Florida Music Director - October 2019

Mentoring and the Beginning Music Teacher

PLUS: FBA President-Elect Candidates 2020 Conference Preview FBA Hall of Fame Weekend

Why Technology Is Critical to Success in Music Classrooms October 2019

1

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

Hinckley Center for Fine Arts Education

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

Editor-in-Chief

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

Editorial Committee Terice Allen (850) 245-8700, Tallahassee (tallen1962@hotmail.com) Judy Arthur, PhD Florida State University, KMU 222 (850) 644-3005 (jrarthur@fsu.edu)

Contents October 2019 Volume 73 • Number 3

FBA President-Elect Candidates. . . . . . . . . . . . 8-9 FBA 30th Annual Hall of Fame Weekend.. . . . 11 Mentoring and the Beginning Music Teacher. . . . . . 14

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)

Advertising Sales Valeria Anderson (val@fmea.org)

Director of Finance and Client Relations

Richard Brown , MBA, CAE, CMP (richard@fmea.org) 402 Office Plaza, Tallahassee, FL 32301 (850) 878-6844

Official FMEA and FMD Photographers

Bob O’Lary

Debby Stubing

Art Director & Production Manager

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

Circulation & Copy Manager

Valeria Anderson, (800) 301-3632

Copy Editor

Susan Trainor

Why Technology Is Critical to Success in Music Classrooms. . . . . . . . . . . . . 20 Prelude to the 2020 Professional Development Conference

Registration Information and Fees / 24 New Security Procedures / 25 Policies / 26-27 2020 FMEA Student Conference Experience / 28 Student Leadership Workshop / 29 Contracted Hotels / 30

D E PA R T M E N T S President’s Message. . . . . . . . . 5

Research Puzzles. . . . . . . . . . 38

Academic Partners. . . . . . . . . 10

Advertiser Index. . . . . . . . . . 45

Advocacy. . . . . . . . . . . . . . . 6

Committee Reports. . . . . . . . 39

2019-20 FMEA Donors. . . . 18-19

Officers and Directors.. . . . . . 46

Corporate Partners. . . . . . . . . 31

Executive Director’s Notes. . . . 47

Component News.. . . . . . . . . 32

October 2019

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Bridging Music and Medicine

XANDER BOGGS IS COMBINING MUSIC AND MEDICINE.

WHY NOT BOTH?

“Music is all about the communication of emotion.

It’s all about recognizing other people’s feelings and what they’re trying to say without words. With medicine, you have to have that same compassion.”

• Master of Arts in Arts in Medicine

Study music in combination with...

• Master of Science in Management or Entrepreneurship • Pre-Health Professions • Second Bachelor’s Degree (engineering, psychology, journalism and more) • Minors & Certificates

READ MORE:

arts.ufl.edu/bridging-music

Photo by Brianne Lehan / UF Photography

UNIVERSITY OF FLORIDA APPLICATION

INCOMING FRESHMEN AUDITION DAYS

DEADLINE: November 1 admissions.ufl.edu

Saturday, January 18, 2020 Saturday, January 25, 2020 Sunday, January 26, 2020

SCHOOL OF MUSIC APPLICATION arts.ufl.edu/music

TRANSFER AUDITION DAY Saturday, March 14, 2020

MORE INFO: music@arts.ufl.edu or 352.392.0224

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ARTS.UFL.EDU/MUSIC/WHYNOTBOTH

President’sMessage

Celebrating Impact: One Student at a Time

Steven N. Kelly, PhD

N

ot too long ago, I got a message from FMEA to contact our state legislators about an issue of importance. Being a good member, I immediately called my legislator’s office where a young

lady told me the representative was unable to talk with me. The lady explained that she would be

President Florida Music Education Association

happy to take my name and a message. Upon telling her who I was, she hesitated and asked me if I was a band director. When I said yes, she asked me if I had taught at Northside Middle School in

Roanoke, Virginia. Again saying yes, I started to get a little paranoid and looked around for microphones and cameras in my FSU office. The lady then responded that she had been in one of my

beginning bands at Northside in 1981 (my second year of teaching). After I remembered exactly who she was, we had a wonderful chat and wished each other the best. (She still plays her flute!)

This conversation made me realize the importance of impact for every student with whom I come

in contact. As teachers, we influence students in many ways, and we often are NEVER fully aware of our impact. All of our students leave our classes and go on to live their lives. They take with them

a lasting impression of their experiences in our classes. This is impact, lifelong impact! While some students may become college music majors, most will not, and yet they have an impression of their school music experience. Some of them become directly connected to individuals, or become individuals, who create policies that can directly affect our lives.

