purchase all-state con-

cert tickets for nonregistered attendees for concerts in which he or she has registered all-state students during the on-site registration process.

6. A director with all-state students may purchase additional

concert tickets for nonregistered attendees for concerts in which he or she has performing students at the conference on-site registration desk or at a designated ticket sales loca-

tion at any time.

7. 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 to purchase tickets after this time.

8. All ticket sales are final. Concert tickets are non-refundable.

9. For entrance, ticketing and concert purposes, a concert is defined as the pair 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 2 pm concert on Saturday for the Middle School Honors Band and the High School Honors Band.

October 2018

13

ARTISTRY:

Teaching &Performing

Refund Policies 1. Full registration refunds are available for cancellation requests made through December 15, 2018.

2. No registration refunds will be made for cancellations made after December 15, 2018, except for emergency situations.

These will be reviewed on a case-by-case basis.

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

4. All requests for refunds must be received no later than January 31, 2019. Requests received after that date will not be processed.

5. All refunds will be issued after the conference is completed.

6. Concert tickets are non-refundable.

Chaperone Registration

Chaperone registration is based on the following rules:

«« For each elementary student registered, one free chaperone and one paid chaperone may be registered. «« Any additional attendees must purchase a guest pass at Elementary Students

on-site registration for entry into the convention center.

«« For every six students registered, one free chaperone and

Middle School and High School Students

one paid chaperone may be registered. No other chaperones

«« Any additional attendees (chaperones or guests) must purmay be registered until the seventh student is registered.

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

«« If you have students in more than one performing ensemble,

EXCEPTIONS

you may pay for a chaperone for each performing ensemble

«« If you have students from different schools, you may pay for in which you have registered students.

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

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.

Can I get free tickets to any concerts?

No. Registered attendees (directors, chaperones, students) are allowed admission to concerts with their name badge, so no ticket

is necessary. Attendees who are not registered for the conference (parents, family, etc.) must purchase tickets. At the Straz

Performing Arts Center, registered attendees with their conference name badge will be handed a ticket immediately before they walk in the door.

Can I buy extra tickets any time?

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

may purchase tickets at the computers in the on-site registration area at any time during the regular registration hours. Everyone else may purchase tickets beginning at 11 am on Thursday.

There are more family members and guests com-

ing to watch my all-state student than I have tickets. How and when do I get tickets for them?

Extra tickets may be purchased when general ticket sales open on

Thursday at 11 am. Tickets will be sold at the main registration area for $15 each.

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Music Director

Hotels Contracted for 2019 FMEA Professional Development Conference

HOTEL – Cutoff date: 11/10/18

Barrymore Hotel Tampa Riverwalk 111 West Fortune Street, Tampa, FL 33602 Courtyard by Marriott Downtown Tampa 102 East Cass Street, Tampa, FL 33602 DoubleTree by Hilton Tampa Airport Westshore 4500 West Cypress Street, Tampa, FL 33607 Embassy Suites Downtown 513 South Florida Avenue, Tampa, FL 33602 Embassy Suites Westshore 555 North Westshore Blvd., Tampa, FL 33609 Four Points by Sheraton Suites Tampa Airport Westshore 4400 West Cypress Street, Tampa, FL 33607 (includes comp internet) Hilton Downtown 211 North Tampa Street, Tampa, FL 33602 Holiday Inn Tampa Westshore Airport 700 North Westshore Blvd., Tampa, FL 33609 (includes comp internet & parking) Marriott Waterside 700 South Florida Avenue, Tampa, FL 33602 Residence Inn 101 East Tyler Street, Tampa, FL 33602 (includes comp breakfast & internet) Sheraton Tampa Riverwalk Hotel 200 North Ashley Drive, Tampa, FL 33602 Westin Tampa Waterside 725 South Harbour Island Blvd., Tampa, FL 33602 Discounted parking: $10 overnight valet only

Single

(813) 223-1351 Group Code: FMEA (813) 229-1100 Group Code: FMEA (813) 879-4800 Group Code: FMEA (813) 769-8300, ext. 1 Group Code: FMEA (800) 749-2974 Group Code: FMEA (888) 627-8261 Group Code: FMEA (800) 445-8667 Group Code: FMEA (800) 315-2621 or (813) 289-8200 Group Code: FMEA (888) 236-2427 Group Code: FMEA (800) 627-7468 Group Code: FMEA

(800) 325-3535 Group Code: FMEA (800) 937-8461 Group Code: FMEA

ROOM RATES Double Triple

Quad

$139

$139

$139

$139

$152

$152

$152

$152

$153

$153

$153

$153

$239

$239

$249

$259

$189

$189

$199

$209

$140

$140

$140

$140

$205

$205

$205

$205

$124

$124

$124

$124

$205

$205

$205

$205

$171

$171

$171

$171

$197

$197

$217

$217

$194

$194

$194

$194

October 2018

15

ARTISTRY:

Teaching &Performing

2019 FMEA Student Conference Experience The purpose of the Florida Music Education Association’s Student Conference Experience is to expand access to the annu-

al conference to students throughout the state. Participating

students will interact with amazing clinicians and educators, college representatives and incredible performing groups.

These students will have memorable experiences they can take back and share with their high school music programs.

«« Online nominations will begin on September 23. «« The conference schedule and the list of clinicians/sessions will be available no later than October 1. «« Updates and information can be found at FMEA.org.

Program Details

«« Student participants must be nominated by their music teacher. «« The music teacher must be a current member of FMEA. «« Music teachers must be registered for and attend the FMEA conference in order for their students to participate. «« All nominations will be reviewed by a select committee, and all decisions are final. «« High school students in grades 9-12 are eligible. «« A school, regardless of the number of music teachers, may nominate up to three students. «« Participating schools are required to have one parent chap-

Criteria/Guidelines

erone attend all Student Conference Experience activities at the conference. The music teacher may not serve as the

«« All participating students and chaperones will be required chaperone.

to stay at the conference hotel designated for the Student Conference Experience.

Any questions should be directed to Michael Antmann (michael.antmann@ocps.net)

and Charlene Cannon

(charlene.cannon@ocps.net) , coordinators of the FMEA

Student Conference Experience.

16

Florida Music Director

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October 2018

17

Finding the Theory in the

Music

by John D. Ash

No. 1 from 40 Advanced Studies for B b Bass Tuba by H.W. Tyrrell © Copyright 1948 by Hawkes & Son (London), Ltd. Reprinted by permission.

W

While observing a rehearsal at a high school in Virginia, I witnessed a colleague of

mine get blindsided with the question that all music students ask eventually: “Why do we have to know scales?” While this is a common question that many of us have had to answer, my colleague’s answer was short and to the point. She said, “Because the last

400 years of music are based on them.” While some may argue the importance of scales and the history of such an answer, for the most part, she is right.