What kind of impact are you making? I always ask my FSU students to think about how their

future students will change after studying and making music in their classes. How will students be different at the end of the year as opposed to how they started? What experiences and memories will

students take from music classes that will last throughout their lives? How will students remember their school music experiences, and how might these experiences affect their future support for

music education? I am a firm believer that teachers change people, and in turn, people change the world.

As you continue your year, I hope you will pause to think about the impact you are having on

every student in your classes. I encourage you to talk to students about the value of music, but I also hope you model that value. Remember, in music we teach many skills and behaviors, only some of which deal with music. We also teach social and personal skills such as responsibility, manners, respect, organization, time management, and acceptance of others. Strive to give all students a positive memory of all of their experiences with you.

I celebrate the outstanding efforts of all FMEA members. You are changing our world, one student

at a time. As always, if I can ever be of assistance to you, please contact me.

Sincerely,

Steven N. Kelly, PhD President

Florida Music Education Association

October 2019

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AdvocacyReport Jeanne W. Reynolds

Chairwoman Government Relations Committee

What Can You Do? T

his month I am sharing an editorial published at the end of August.

Please note this is an opinion piece written by Paula Dockery.

Ms. Dockery is a Republican former legislator from the Lakeland area. She served in the Legislature for 16 years.

This editorial reminded me that our legislators work for us and on

our behalf. They are people just like you and me. Sometimes in today’s

hyper-partisan political atmosphere, we lose sight of this. We mistakenly believe that we can’t compete with special interest groups or other organized interests. We forget that we have our own strong grass-roots com-

munity. It is OUR responsibility to communicate with legislators and also

to ensure that we elect candidates who value education and who value arts education.

I deeply appreciated Ms. Dockery’s apology for her part in supporting

reform efforts that turned out to be detrimental. Legislators are human and

capable of making mistakes. Admitting mistakes and changing course is

challenging. I am optimistic that we can work respectfully with our elected officials and develop more effective ways to improve and support public education.

The 2020 Legislative Session begins in January. Your October advocacy

«« Meet with your Florida representative and senator. You can find them tasks are as follows: HERE

. Tell them about the success of your music programs and

«« Invite your legislators to your winter concerts. Ask them to speak briefexplain how high-stakes testing has impacted your program.

ly about their support for arts education. Provide a script or talking

«« Continue to share the Music Speaks videos. Click HERE for the 90-second video. Click HERE for the 30-second video. «« Stay engaged and informed about FMEA advocacy efforts including points if asked.

potential arts legislation. Be informed and ready to speak on these

«« Encourage your parents to sign up with the FMEA advocacy parent topics.

network HERE

.

Read Paula Dockery’s editorial and pay specific attention to the last section: What can we do? Sometimes it really is that simple.

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Florida’s teacher shortage is easily preventable

By Paula Dockery Published August 29

O

nce again Florida faces a teacher shortage as our public-school students begin the

new school year. It’s estimated that the short-

age is around 3,500 teachers statewide and affects about 300,000 children, who will have a temporary or substitute teacher—if those

can be found. Last year the shortage was about 5,000 teachers, so there is a slight but temporary improvement.

The problem is multi-faceted. New teach-

ers—about 40 percent—are leaving the job after the first five years. The number of college

students wanting to become teachers is dwindling. Many experienced teachers are retiring as soon as their pensions kick in.

It doesn’t help that Florida ranks 46th in

the nation in teacher pay—an insult to our professional teachers and an embarrassment

to us. Some of Florida’s teachers are going to neighboring states like Georgia to earn a living wage.

Is it any wonder that we have a shortage?

The low wage is certainly a major factor but far from the only one.

Why would anybody want to be a teacher

in Florida?

The Legislature is continually attacking

them and making them feel unappreciated and disrespected. Lawmakers are forcing high-stakes testing on them and judging them and their schools on factors beyond

their control. They’re micromanaging how and

what they teach. They’re diverting much-need-

ed funds from traditional public schools to private schools and charter schools run by for-profit corporations.

The Department of Education is run by the governor’s hand-

picked candidates who get confirmed by the governor’s handpicked Board of Education—not by the voters, as in the past.

The past few Republican governors, starting with Jeb Bush

and including Rick Scott and now Ron DeSantis, have continued their self-fulfilling prophecy of replacing public education with a privatized system by making it harder for public schools to

succeed due to constant meddling and ill-conceived account-

ability measures. Gov. Charlie Crist was the rare exception—and paid a political price for it before leaving the Republican Party and being elected to Congress as a Democrat.