There are dozens of theories and pedagogical practices that educators have used to

teach scales to students. The purpose of this article is to describe a method of reinforc-

ing scale instruction by teaching students how to make transfers to the music in front of them. I have had great success using this method with one of the étude books I use with my private lesson students. These particular études are not just technical studies to which students must submit in order to move on to the next étude in the book. They

are practices in freshman music theory that, if used correctly and thoroughly, may forever change the way my students approach every piece of music.

For the sake of this article I am going to examine étude #1 from 40 Advanced Studies

for B b Bass by H. W. Tyrrell. This is one of the first books my tuba students begin using.

Étude #1 gives the student a workout in Eb major and both its relative and parallel minors.

1 2 3 4 5 6

7

14

22

8

15

9

10

16

23

17

11

18

12

19

13

20

21

24

Here, the student is playing in E b major with no major issues or anything that

remotely ventures out of the major key. It is a straightforward lesson on arpeggios on the tonic and dominant seventh chords of E b major. I would be remiss not to point out

the opportunity for an intense theory lesson in harmony, dominant chords and progressions, just in the first 24 measures of this étude.

Continued on page 20

October 2018

19

Finding the Theory in the Music Continued from page 19

In measure 25, a modulation occurs to the relative minor key, C minor. I encourage

my students to consider that every time accidentals appear, a change has occurred and they should be able to identify it quickly.

29

30

25

31

32

26

27

33

34

28

35

Here it is clear that the intention was to move the key from E b major to C minor,

which is indicated by the arpeggios and the recurring B naturals (leading tones) throughout this section.

Measures 41-44 are arguably in the key of E b major before moving to E b minor in

measure 45.

43

50

44 45

51

52

41

46 47

53

54

42

48 49

55

After this section concludes, the étude moves back into E b major and ends.

In this étude alone, the studio professor has the opportunity to reinforce the E b major

scale, along with the tonic and dominant seventh arpeggios, the C minor (relative

minor) scale and arpeggio and the E b minor (parallel minor) scale and arpeggio. Many first-year music theory students study scales, triads and seventh chords within the first

few weeks of their freshman theory class. Making connections between their music theory class and private lessons is not only worthwhile to them as music students, but it enables the students to analyze their music and look for these types of connections.

20 F l o r i d a

Music Director

To move a step beyond private lessons and ĂŠtudes, this practice can, and should, be

utilized in the ensemble setting as well. While working with an area high school band

recently, we discussed the notes the tuba section was playing. The young players were not fully aware of their role in the ensemble, especially when playing the roots of the chords. After running through the part and dissecting it with the students, the use of

scales was exposed, as was the importance of long notes that provided integral chord tones.

As directors, we spend a lot of time rehearsing, running and fixing, and we often

miss opportunities to expose students to the world of music theory. Approaching music

lesson plans with a theory mindset can provide the students in your ensembles with opportunities to explore how a composer approached a piece and used scales to manip-

ulate the listener’s emotions. Furthermore, assisting students to make connections between music theory and the solo or ensemble literature they perform may not only

provide them with opportunities for deeper levels of understanding and mastery, but it can aid in the critical development of young musicians’ ears. It certainly seems worthwhile to find the theory in the music.

John D. Ash has served the world of music education for 21 years. He is

the freshman music theory professor and director of bands at the College of Central Florida in Ocala. He resides in Citrus Springs with his wife, Jong, and their three sons.

October 2018

21

The Florida Bandmasters Association

Lighthouse Project

by DaLaine Chapman, PhD

I

It is often said that observing quality

observing a video does not always result

or refine concepts—particularly in the

shown; therefore, included in the vid-

teaching is an effective way to learn

in a deep understanding of the material

music room. We used to hear of teach-

eos are interviews both pre- and post-

ers visiting other schools and perhaps

rehearsal. These interviews provide the

spending an entire day watching their

viewer an opportunity to see and hear

colleagues rehearse their ensembles. For a

what intentions the teacher had for the

variety of reasons (very few of which are

lesson, what actually occurred in the les-

attributed to lack of interest), this practice

son and of course, the learning outcome.

has waned over the years and teachers do

The basic premise is that all teachers need

not get out as much as they used to. In an

beacons of light at one time or another,

effort to make the observation of quality

and we think the Lighthouse Project will

teaching more accessible to its members,

serve that purpose. This project will pro-

the Florida Bandmasters Association has

vide the opportunity for everyone to see

developed an innovative solution: the

master teachers in action in their own

FBA Lighthouse Project.

environments.

The FBA Lighthouse Project was

developed by Jim Matthews and DaLaine

How the Lighthouse Project Works

observe, via video, the work of excellent

fies master teachers (Lighthouses) as exem-

Chapman as a tool for band directors to

The Lighthouse Project Committee identi-

teachers. Since the internet allows us to

plary models of teachers in our field. We

span the globe, we think the least we can

record full class sessions of those teach-

do is to take advantage of technology

ers, and then edit the videos to highlight

and upload videos of the good teaching

one or two of their teaching strengths.

that occurs in secondary school bands

Any number of classes (at the choosing

across Florida. We recognize that simply

Continued on page 24

October 2018

23

Lighthouse Project Continued from page 23

of the Lighthouse) can be video recorded.

The shortened videos (highlighting des-

ignated concepts) will then be uploaded to the Florida Bandmasters Association’s website for viewing by anyone who has

interest in a particular topic. For example, a teacher may need to review new ways

to warm up an ensemble or how to teach

rhythmic exercises. As the video library

increases, so will the number of concepts that will be available. Videos may range

anywhere from 10 to 15 minutes (interviews included).

There are several kinds of Lighthouse

teachers, for example, those who focus on the sound concept of bands as well as

other fundamentals and those who can offer guidance on organization, class-

room management, recruitment, etc.

There are many fine teachers in our state,

reflect their work. Lighthouse teachers

perfectly. Viewers will see many differ-

each has their own strength(s) at which

and likely no one teacher does everything

ent types of teaching and perhaps more important, many different types of learn-

ers. Our vision is to highlight lessons provided by master teachers, covering

the many topics necessary to become a

Be on the lookout on the FBA website

are good at many aspects of teaching, but

and in the Florida Music Director for the

they excel. We will highlight one or two

Project! For more information, feel free to

of those strengths on video and be able to show it to any teacher who is struggling with that particular concept.

This project draws great interest

first installment of the FBA Lighthouse

contact Jim Matthews at matthews.jim @brevardschools.org

or

DaLaine

Chapman at chapmand@fau.edu.

successful band director.

from many leaders in the Florida Music

Dr. DaLaine Chapman is an assistant

who are beacons of light for their own

in other secondary component organi-

education at Florida

We know there are many teachers

Education Association, including those

students, helping them through issues

zations (e.g., FVA, FOA). We are proud

also know that with the high number of

is leading the way in what we think is

both in and out of the band room. We

quality teachers we have in FBA, we will not be able to get around to everyone

to make a video. One of the questions

asked is exactly what qualifies a teacher to be considered a Lighthouse? First and foremost, these teachers must be very

good at what they do, and because of this, they have earned the respect of students,

that the Florida Bandmasters Association an advantageous way to add a layer of mentorship for all ability levels—from

beginning teachers to veterans. Although this project may also have positive results

at the elementary level, we thought it best

to begin our work in secondary band classes.