As a state legislator for 16 years, I bought into the Republican

mantra of shaking up public education and demanding account-

ability. I went along with many of the early reform efforts. For

that, I apologize. I came to understand the detrimental effect it was having on our schools, our teachers and, most importantly, our students.

During that time I visited many schools in the five counties

of my Florida Senate district and listened to teachers. That’s why

I’m not surprised that they’re leaving the profession. It’s only gotten worse since then.

But it’s important to let the teachers speak for themselves. I

recently asked on Facebook to hear from teachers who had left

the profession, are thinking of leaving or are staying but can shed some light on why their colleagues have left.

«« A constant waste of money on new solutions that are never fully implemented and then abandoned. «« Common Core expectations that ignore developmentally

Here is a sampling of what teachers had to say:

appropriate practices in the primary grades. Lack of resourc-

es, low salary, outdated equipment that is always breaking,

«« Retired after 36-plus years when the joy was sucked out of no respect.

teaching by the pressure due to test scores. Our creativity

was squelched … teachers need to be treated as the profes-

«« Some teachers are leaving because they can’t afford to consionals they are and must be compensated as professionals.

tinue in the profession. I know very few teachers who don’t

«« Year after year of bonuses and no raises. «« Teachers leave because we’re abused by a punitive system. «« The Legislature thinks it’s okay for staff to carry guns and lay our lives on the line. «« High-stakes tests have never been proven reliable or valid. have a second job.

Teachers continue to be punished when the tests are changed and scores fall across the board. Consistent underfunding

«« Hostile Florida Legislature diverting our taxes to corporate and expectation of teachers to pick up the slack.

charter schools and testing companies; creating a school grades system that consistently rewards rich schools while punishing poor schools; ignoring teacher, administrative

and school board concerns about over-testing. Voters who

have consistently empowered the Florida Legislature to enact its 20-year, slow-motion destruction and privatization of public education.

What can we do?

Insist that our representatives and our governor treat teachers as professionals and stop their attack on public schools and their obsession with privatizing it.

As the 2020 election approaches, stand up for teachers and

public schools. Support only candidates who promise to stop

the assault and micromanaging and become fighters for fully

funding our public schools and paying our teachers a salary commensurate with their profession. Don’t support candidates who do the bidding of the special interests that fund their campaigns.

Paula Dockery is a syndicated columnist who served in the Florida

Legislature for 16 years as a Republican from Lakeland. She is now a registered NPA. PBDockery@gmail.com

October 2019

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

SHAWN L. BARAT

A

native of Florida, Shawn Barat received the degrees BME and ME in instrumental con-

ducting from the University of Florida. Mr.

Barat has taught band in public schools and universities

in Florida for 25 years, including successful positions at Ocala-Forest High School, Winter Haven High School,

Douglas Anderson School of the Arts, and the University of North Florida as adjunct professor of music and direc-

tor of the Concert Band and the Osprey Pep Band.

Mr. Barat started a new chapter in his career as direc-

tor of bands at Buchholz High School in spring 2015, returning “home” to a band program he spent countless hours working with during his time as a student at the

University of Florida. At Buchholz, Mr. Barat directs the Golden Regiment Marching Band, Wind Symphony,

Symphonic Band, and Jazz Band; teaches Advanced Placement Music Theory; and serves as a cosponsor for

the Buchholz Tri-M chapter. All ensembles have con-

tinued a long tradition of receiving superior ratings at

district and state assessments. During Mr. Barat’s tenure, the Wind Symphony traveled to Washington, D.C., to

perform at the Kennedy Center for the Performing Arts in April 2017, performed on the President’s Concert at

the 2019 FMEA Professional Development Conference,

and has been invited to perform on the featured stage at

Bandmasters Association (FBA) district chairman, is chair

In 2013, Mr. Barat completed a seven-year tenure as

representative on the Florida School Music Association

the 2020 Music for All National Concert Band Festival.

director of bands at Douglas Anderson (DA) School of the

Arts in Jacksonville. Under Mr. Barat’s direction, the DA

Wind Symphony performed at the 2008 NAfME National Biennial In-Service Conference in Milwaukee, Wisconsin, the 2009 FMEA Professional Development Conference in Tampa, the 2011 Music for All National Concert

Band Festival in Indianapolis, Indiana, and the presti-

gious Midwest Clinic International Band and Orchestra Conference in Chicago in December 2011.