We hope if you are called upon to be

parents and colleagues. Selections are not

a Lighthouse, you will work with us to

assessment ratings, as we know that on

helpful to our membership, but inspiring

necessarily based on music performance any given day a rating may not go our way. That being said, we do think that

if teachers are very good at what they do, then it is likely the MPA ratings will

24 F l o r i d a

create videos of teaching that are not just as well. For all of us who want to contin-

ue to learn new and/or different ways to

teach our students, we hope this will be of great benefit.

Music Director

professor

of

music

Atlantic University.

Her research interests are music teacher

evaluation and assessment as well as the

supervision of student

teachers. Dr. Chapman is an active conductor/clinician, presenting at numerous clinics and conferences nationwide. Her professional affiliations include Florida Music

Education Association, Florida Bandmasters Association,

Texas

Music

Educators

Association and the National Association for Music Education. She is a member of the Omega chapter of Phi Beta Mu. She

holds bachelor’s and master’s degrees from

Florida State University and the PhD from the University of Texas at Austin.

October 2018

25

26

Florida Music Director

October 2018

27

ComponentNews N

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Rosemary Pilonero, President

ow that the initial weeks of the

getting things in order. Our FEMEA

excited about Northern Regional (Octo-

everyone is feeling right back at home

been processing all of the finances for

(November 3 at Florida Southern Uni-

school year are past us, I hope

making music in your classrooms. Thank you for preparing and submitting all-

state/regional auditions during the busy start of the school year. District chairper-

sons have worked very hard to process all the paperwork. All-state coordinators Robert Todd and Holly Mullenix have

been diligently preparing materials and

executive director, Jenn Sullivan, has the auditions. A great deal of work goes

ber 27 at UF) and Southern Regional versity) this year! Click here

for more

on behind the scenes, and we are very

details. Even if your students are not

sons, coordinators and executive direc-

consider attending one or both of these

grateful for the service of our chairpertor. Good luck to everyone, and we look

forward to beautiful concerts this fall and in January.

In addition to All-State, we are very

participating in these ensembles, please premiere events to observe master con-

ductors at work. Regional attendance is FREE with FEMEA membership! You will

gain valuable knowledge by observing

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

Stacie Rossow, DMA, President

A

s everyone in higher education in the state of Florida

competing for the same pool of students, we all must work

dents in four years without an excess of credits. That is the

not isolated in the problems we are facing, even though each

is now acutely aware, we are expected to graduate stu-

standard. Gone are the days of taking electives to better yourself or your understanding or to feel better prepared to enter

the professional world or graduate school. While those of us

granting baccalaureate degrees have felt the crunch from our

administrations, we cannot forget that our colleagues at the two-year institutions are also under similar pressures. The

success of their students and their ability to transfer seamlessly to our programs directly impacts our metrics.

As president of FCMEA, I have heard that many of you

together for the sake of music education in Florida. We are of our institutions feels like an island. We must begin to be proactive rather than reactive. We must find a way to let the

powers that make the decisions know that we also want the success of our students in a timely manner. But they must

be informed that a student taking an additional course or ensemble to better their skills or knowledge should not be punished if they do so while maintaining good standing and progress toward graduation.

I hope we can come together and discuss these and other

are taking steps to ease the burden on students: adhering to

pressing topics at both the Fall Conference and the January

about the electives they take and the impact they might have

important, not only so we understand we are not alone in this

the common prerequisites; ensuring students are thoughtful later on; and finding creative ways to avoid credit excesses.

But I want to use this platform to let everyone know we have a common voice and a common goal. Though we all are

Professional Development Conference. That dialogue is so predicament, but so we can share ideas to find a way through

this for our current and future students and for the state of music education in Florida.

Interested in submitting an article for publication in the Florida Music Director?

Learn more at: FMEA.org/FMD

28

Florida Music Director

FLORIDA COLLEGIATE NAFME

Jennifer Luechauer, President

the outstanding process used by master teachers as they work with students and then perform a concert.

In addition to all-state and regional

procedures, the FEMEA Executive Board

continues preparations for the annual FMEA conference. Preregistration is now open, so this is the time to talk to

your administrators about attending the

FCNAfME Fall Conference

Conference in Tampa, January 9-12. Be

SUCCESS IN YOUR FIRST YEAR

2019 FMEA Professional Development

sure to educate them about all of the professional development opportunities

October 28-29, 2018 Florida Southern College - Lakeland, Florida

you can even get them to pay part of your

Click Here to Register Now!

available to you at the conference. Maybe

costs ... it never hurts to ask! Click here

Preregistration is $7

for a letter to help start that conversa-

tion, and click here

for all conference

SCHEDULE

information. In addition, never hesitate to reach out to any board member at any time.

Sunday, October 28, 2018 9am

Check-in/Registration

10am

this year. We have two outstanding can-

Opening Remarks “If it is to be, it is up to me” – Dr. Shelby Chipman, Advisor, FCNAfME

11am

“Music Education Now and in the Future” – Dr. John Southall

District 8) and Ashley Peek (chairwom-

12:30pm

Lunch

2pm

“Parent-Booster Groups: Can’t Live With Them, Can’t Live Without Them” – Dr. Doug McCullough

3pm

Meet the Supervisors – Florida Music Supervisors Association

4:30pm

more about these remarkable individ-

“Want to Teach College? Why it may or may not be the route for you” – Stacie Rossow

5:30pm

“(Trans)porting LGBTQ Students: Overnight Trips, Concert Attire, and More” – Ryan Aquirre and Braeden Ayres

during the conference; please be sure to

6:30pm

“The Arts Connect Us: Benefits of Working With Fine Arts” – Joseph Luechauer

Districts 1, 3, 5 and 7 will have elections

7:30pm

Final Remarks From Executive Board

Speaking of board members, there will

be an election for FEMEA president-elect

didates—Joani Slawson (chairwoman, an, District 6). Our organization will be in great hands under the leadership of

either candidate. Please look for their

bios and vision statements in this issue of Florida Music Director so you can learn

uals. Voting will be done electronically vote whether or not you are in Tampa. this year, also done electronically. Please stay tuned for more information, and

reach out to your district chairperson if you would like to serve our wonderful organization.

The FEMEA board is here to work for

YOU! Contact us anytime. Please visit our website at femea.flmusiced.org

Monday, October 29, 2018 8:30am

Opening Remarks

9am

Presentation – Bernard Hendricks

10am

Advocacy Committee Presentation

11:45am

Remarks – Dr. Kenneth Williams, FMEA President, and Dr. Steven Kelly, FMEA President-Elect

12n

Closing Remarks – FCNAfME Executive Board

and follow us on our Facebook page.