Mr. Barat continues to be an active clinician and adju-

dicator for middle and high school bands throughout

Florida, and is an involved member of several music orga-

nizations. He has served three terms as Florida

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of the FBA Adjudication Committee, and also serves as a

Board of Directors. Additionally, Mr. Barat has served as guest conductor for all-state and all-county bands, including the FBA All-State High School Honor Band and the

FBA 9-Star Honor Band. Mr. Barat’s professional affilia-

tions include the National Association for Music Education, the Florida Bandmasters Association, the

National Band Association, the American School Band Directors Association, and Phi Mu Alpha Sinfonia. Mr.

Barat was elected to the Omega chapter of Phi Beta Mu Bandmasters Fraternity, and was inducted into the presti-

gious American Bandmasters Association in 2014. He resides in Gainesville with his wife, Alison, and daughters Emerson, 12, and Norah, 9.

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

BERNARD HENDRICKS, JR.

B

ernie Hendricks has served as director of bands at Ocoee High School in Orange County since

2005. He previously served as director of bands

at Robinswood Middle School in Orlando for eight years. Mr. Hendricks is a 1997 magna cum laude grad-

uate of Florida A&M University, where he served as band president and percussion section leader for his

final two years of college. He is an active member of

the Florida Bandmasters Association, for which he has served multiple terms as district secretary and treasur-

er. He has also served on the Orange County Fine Arts curriculum and leadership teams and the all-county concert and jazz band committees. Bernie is in his third

term as chairman of the FMEA Multicultural Network, serving on the FMEA Executive Board, in which he

has been a part of numerous curriculum teams and Sunshine State Standards writing teams. Mr. Hendricks

has also served as a founding member and clinician for the Hapco Jazz Festival and the Hapco Summer Jazz Camp. Both of these events are sponsored by Hapco

Music Foundation, a local not-for-profit organization focusing on bringing jazz education and performing arts opportunities and experiences to more Central

Florida students. These festivals have recently hosted jazz artists Peter and Will Anderson, Wycliffe Gordon, Scott Wilson, Jeff Rupert, Tom Garling, Per Danielson, and many more.

Mr. Hendricks received the honor of Teacher of the

Thanksgiving Day Parades, the Cotton Bowl and Liberty

2007 and 2017 at Ocoee High School. He was a finalist

in Washington, D.C., the Florida Citrus Parade, the Florida

Year in 2000 at Robinswood Middle School as well as in

for Orange County Teacher of the Year in 2017. Mr. Hendricks was also recognized by the School Band &

Orchestra Magazine as the Florida representative for its “50 Most Influential Directors� issue in December 2007.

His duties at Ocoee High School include leading

the Marching Knights, Wind Ensemble, Jazz Band,

Bowl Music Festivals, the National Memorial Day Parade

Blue Battle of the Bands, as well as the ESPN Under Armour High School All-America Game for the past eight years. The Ocoee Jazz Knights have had the pleasure of

performing with Wycliffe Gordon and Scotty Barnhart over the past few years.

Mr. Hendricks is an active adjudicator and clinician

and Beginning Band. Ocoee bands as well as his

throughout the state of Florida and enjoys serving as a

ratings and have always been in high performance

ous college interns. He also serves the community as band

Robinswood Middle School bands earned superior

demand throughout Central Florida. The Marching Knights have participated in the New York City

Veterans Day Parade, the Chicago and Philadelphia

mentor to many young band directors as well as numerleader and Life Group leader at Orlando World Outreach Center. Bernie is happily married to Sha Hendricks, and they are the proud parents of three active children.

October 2019

9

Please take time to thank and support our 2019-2020 Academic Partners.

GOLD PARTNERS

SILVER PARTNERS

University of North Florida

BRONZE PARTNERS Cannon Music Camp - Appalachian State University Florida College Florida Gulf Coast University Holy Cross Lutheran Academy

Infinity Percussion Valdosta State University West Virginia University School of Music

Partners as of September 5, 2019.

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

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FLORIDA BANDMASTERS ASSOCIATION

30th Annual

T

HALL OF FAME WEEKEND

he 30th annual Florida Bandmasters Association Hall of Fame Weekend is scheduled for November 23-24,

2019, on the campus of Stetson University in DeLand, Florida. The weekend includes a banquet and two con-

certs to honor the Roll of Distinction inductees Gary Green and Leander A. Kirksey (posthumously) and the Hall of Fame inductees Joe Hooten and Eddie Steadman.

On Saturday, November 23, at 7:30 pm, the weekend activities begin with the Roll of Distinction concert. This

concert features the Southern Winds, Douglas L. Phillips, conductor. A reception follows the concert in the Marshall and Vera Lea Rinker Welcome Center.

The Hall of Fame banquet is scheduled for

12 noon, Sunday, November 24, in the Carlton Union Building, Stetson Room. While the banquet is

open to the public (tickets are $22), reservations are required by November 1.