October 2018

29

ComponentNews

FLORIDA ORCHESTRA ASSOCIATION

Jason Jerald, President

I

hope you were able to take some classroom R&R at our

FOA/FLASTA 2018 Fall Conference. It was wonderful seeing

all of you who were able to attend. It was a special honor to

meet our keynote speakers, Carrie Lane Gruselle and Peter L.

tion process. Once the all-state results have been posted, please

remember to release any hotel rooms you will no longer need in order to assist those who may still need reservations.

In the midst of stuffing those music folders, grading pass-

Boonshaft, and to witness the wonderful sessions presented

offs and preparing for fall performances, don’t forget to build

able to return with great ideas for your classroom. We are truly

of need. Take the time to go over the basics and patiently see

by our very own FOA and FLASTA members. I hope you were blessed to have such insightful colleagues here in Florida. Be sure to check our website, myfoa.org

, for handouts shared

from the conference sessions. I would like to thank our vendors as well as our Executive Committee and Conference Planning Committee for their incredible support.

Congratulations to those who auditioned for All-State this

year. It is truly inspiring to witness our incredibly talented

students from around the state. A special thank you to Brian Hellhake and all those who assisted with the all-state adjudica-

upon the strengths of your students and to develop their areas

the fruit of your labor. As always, I want to encourage you to create a culture of leadership in your classroom and enlist the help of your students. I am continually amazed at their poten-

tial, not only musically but also administratively. We certainly

have the power to cultivate an enriching learning environment, in hopes of yielding better citizens and perhaps even future

music educators. In the words of George Frideric Handel, “I

should be sorry if I only entertained them. I wish to make them better.”

2019 FMEA Professional Development Conference & All-State Concerts

ARTISTRY:

Teaching &Performing

BECOME AN EXHIBITOR Click Here for Media Kit, Exhibitor Information Packet and booth pricing and information.

30 F l o r i d a

Music Director

ComponentNews

FLORIDA BANDMASTERS ASSOCIATION

Cathi Leibinger, President

J

ust like that, summer is over and

2. Work smarter, not harder: Parkinson’s

5. Make friends before you need them:

Everyone is establishing good rehearsal

the time allowed.” Most of us expe-

music education professor told me

the new school year is underway.

routines in their classrooms. Our march-

ing programs are well on their way to having amazing shows ready to perform.

Beginners around the state are excited to choose their new instrument and are making those first exuberant sounds.

The beginning of the year is full of possibilities, but it can also be a time of

extreme stress. There are so many things

to do and never enough time to do them all. Here are some things you can do to help mitigate the workload and avoid stressful situations.

1. Set good habits: Decision fatigue

is a real thing. Studies have shown that after long periods of decision making, our ability to make good

decisions deteriorates. Developing a routine for some of our regular

tasks can help manage our workday flow. Personally, I keep my phone off during the workday and only

on in the moment, making focused decisions when my mind is fresh.

todian. They both have the ability

pulling an all-nighter to finish it.

to help you get things done. Make a

Instead, try setting a timer while you

point to take an interest in what your

are working on a project. It’s amazing

fellow faculty members are doing in

how more focused you can become if

their classes. Create conversations

you try to beat the clock. If you have

and develop close connections. You

a task that needs to be done, schedule

never know when you may need to

a specific time to work on it. As the

help each other.

old adage says, “Don’t plan to fail by

Looking ahead: Big thanks go to

failing to plan.”

3. Do right things right: As a musi-

Kristy Dell and the All-State Committee

toward perfection, to do things right.

entire all-state process run as efficiently

for the work they put in to make the

cian, we are taught always to strive

as possible. They are working like mad to

Management is all about doing things

adjudicate all of those recordings and to

right, a very in-the-moment and sen-

look over the nomination forms so that

sible approach. An alternative mind-

results can be posted early in November.

set is to be a leader and do the right

Don’t forget that classifications are due

things. This is more about planning

to your district chairperson this month.

and being strategic in your efforts.

Take a moment to read through the sec-

Both skill sets are important, so be

tion of the handbook regarding classifi-

sure not to neglect one over the other.

we don’t want to do doesn’t make

can be mindful of what I’m working

to the secretary and the head cus-

history research paper, we were still

during a block of time when I know to responding to them. In this way, I

should immediately introduce myself

we had weeks to complete that music

4. Don’t let little things become big

I can properly devote my attention

was that when I got my first job, I

rienced this in college; even though

check my emails once in the morning

before classes begin and then again

One of the first things my undergrad

law states that “the job will expand to

cations and concert MPA music require-

things: Procrastinating those things

ments. Also, the FBA Hall of Fame week-

end is November 10-11, 2018, at Stetson University. Come celebrate Roll of

them go away. It only makes them

Distinction inductees Delbert Kieffner

more urgent. Take care of them right

(posthumously) and Dr. Julian White and

away so you can move on to the next

Hall of Fame inductee Terry Pattishall.

thing. Make a checklist of tasks and

Hope to see you there.

prioritize them.

October 2018

31

CommitteeReports A

AWARDS COMMITTEE

Debbie Fahmie, Chairwoman

s the FMEA Awards Committee

Mr. John DeYoung holds the honor of

we will see that reflected in the schools

choosing the 2019 FMEA award recip-

significant award. Dr. Mary Palmer, Dr.

Enrollment Award this year. If you know

embarks on the daunting task of

ients, I want to remind everyone of

these nominations deadlines: the FMEA Middle/High School Enrollment

being the first member to be given this Dennis Holt, and Mr. Larry W. Reed have been added to this list. Surely

there are a few more who might

join this club. If you know of

Award deadline is November

someone who has stayed

1, and the Music Education

active with FMEA into his

Service Award deadline

or her retirement years,

is November 3. Both of

we want to honor that

these awards are typical-

commitment to service.

ly self-nominated, and the

Please let me know who

applications take only min-

these folks are, and I will

utes to complete online.

If you know of someone who

personally follow up with them.

has reached the 25-year milestone of

(They must hold retired or current mem-

claimed this service award, please give

light of our awards ceremony when we

music education service and has not yet that colleague a gentle nudge to submit

an application so he or she can be part of

the exciting awards ceremony in January.

bership in FMEA.) It is such a highcan recognize and honor these legends among us.

As FMEA encourages alternative

FMEA also has a special award that

music courses that are so inviting to

50-year mark in music education service.

al, young musicians out there, I hope

recognizes those who have reached the

many of the talented, yet nontradition-

that are recognized with the FMEA

of a school that is offering nontraditional music courses alongside quality band,

chorus and orchestra courses, please

invite them to take a look at the criteria for the FMEA MS/HS Enrollment

Award. Applications for this award are due on November 1. Applications should

be made following a school’s FTE count in October. In order to qualify, 30% at the high school level and 45% at the middle

school level of the entire school’s population must be involved in a music program

taught by an FMEA member. NEW THIS

YEAR: Please note that the high school

enrollment criterion has dropped from 35% to 30% this year (see the September

awards article for a full explanation). We are hoping this is a more realistic goal for high schools to achieve given the many

scheduling conflicts that occur at that level.

If you qualify in one of these categories

and are thinking you don’t have the time

to submit an application, think again.

It takes somewhere between five and

15 minutes to submit this user-friendly application online. Come on folks, you

spend that much time online at Starbucks.

You can do this!

I look forward to celebrating with the

2019 FMEA award recipients, and I thank all those who have participated in making nominations and submitting appli-

cations, either this year or in the past. It is a thrill to hear of so many exemplary

people/programs that contribute to the mission of promoting quality, compre-

hensive music education for all Florida students as part of their complete education. I also want to thank the members of the Awards Committee for their time and

for their commitment to selecting this

32 F l o r i d a

year’s awardees.

Music Director

CommitteeReports Student IEPs and 504s: What to Know and What to Do

Students with disabilities are spending more of their school days in regular

education classrooms with their typi-

cally developing peers. Many of these students are also enrolled in music classes and ensembles. There are two federal laws that require public schools to

provide additional services to students who need them: the Individuals with Disabilities Act (IDEA) and Section 504

of the Rehabilitation Act of 1973. For stu-

DIVERSE LEARNERS COMMITTEE Alice-Ann Darrow, PhD Chairwoman

dents to qualify for services under IDEA,

What are the differences between

13 specific disability categories. Section

Working together, IDEA and 504 laws

that protects all individuals with disabil-

tions to provide better learning envi-

they must meet the criteria for one of the

IDEA and 504 laws?

504 is a broad federal civil rights law

have different but complementary funcronments for students with disabilities.

ities. Students who do not meet the more

IDEA is an entitlement law that provides

stringent criteria required by IDEA may

benefits to students who meet specific

still qualify for assistance under Section

standards of eligibility. Section 504 of the

504 of the Rehabilitation Act of 1973.

Rehabilitation Act of 1973 is an antidis-

Both laws require plans that outline the

crimination law that prohibits discrimina-

accommodations students will need to

tion against students or persons solely on

access the general curriculum and to be

the basis of a disability.

successful in the classroom.

Components of IDEA and Section 504: A Comparison Chart IDEA: Special Education Law/Entitlement

Section 504: Civil Rights Law/Antidiscrimination

Purpose

To provide procedural safeguards and prescriptive mandates, and to ensure FAPE1 in LRE2

To prevent discrimination against persons with disabilities

Eligibility

Lists specific disabling conditions to be eligible for services; evaluation for specific disability

Has broad-based definition for eligibility; evaluated for functional disability; more students eligible under 504 than IDEA

FAPE

Requires FAPE; specific written IEP3 for each child; requires a program designed for educational benefit for the student (benefit standard)

Requires FAPE; written accommodation plan— however, there are no specified procedures for the content of plan; required to provide services that are comparable to students without disabilities (comparability standard)

Funding

Funding provided by grants from federal government; remainder of costs for eligible students covered by states

No funding provided; financial sanctions to groups that receive federal funding and discriminate due to disability

Evaluations

Requires specific, comprehensive evaluation by multidisciplinary team; all areas related to disability assessed; reevaluations required at least every 3 years

Less specific than IDEA; information is gathered and evaluated by people who know the student; reevaluations required periodically

Placement

Placement decisions made by people who know the student and the service options, using a variety of documented information; placement to the maximum extent with students who are not disabled (LRE)

Same as IDEA

Responsible Federal, State and Local Agencies/Programs

U.S. Office of Special Education Programs (OSEP); State Education Agency (SEA); Special Education

U.S. Office of Civil Rights (OCR); Local Education Agency (LEA); Regular Education

FAPE: Free Appropriate Public Education LRE: Least Restrictive Environment 3 IEP: Individualized Education Program or Plan 1 2

(Adamek & Darrow, 2018; Huefner, 2000; Hulett, 2009; Kirk, Gallagher, & Coleman, 2014; Turnbull et al., 2016)

Continued on page 34

October 2018

33

CommitteeReports DIVERSE LEARNERS COMMITTEE

Continued from page 33

What is an IEP and a 504 plan?

ADHD and do not qualify for special

and discussed, but if they are able to, they

or Plan (IEP) is required for any student

504 plan.

that will aid them in teaching their stu-

An Individualized Education Program who has been evaluated and qualifies

for services under IDEA. The purpose of an IEP is to ensure that students receive an appropriate placement and are able

to participate in the school culture and academics as much as possible. An IEP is a written document outlining a specialized educational plan that is tailored

to an individual student’s needs. The plan is developed by an IEP team that

includes an administrator, a special education teacher, general education teach-

ers, parents, other professionals if needed and, when appropriate, the student with a disability. The plan must be updated reg-

ularly until the student no longer requires special education services, graduates or is 21.

education services will often have a

What is included in an IEP and a 504 plan?

«« Assessments of the student’s present An IEP must include the following:

level of academic and functional per-

«« Measurable annual goals and shortterm objectives; «« Periodic progress reports; «« Any special education services, relatformance;

ed services, accommodations or assistive devices the student requires to

«« For older students, transitional plans make academic progress; and

to ensure their successful matriculation to adult life.

Generally, students with 504 plans do

are likely to gain valuable information

dents with disabilities. Music educators

may also provide information that is important to their students’ success in

school. Parents rarely enjoy IEP meetings because they generally revolve around

their child’s deficits. IEP meetings are

often where both parents and teachers vent their frustrations. Many music stu-

dents with disabilities often experience few, if any, of the struggles they expe-

rience in academic classes. Relaying to parents how well their child is doing in

music would likely be a welcomed and positive addition to IEP discussions. IEP

meetings should be a celebration of stu-

dents’ successes as well as an analysis of their challenges.

By attending IEP meetings, music edu-

Not all students with disabilities will

not require specialized instruction, but

cators may learn more about their stu-

they may still require some type of

modations in their regular classroom

affect learning, what goals have been set

qualify for services under IDEA, though

assistance in the classroom. Section 504

requires that public schools provide a “free and appropriate education” to every student with a disability, regardless of

the type and severity of the disability.