The Hall of Fame concert is scheduled for Sunday,

November 24, at 4 pm. This concert features the Stetson University Symphonic Band, Douglas L.

Phillips, conductor. A reception follows the con-

cert in the Marshall and Vera Lea Rinker Welcome Center.

The Roll of Distinction and Hall of Fame concerts

are held in Elizabeth Hall, Lee Chapel. These two concerts are free and open to the public.

The Courtyard DeLand Historic Downtown (308 N.

Woodland Blvd., DeLand, FL 32720) is holding a block of rooms until November 1, 2019, at a discounted rate of

«« To make reservations online, please visit the hotel’s website: www.marriott.com/dabdl $139 a night.

• To reserve a KING BED, under the section where dates are entered, click on the “Special Rates” drop down menu and select “Group Code.” Enter FBAFBAA to access the discounted rate for a KING BED.

• To reserve TWO QUEEN BEDS, under the section where dates are entered, click on the “Special Rates” drop down menu and select “Group Code.” Enter FBAFBAB to access the discounted rate for TWO QUEEN

«« To make reservations over the phone, please call the Courtyard DeLand directly at (386) 943-9500 and ask for BEDS.

the FBA (Florida Bandmasters) discounted rate.

For additional information regarding the Hall of Fame Weekend activities and to place reservations for the ban-

quet, please contact Dr. Douglas Phillips by email (dlphilli@stetson.edu

) or by phone (386-822-8951).

October 2019

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SATURDAY, NOVEMBER 23, 2019 • 7:30 PM • ELIZABETH HALL, LEE CHAPEL

Roll of Distinction Concert HONORING THE 2019 INDUCTEES featuring

Southern Winds, Douglas L. Phillips, Conductor Gary Green

Leander A. Kirksey

Director of Bands (retired)

Director of Bands

Professor of Music Emeritus Frost School of Music, University of Miami

(1909-1995)

Florida A&M University Director of Bands

G

ary Green is professor

of music emeritus and

director of bands (retired) in the Frost School of Music at the

University of Miami. In addi-

Industrial High School/ Roosevelt High School West Palm Beach

L

eander A. Kirksey, the

son of a former slave, was

tion to supervising all band

born in Pensacola, Florida,

tenure at UM, Mr. Green served as professor and chair of the

Washington High School. He attended Florida A&M University

activities during his 22-year

Department of Instrumental Performance and served as the

conductor of the Frost Wind Ensemble. Mr. Green holds the BM

from Boise State University and the MM from the University of Idaho.

Prior to joining the faculty at UM, Mr. Green served for 10

years as director of bands at the University of Connecticut and was influential in commissioning and recording new works

for winds and percussion including Symphony No. 3 by David Maslanka and A Cornfield in July and the River by William Penn.

and graduated from Booker T.

and studied during summers at the Chicago Musical College

and at New York University. After graduating from FAMU, Mr.

Kirksey worked as band director at FAMU from 1930 to 1945 with the exception of one year when he worked in Miami. He officially established the FAMU Collegians as one of the earli-

est known college jazz bands in America. As band director at

FAMU, Mr. Kirksey aimed to establish a 100-member band for the college, which in time became today’s Marching 100.

During Mr. Kirksey’s tenure as band director at FAMU, there

Soon after Mr. Green’s arrival at UM, Michael Colgrass’s Urban

was no instrumental program in the black public schools in Florida,

Fund and has become a standard in the repertoire for wind

beginners on their instruments. In 1940, Mr. Kirksey organized

Requiem was commissioned by the Abraham Frost Commission ensemble. Throughout his career at the University of Miami, Mr. Green commissioned and premiered numerous important com-

positions for winds and percussion, including the Frost Wind Ensemble’s Carnegie Hall premiere of Christopher Rouse’s Wolf Rounds.

Highly in demand as a guest conductor and clinician, Mr.

so the members of the FAMU band, for the most part, started as the Florida Association of Band Directors. The founding of FABD

marked the beginning of a growing and viable instrumental music program in the black public schools of Florida. In 1941, under Mr. Kirksey’s leadership, the first black state high school band clinic was held, with 10 bands in attendance.

In 1945, Mr. Kirksey moved to West Palm Beach and start-

Green has appeared with international, national, and regional

ed a band program at Industrial High School, which became

throughout the world. He is regularly invited to conduct all-

dent of FABD until 1955, at which time he was designated presi-

bands and intercollegiate bands across the United States and state bands around the country and has frequently conducted

the Texas All-State Band and premiered Lux Aurumque by Eric Whitacre with that ensemble.