Students who qualify under Section 504 must also have an educational plan that

outlines the services to be provided. Each

student’s needs are determined individually and are based on the nature of the disability and what the student

needs to be academically or socially successful, and to access school activi-

ties available to their peers. A 504 plan

they do need modifications or accom-

instruction or school environment. A 504 plan will outline these modifications and accommodations, or other accessibility needs. It is generally shorter and

not as prescribed as an IEP, though it

must also include goals and objectives,

be monitored by school personnel and be reviewed regularly. Most important, a 504 plan requires that any assistance or supports a student needs also be provided to

them during after-school activities such

as music rehearsals, practices, concerts or related events.

is also developed by an educational

What are music educators’ respon-

are not required to participate, though

IEPs and 504s?

team; however, parents or guardians they generally do. A student can have

both an IEP and a 504 plan, though it is unlikely because of the comprehen-

siveness of the IEP. Students who have

34 F l o r i d a

sibilities related to their students’

Music educators have a right to attend

IEP meetings if they wish. Not all music

educators are able to attend IEP meetings where their students’ IEPs are developed

Music Director

dents’ disabilities, how their disabilities

for them, accommodations that are useful in class, instructional strategies that work

best for them and specific issues related to their personal well-being, such as pos-

sible bullying incidents or psycho-social

concerns. Of special importance is what classroom or testing accommodations are

to be provided, and what supplementary

aids and services are required for the

students to access the music education curriculum and to progress. IEP meet-

ings are also an opportunity to share with other faculty and administrators the requirements for music participa-

tion and how students are assessed in music. Music educators should bring any documents or assessments of their stu-

dents’ progress in music. While there should be a place for any interested stu-

dent in a music program, conversations about requirements and assessments for

PROFESSIONAL DEVELOPMENT COMMITTEE

Carolyn Minear, Chairwoman

specific classes or ensembles may spare mis-

understandings later. IEP meetings provide

an appropriate opportunity to explain the demands of music participation and to extend an invitation for special educators and administrators to visit the music classroom.

If music educators are involved in IEP meet-

ings, they have an opportunity to request specialized equipment, adapted instruments or music software that will assist their students

in music. They may also learn about assistive

technology they didn’t know existed. There are special education funds for such instructional needs. In addition, occupational therapists or

rehabilitation engineers are often employed by school districts and are able to adapt music equipment or instruments. IEP meetings are

an opportunity to participate in collaborative efforts on behalf of students with disabilities.

D

id you know that everyone who catches lobsters creates a unique

buoy to mark a specific trap’s location in the ocean? Each buoy is

Finally, music educators can also serve as

carefully carved and painted to represent one person’s business, but all

have talents and gifts not readily apparent in

educators are equally unique. We may admire and honor each other’s

a special teacher who they know will support

other music educators. We may even try to copy behaviors of other music

often face unique challenges in school. Having

can choose when and how to develop your pedagogical skills and artistry.

and have someone they can confide in often

teacher may choose to work closely with a mentor or group of mentors

tinue in school. Knowing that a teacher is will-

develop expertise in specific aspects of their craft. Expert teachers may

them in a positive and affirming way can also

other leaders to support and enhance the entire music education commu-

an advocate for students with disabilities who

buoys serve the same purpose: finding and harvesting lobsters. Music

academic settings. All students benefit from

contributions to the profession. We may apprentice with and learn from

them in IEP meetings. Students with disabilities

educators. But in the whole world there is only one YOU, and only you

a safe space where they know they are accepted

There are many professional development paths to consider. A new

determines whether they will drop out or con-

to achieve a goal. Experienced teachers may choose to cast a wider net to

ing to attend IEP meetings and will represent

choose to learn by contributing their leadership and by working with

determine their future in music.

nity.

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

Huefner, D. S. (2000). Getting comfortable with special education law. Norwood, MA: Christopher-Gordon.

Hulett, K. (2009). Legal aspects of special education. Upper Saddle River, NJ: Pearson.

Yes, all music educators want to provide all students the highest quali-

ty music-making experiences possible and to encourage students to

become lifelong music makers. But just as fishers’ buoys are unique, all music educators contribute their unique voices to the profession. Claim and celebrate your own contributions, and choose your own professional

growth journey! One worthy destination in that journey is the 2019 FMEA

Professional Development Conference, January 9-12 at the Tampa Convention Center. More than 80% of our members attended last year,

Kirk, S., Gallagher, J., & Coleman, M. R. (2014). Educating exceptional children. Boston, MA: Cengage Learning.

and the plans are in place for even more members to attend in 2019.

Turnbull, A., Turnbull, R., Wehmeyer, M. L., & Shogren, K. A. (2016). Exceptional lives: Special education in today’s schools (8th ed.). Boston, MA: Pearson.

ARTISTRY: Teaching & Performing.

Registration and hotel reservations are now open as we celebrate

May 2018

35

William Bauer, PhD University of Florida

ResearchPuzzles for music teachers

Research in Music Education:

Take Action!

I

«« I wonder why some students continue to enroll

of research has been conducted and disseminated

the action research process.

Research Perspectives in Music Education. However,

Mary is a middle school band director whose ensem-

n 1953, the first issue of the Journal of Research

in Music Education, NAfME’s flagship research

RESEARCH COMMITTEE CHAIRMAN

journal, was published. Since that time, a great deal

Don D. Coffman, PhD University of Miami

This on-going

column seeks

to stimulate

awareness of

research issues for FMEA

teachers and

researchers. This month we have

a contribution

from a member

in a variety of forums, including FMEA’s very own

systematic study of music teaching and learning need not be limited to those individuals who pursue publication opportunities in prominent jour-

nals. Individual music teachers can engage in action research, applied educational research where practitioners seek answers to practical questions they have about “local-level problems with the anticipation of

finding immediate solutions” (Mertler, 2019, p. 295).

Action research is a multipart process that includes (a) asking questions, (b) designing procedures, (c)

gathering information (data) to answer the questions, (d) analyzing and reflecting on the informa-

in my program while others drop out?

Let’s take one wonderment and follow it through

An Action Research Example

bles perform at a very high level. She is proud of this but is also interested in developing other aspects of her students’ musicianship, especially their theoretical knowledge and aural skills. After attending

a summer music technology workshop, Mary won-

ders if an online program she learned about could

be used to help her students achieve these additional

learning outcomes while still maintaining the band’s high performance standards. After pondering her situation, Mary develops two research questions:

1. Will the online program improve students’ knowledge of music theory and aural skills?

tion collected, and (e) sharing what is learned with

2. Can the performance goals of the band still be

Action research can be a practical way to test new

With these questions in mind, Mary considers

others.

met while students use the program?

of the Research

ideas and to participate in professional development

procedures she might use to answer them. She

William Bauer,

rience that teachers often view as a waste of time.

equipped with headphones and connected to the

Committee, from the

University of Florida.

that goes beyond the “sit-and-git” in-service expeImportantly, “… action research helps educators be more effective at what they care most about—their

teaching and the development of their students” (Sagor, 2000). There are many questions that music

educators might seek answers to through action research. These might be expressed in terms of won-

«« I wonder if using solfège with my students will improve their ability to read music? «« I wonder what type of music my students listen

derments such as:

36 F l o r i d a

to outside of school?

Music Director

decides to ask her principal for two computers, school’s Wi-Fi network, that she can place in the back

of her classroom. She plans to have two students at a time work with the online program while the

remainder of the band continues to prepare music for performance. Prior to having students begin to use the online program, Mary gives them a test to

assess their knowledge of music theory concepts and the acuity of their aural skills. Mary also decides she

will write brief notes to herself immediately after

each class in order to document her observations of this new teaching/learning approach.