Roosevelt High School in 1950. He continued to serve as presi-

dent emeritus. In 1974, Mr. Kirksey was inducted into the FMEA Hall of Fame.

Leander A. Kirksey was an outstanding leader in Florida

Mr. Green is a member of ABA, CBDA, NAfME, FBA, and

music education for over 60 years. He exercised initiative and

honors and awards. In 2002, he was awarded the Phillip Frost

social and economic circumstances. Moreover, he was able to act

FMEA. Throughout his career, Mr. Green has received numerous Award for Excellence in Teaching and Scholarship in the Frost School of Music at the University of Miami.

12 F l o r i d a

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acted with courage, faith, and tenacity in the face of adverse

with courtesy, restraint, and magnanimity; he was effective and enduring in his leadership.

SUNDAY, NOVEMBER 24, 2019 • 4 PM • ELIZABETH HALL, LEE CHAPEL

Hall of Fame Concert HONORING THE 2019 INDUCTEES featuring

Stetson University Symphonic Band, Douglas L. Phillips, Conductor Joe Hooten

Eddie Steadman

J.M. Tate High School,

Ruckel Middle School,

Director of Bands (retired) Pensacola

J

oe Hooten was born and

raised in Florala, Alabama.

Director of Bands (retired) Niceville

E

ddie Steadman grew up in

Morton, Mississippi, where

In fourth grade he began music

he began playing trumpet in the

was an all-state trumpet player

He attended Copiah-Lincoln

lessons with Erskine Ziglar and at Florala High School. After

graduating in 1972, he entered

Troy University where he stud-

ied with Dr. John M. Long. He was fortunate to student teach in

Elba, Alabama, with Tom Maddox. He graduated magna cum laude in 1975 with the BME.

After graduation, Mr. Hooten became band director at

Richbourg Junior High School in Crestview, Florida, where he worked closely with Louis Lindsay. The band program enjoyed growth and success and was awarded superior ratings in all

marching and concert events after year one. Many students

were selected to all-county band, honor bands, and the Florida all-state bands. Mr. Hooten was twice voted Teacher of the Year

by the Richbourg faculty, was elected chairman of FBA District 1, and was inducted into Phi Beta Mu.

school band in the fifth grade.

Community College in Wesson, Mississippi, where he received

the AA with honors in 1976.

He transferred to the University of Southern Mississippi in Hattiesburg and received the BME, again with honors, in 1978.

He began his teaching career at Sebastopol Attendance Center,

a K-12 school and one of the smallest schools with a band program in the state of Mississippi. During that year, the band

earned an excellent rating in concert, a superior in sight reading, and an excellent in marching, the highest ratings in the history

of the band program at that time. Eddie taught for 10 years in Mississippi at several schools, consistently earning superior

ratings. He earned the MM from Mississippi College in Clinton during these years.

Eddie was director of bands at Escambia High School in

In January 1987, Mr. Hooten followed Bill Slayton as director of

Pensacola from 1988 to 1995. His bands consistently earned

until he retired in 2011. The band program at Tate included the

and other events throughout the country. In 1995, Eddie became

bands at J.M. Tate High School in Pensacola, where he remained

Showband of the South marching band, three concert bands, three jazz bands, several percussion ensembles, and three winter guards. The Tate marching band, winter guards, and indoor

superior ratings at FBA events and performed at various parades

the band director at Lewis Middle School, and in 2001 moved to Ruckel Middle School, where he spent the next 16 years.

Mr. Steadman has received the NBA Citation of Excellence,

percussion ensembles won many local, regional, and national

and in 2006 he received the Cox Communications/Bravo

Hooten’s direction, Tate’s marching and concert bands received

been selected Teacher of the Year in Okaloosa County and was a

events including several BOA and WGI regionals. Under Mr. only superior ratings at all FBA district MPAs and earned several Otto J. Kraushaar awards. Mr. Hooten was selected Teacher

of the Year by the Tate faculty and was a finalist for Escambia

County Teacher of the Year. He received the FBA Oliver Hobbs Award and was voted Outstanding Florida Bandmaster by the

Omega chapter of Phi Beta Mu. He is a charter member of the Gulf Coast Guard and Percussion Circuit and was inducted into its Hall of Fame.

Champion for the Arts award for Okaloosa County. He has twice finalist for Okaloosa County Teacher of the Year in 2010. Middle school band programs under his direction have received the FBA Five-Year Superior Award on four separate occasions and the

FMEA Music Enrollment Award on three separate occasions. In

2016, he was awarded the FBA Oliver Hobbs Award. In 2017, he

was recognized by the Omega chapter of Phi Beta Mu (honorary bandmaster fraternity) as the Outstanding Band Director in the state of Florida.

October 2019

13

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MENTORING and the Beginning Music Teacher

T

by Jason P. Cumberledge, PhD

Teaching can be incredibly challenging. Classroom

formative and summative assessment develop-

communicating with parents, and adapting to

uation, professional development that is develop-

management, lesson planning, student assessment, school policies and procedures can be difficult for

all teachers. Due to unique circumstances in the

music classroom, music teachers face additional

challenges in their professional lives, including the high number of students that music teachers

instruct, isolation due to the geographical location of music classrooms in schools, a heavy extracur-

ricular schedule and the concurrent administrative tasks, the demands of public performances, and the

necessity to travel between multiple school build-

ings. For beginning music teachers, facing these challenges alone may be a leading cause of high attrition rates (Bell-Robertson, 2015). Therefore,

beginning music teachers have a great need for support during their first years of teaching.

Music education researchers suggest that mean-

ment, school culture supports, research and evalmentally appropriate, a shared vision of education, and traditional mentorship programs (Wood & Stanulis, 2009). School leaders also create profes-

sional learning communities (PLCs) as a means of support (Bell-Robertson, 2015). Additionally, begin-

ning teachers have many opportunities for online professional development and community-based support that were not available a generation ago.

Some of these support systems, such as PLCs, are

relatively new to the profession. Others, such as traditional mentorship programs, have been utilized for many years. This article, written for novice teachers and those supporting them, focuses

on the importance of mentorship programs in the professional development of novice teachers.

ingful support systems are very beneficial to novice

Effective Mentorship

novice teachers feel that mentor teachers and con-

prepare pre-service teachers for first-year chal-

teachers (DeLorenzo, 1992). In terms of assistance,

versations with experienced colleagues are among the strongest forms of support (DeLorenzo, 1992).

Many school district policymakers implement orientation programs designed to create a framework

of support systems for beginning teachers, consisting of self-reflections, structured observations,

Although teacher education programs strive to

lenges, beginning or novice teachers will inevitably spend time learning on the job. Veteran teachers everywhere can easily recall spending the first

year of teaching in “survival mode.� In fact, many

years of experience may be needed for all teachers Continued on page 16

October 2019

15

Mentoring Continued from page 15

to make the adjustments necessary for

truly effective teaching. Veteran teachers

who have successfully lived through this transformative experience can be helpful to novice teachers as a model and mentor.

Mentor/mentee programs are common

in many school districts in the United States. Due to the specific challenges presented in music classrooms, novice teachers will benefit most from a mentor with

a professional music background, preferably another music teacher (Conway &

Zerman, 2004); however, informal mentor/mentee relationships can also be effec-

tive in providing guidance to beginning

the start of their career. Veteran teachers

ly assigned a mentor from a different

encouraged to seek relationships with

their school building can help a new

tions, this mentor/mentee arrangement

teachers. All novice music teachers are

other music teachers for the purpose of informal learning and professional development. Teacher supervisors can facilitate these relationships, particularly in cases where the new teacher is hesitant or too overwhelmed to reach out for assistance.

Professional relationships with former

cooperating teachers (from a previous student teaching internship) can also be

beneficial to novice teachers. Cooperating teachers welcome opportunities to provide advice and guidance to novice teachers. Researchers have shown that effec-

tive cooperating teachers give a sense of empowerment to student teachers

(Krueger, 2006). This forms a collegial

relationship and fosters a sense of trust between the cooperating teacher and the student teacher. Established trust can

be valuable later, when novice teachers need professional advice and support.

Cooperating teachers often see their men-

torship of student teachers as stewardship

who hold institutional memory within

teacher become connected with predeces-

sors. Through this connection, beginning teachers can learn more about the students and the culture of a school music

program. This professional connection

is perhaps more important than many novice teachers would expect. In fact,

results of a retrospective survey indicated that experienced music teachers would have preferred an orientation meeting

with their predecessor at the start of their career (DeLorenzo, 1992). Interestingly,

novice teachers in the study did not express this same desire. Perhaps experienced teachers have had ample time and

distance from their first years of teaching to understand the benefits of knowing background information about their posi-

tion. Beginning teachers who have the foresight to understand the importance of

knowing their new musical community will benefit greatly.

of the future of education (Snell, Wilson,

Ineffectual Mentorship

should continually reach out to recent

provide valuable assistance to new teach-

& Cruse, 2019). Cooperating teachers student teachers, and university teacher preparation programs should encourage this communication frequently.