During the first week of her investigation, Mary stops the

study. Another music teacher in her school district reads her

use the computer. This is quite disruptive to her instruction. She

state music education association. The coordinator invites Mary

class every 15 minutes to tell students when it is their turn to also notices that students are so engaged while using the pro-

article and sends a copy to the coordinator of technology for the

to participate in a panel discussion dealing with the uses of tech-

gram that they aren’t ready to stop after only 15 minutes. As she

nology in music teaching and learning. Other music teachers

ule to students that indicates when they will be using the com-

in Mary’s action research, asking her many questions.

reflects on this data, she decides to make and distribute a schedputers. Since her students appear to want to use the program

attending the panel discussion session are extremely interested

longer, she also decides to extend their time with it to one-half of

Summary

will be using the computers on the whiteboard at the front of the

the process of action research. Mary developed questions to

the class period. In addition, each day she lists the students who room, indicating whether their turn will be during the first or

second half of the rehearsal. She tells the students to watch the

clock and when it is their turn to use the program to quietly set their instrument aside and move to the computer. The students

who were using the computers during the initial part of the class will return to the music rehearsal at this time. After another week, Mary decides this process is working well.

Following nine weeks of these procedures, Mary gives her

students another music theory/aural skills assessment. The data from the assessment indicates her students have made large improvements in their knowledge of music theory and modest

gains in aural skills. She also notices that students appear to be recognizing and understanding key signatures in their band

While this scenario is somewhat contrived, it serves to illustrate

investigate, determined procedures to be used, gathered infor-

mation (data) to answer the questions, analyzed and reflected on the information collected and shared what she learned with others. As a result, her students were afforded a richer learning

experience. The entire endeavor was also a form of meaningful professional development that helped Mary grow as a teacher, and other teachers benefitted from her sharing what she

learned. She is now an action researcher. Take action in your classroom!

References Mertler, C. A. (2019). Introduction to educational research (2nd Ed.). Thousand Oaks, CA: SAGE.

online program is having a positive impact on her students,

Sagor, R. (2000). What is action research? In Guiding school improvement with action research (Chapter 1). Retrieved from http://www.ascd.org/ publications/books/100047/chapters/What-Is-Action-Research¢.aspx

She also thinks that having students rotate in and out of the

Endnote

with achievement of the band’s performance goals. Based on

1 For additional information and a list of resources about action research, visit the website of the Center for Collaborative Action Research: http://cadres. pepperdine.edu/ccar/resources.html

music better than they had previously. Mary believes that the allowing them to expand their musical skill and understanding.

ensemble to use the computers is working well, not interfering these results, she decides she will ask her principal for two additional computers for the next school year so she can have more students use the technology each day.

Email your questions and feedback to d.coffman1@miami.

district’s music coordinator, the music coordinator asks her to

if selected for publication, will remain anonymous.

After Mary shares her experience with her principal and the

write a short article for the district newsletter describing her

edu

with a subject heading Research Puzzles. Your questions,

October 2018

37

38 F l o r i d a

Music Director

October 2018

39

ExecutiveDirector’sNotes ARTISTRY: Teaching & Performing 2019 FMEA Professional Development Conference and All-State Concerts

FMEA Executive Director Kathleen D. Sanz, PhD

January 9-12, 2019 • Tampa Convention Center

W

e’re just three months away from our annual conference. Plan to register during the early registration period, which ends on November 10, 2018.

The FMEA hotel block opened on September 22, 2018. The room block fills up quickly, but then there is

a release of rooms that become available during the booking period, so remember to check back weekly.

Please note that the deadline to cancel any unneeded hotel rooms is November 10, 2018, after which time your credit card will be charged.

Opportunities Abound for Students and

conference include the Student Leadership Session,

in quality music experiences. Students may audi-

from 1 to 5 pm, with Dr. Tim Lautzenheiser. The

FMEA is actively working to engage our students

tion for the 22 performing ensembles participating

in All-State, which will be held in conjunction with our January Professional Development Conference Professional Development Opportunity for Band, Choral and Orchestra Directors

As part of this year’s All National Honors event, NAfME members can participate in Directors Academies

for band, choir and orchestra, led by

the conductors-clinicians who will share their own experiences as well as draw upon the expertise of the participants.

Take advantage of this unique professional development opportunity to

engage in in-depth study, discussion and hands-on experiences aimed to develop and enhance your understanding as an ensemble director.

SCHEDULE Monday, November 26

Tuesday, November 27

9-11 am – Session 1

9-11:45 am – Session 3

1:30-4:30 pm – Session 2

CLINICIANS & SESSIONS Led By

Band Directors

Paula A. Crider

Choral Directors

Victor C. Johnson

Orchestra Directors

Matthew H. Spieker

Session Description

COST TO REGISTER

REGISTRATION DEADLINE

$99 Includes a complimentary concert ticket.

Friday, November 9, 2018 Additional Information can be found on the NAfME website.

To register, click here

which will be held on Wednesday, January 9, 2019, Student Experience program will also be available; visit the FMEA website and to register.

for eligibility information

We encourage you to continue or to start a TriM

Chapter at your school. You can get more information about this program on the NAfME website

, or call

the FMEA office and we will be happy to assist you.

NAfME All National Honors Ensembles

Florida has 46 students participating in the NAfME All National Honors Ensembles, November 25-28, 2019, at Disney’s Coronado Springs Resort

in

Orlando. These students auditioned and were selected from all 50 states.

2018 Elections

The deadline to register to vote in the General Election

is October 6, 2018, and Election Day is November 6,

2018. Voters will be casting their ballots for school

Academy

40

in Tampa. Other opportunities for students at the

Teachers

.

Florida Music Director

superintendents, school board members and local

officials. In addition, voters will be electing a new governor for our state. This is an important election!

Please be sure to read the FMEA committee reports

and the component reports to stay up-to-date on information from FMEA and its component organizations.

All the best,

Kathleen D. Sanz, PhD

F L O R I D A M U S I C E D U C AT I O N A S S O C I AT I O N OFFICERS AND DIRECTORS EXECUTIVE BOARD President..............................Kenneth Williams, PhD 3610 Beauclerc Rd.; Jacksonville, FL 32257 (904) 521-7890; kenwms@fmea.org Past President........................John K. Southall, PhD Indian River State College 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810 johnsouthall@fmea.org President-Elect....................... Steven N. Kelly, PhD College of Music, FSU 128 Housewright Bldg.; Tallahassee, FL 32306-1180 (850) 644-4069; Fax: (850) 644-2033 skelly@admin.fsu.edu FBA President.................................. Cathi Leibinger Ransom Everglades School 2045 Bayshore Dr.; Miami, FL 33133 (305) 250-6868; president@fba.flmusiced.org FCMEA President..................... Stacie Rossow, DMA Florida Atlantic University 777 Glades Rd.; Boca Raton, FL 33431 (561) 297-4230; srossow@fau.edu Florida Collegiate NAfME President.......................Jennifer Luechauer Florida State University, 2220 Sandpiper Street Tallahassee, Florida 32303 (954) 643-1149; jll14e@my.fsu.edu Florida Collegiate NAfME Advisor................. Shelby R. Chipman, PhD FEMEA President.......................Rosemary Pilonero The Villages Elementary of Lady Lake 695 Rolling Acres Rd.; Lady Lake, FL 32159 (352) 751-0111; rosemary@femea.flmusiced.org FMSA President......................................Scott Evans Orange County Public Schools 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; scott.evans@ocps.net FOA President........................................Jason Jerald Blake High School 1701 North Blvd.; Tampa, FL 33607 (813) 272-3422; jason.jerald@sdhc.k12.fl.us FVA President.................................Thomas Jomisko Manatee High School 902 33rd Street Ct. W.; Bradenton, FL 34205 (941) 714-7300; jomiskot@manateeschools.net Member-at-Large....................................Ted Shistle Douglas Anderson School of the Arts 2445 San Diego Rd.; Jacksonville, FL 32207 (904) 346-5620; shistlet@duvalschools.org EX-OFFICIO MEMBERS Historian/Parliamentarian 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 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

FMD Editor-in-Chief......... Mark A. Belfast, Jr., PhD Southeastern University 1000 Longfellow Blvd.; Lakeland, FL 33801 (863) 667-5104; mabelfast@seu.edu FSMA President...........................Craig Collins, EdD College of Arts & Media, Southeastern University 1000 Longfellow Blvd.; Lakeland, FL 33801 (863) 667-5657; cscollins@seu.edu FMEA COMMITTEE CHAIRPERSONS Awards............................................... Debbie Fahmie Fine and Performing Arts Resource Specialist Osceola District Schools (407) 870-4904; fahmied@yahoo.com Budget/Finance, Development........................Kenneth Williams, PhD 3610 Beauclerc Rd.; Jacksonville, FL 32257 (904) 521-7890; kenwms@fmea.org Committee Council.......................... Debbie Fahmie Fine and Performing Arts Resource Specialist Osceola District Schools (407) 870-4904; fahmied@yahoo.com Conference Chairman...........John K. Southall, PhD Indian River State College 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810; johnsouthall@fmea.org Contemporary Media...............David Williams, PhD University of South Florida 4202 E. Fowler Ave., MUS 101; Tampa, FL 33620 (813) 974-9166; davidw@usf.edu Diverse Learners.................Alice-Ann Darrow, PhD Florida State University Music Education and Music Therapy 123 N. Copeland; Tallahassee, FL 32306 (850) 645-1438; aadarrow@fsu.edu Emerging Leaders....................... Mary Palmer, EdD 11410 Swift Water Cir.; Orlando, FL 32817 (407) 382-1661; mpalmerassoc@aol.com FMEA Corporate & Academic Partners...Fred Schiff All County Music 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fredallcounty@aol.com Government Relations.............Jeanne W. Reynolds Pinellas County Schools, Administration Bldg.

301 4th St., SW, P.O. Box 2942; Largo, FL 33779-2942 (727) 588-6055; reynoldsj@pcsb.org Multicultural Network..............Bernard Hendricks Ocoee High School 1925 Ocoee Crown Point Pkwy.; Orlando, FL 34761 (407) 905-3009; bernard.hendricks@ocps.net Professional Development............. Carolyn Minear carolynminear@fmea.org Research.................................Don D. Coffman, PhD University of Miami d.coffman1@miami.edu Retired Members................................Cynthia Berry 1341 Dunhill Dr.; Longwood, FL 32750 (407) 310-1254; cberry1314@gmail.com Secondary General Music........................Ed Prasse Leon High School 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net

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

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

PROFESSIONAL DEVELOPMENT CONFERENCE

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

Exhibits Managers........... Byron and Bobbie Smith 4110 Tralee Rd.; Tallahassee, FL 32309 (850) 893-3606 fmeaexhibits@fmea.org Local Co-Chairman.................................... 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 Local Co-Chairwoman.................Melanie Faulkner Hillsborough County Public Schools School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4461; melanie.faulkner@sdhc.k12.fl.us FLORIDA BANDMASTERS ASSOCIATION President.......................................... Cathi Leibinger Ransom Everglades School 2045 Bayshore Dr.; Miami, FL 33133 (305) 250-6868; president@fba.flmusiced.org Past-President...................................Jason Duckett Bartram Trail High School 7399 Longleaf Pine Pkwy.; St. Johns, FL 32259 (904) 343-1999; pastpresident@fba.flmusiced.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 FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION President.................................. Stacie Rossow, DMA Florida Atlantic University 777 Glades Rd.; Boca Raton, FL 33431 (561) 297-4230; srossow@fau.edu Past President........................Patricia Fleitas, PhD pfleitas@fau.edu President-Elect...........................................John Ash ashj@cf.edu FLORIDA COLLEGIATE NAfME President................................... Jennifer Luechauer Florida State University, 2220 Sandpiper Street Tallahassee, Florida 32303 (954) 643-1149; jll14e@my.fsu.edu Past-President............................Michael A. Gabriel Florida State University (561) 762-0016 mgmagabriel@gmail.com FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION President....................................Rosemary Pilonero The Villages Elementary of Lady Lake 695 Rolling Acres Rd.; Lady Lake, FL 32159 (352) 751-0111; rosemary@femea.flmusiced.org Past President.................................... Marie Radloff marie.radloff@ocps.net

FLORIDA MUSIC SUPERVISION ASSOCIATION

Past President............................Angela Hartvigsen ja.hartvig@comcast.net 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................................................Jason Jerald Blake High School 1701 North Blvd.; Tampa, FL 33607 (813) 272-3422; jason.jerald@sdhc.k12.fl.us Past President......................................Valerie Terry vterrymusic@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.........................................Thomas Jomisko Manatee High School 902 33rd Street Ct. W.; Bradenton, FL 34205 (941) 714-7300; jomiskot@manateeschools.net Past President.............................Carlton Kilpatrick ckilpat444@gmail.com Executive Director.............................. J. Mark Scott 7122 Tarpon Ct.; Fleming Island, FL 32003 (904) 284-1551; fva.scott@gmail.com Financial Officer..........................................Jo Hagan 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260 business@fva.net CENTER FOR FINE ARTS EDUCATION STAFF 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 Executive Director...............Kathleen D. Sanz, PhD kdsanz@fmea.org Director of Operations............................Valeria Anderson, IOM val@fmea.org Business Manager & Special Projects...................... Richard Brown, CAE richard@fmea.org Technology Director.........................Josh Bula, PhD josh@fmea.org Public Affairs & Communications Coordinator......Jenny Abdelnour jenny@fmea.org Marketing & Membership Coordinator.....Jasmine Van Weelden jasmine@fmea.org

October 2018

41

2019 FMEA Professional Development Conference & All-State Concerts

ARTISTRY:

Teaching &Performing

January 9-12, 2019 Tampa Convention Center The FMEA Professional Development Conference is one of the largest music education professional development events in the United States. In addition to approximately 250 sessions and concerts, it is host to 22 all-state ensembles featuring Florida’s top band, orchestra, chorus, guitar, and elementary 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 of performing students.