Novice teachers can also reach out to

their classroom predecessor for advice at

16    F l o r i d a

Although effective mentorship programs

ers, ineffective mentorship programs are not helpful to these new teachers. Veteran

music teachers are excellent choices to provide mentorship; however, beginning music teachers are too frequent-

Music Director

content area. Even with the best of intenis less than ideal. In fact, researchers

indicate that first-year music educators

receive lower-quality mentorship com-

pared to teachers in other content areas,

primarily because their mentors are not experienced music teachers (Gallo, 2018).

The quality of mentorship programs can also be affected by mentor training, mentor stipends, and the amount of time

that mentors and mentees spend together.

Further, institutional oversight is import-

ant for the maintenance of quality and effective mentorship programs. Mentors

can limit the effect of these inconsistences by creating a regular meeting and observation schedule, enabling mentees to have

a steady dose of advice and assistance.

Mentors can provide much-needed words

of encouragement, while also providing critical feedback specifically related to music education.

Too often, music educators receive

professional development that is unrelated to music education (Bell-Robertson,

2015). School policymakers can avoid this from happening to new teachers by developing music-specific training pro-

grams that exceed traditional mentorship programs, such as professional development opportunities specifically tailored for music educators and classroom

management strategies designed for

and effective mentorship programs.

Jason P. Cumberledge,

teachers may be grouped together during

programs should be a priority among

tor of bands and assistant

music classrooms. Further, new music districtwide teacher orientations. Nearly

30 years ago, many school systems often trained new teachers by using generic

orientation sessions unrelated to specific content areas. Unfortunately, this remains unchanged today in many school systems.

Additionally, many orientation meetings provide information that is more rele-

reports of beginning music teachers who

spend too much time in general orienta-

tion meetings, instead of connecting with experienced colleagues and preparing their classroom for the first day of school (DeLorenzo, 1992; Martinez, 2017).

School districts should use orientation

programs designed to aid novice teach-

ers throughout their first year. Novice

teachers who successfully complete their

first year of teaching must not remain unnoticed or unrecognized. As mentioned previously, attrition rates are high.

Despite the best efforts and intentions of school districts’ orientation programs,

many novices are leaving the profession within their first five years (National

Commission on Teaching and America’s Future, 2007). Many former music teach-

ers cite isolation, unequal treatment of music teachers compared to other content

area teachers, a lack of room to grow, and little understanding of available support systems as reasons for leaving the profession (Certo & Fox, 2002; Martinez, 2017;

Robinson, 2005; Sindberg & Lipscomb, 2005). Unfortunately, it is easy to focus on

the public presentation of overall school

grades and test scores rather than to spend time addressing teacher attrition

and developing a foundation of strong

PhD in music education

opportunities for community learning,

from Florida State University. Prior to gradu-

relevant professional development, and

ate school, he taught for nine years in the pub-

establishing a long-term network of teach-

lic schools of Worcester County, Maryland.

ers engaged in regular communication.

about the successful mentorship of novice

of students. This situation is reflected in

Louisville. He earned the

ty. Such advanced programs can include

be addressed at the start of the year, or becoming familiar with a large roster

studies at the University of

fessionals, and the research communi-

Summary

such as music budgets, performances,

professor of performance

educational policymakers, academic pro-

vant in general classrooms than in music

classrooms, where unique situations must

PhD, is assistant direc-

Therefore, creating advanced mentoring

In this article, I made recommendations

References Bell-Robertson, C. G. (2015). Beyond mentoring: A review of literature detailing the need for additional and alternative forms of support for novice music teachers. Update: Applications of Research in Music Education 33(2), 41-48.

teachers because novices face many chal-

lenges during their first year on the job.

The sheer magnitude of these challenges

can lead to high attrition rates and feelings

Certo, J. L., & Fox, J. E. (2002). Retaining quality teachers. High School Journal, 86(1), 57-75.

ting long-term goals for growth, commit-

Conway, C. M., & Zerman, T. E. H. (2004).

Perceptions of an instrumental music teacher regarding mentoring, induction, and the first year of teaching. Research Studies in Music Education, 22(1), 72-82.

of isolation. New teachers need help set-

ting to daily reflection, connecting with peers, and becoming aware that they are

not alone. Connections with experienced

DeLorenzo, L. C. (1992). The perceived problems of beginning music teachers. Bulletin of the Council for Research in Music Education, 113, 9-25.

music teachers can be a powerful source of mentorship. Experienced teachers can sympathize with novices because they

Gallo, D. J. (2018). Mentoring and first-year teacher supports: How do music educators measure up? Bulletin of the Council for Research in Music Education, 217, 7-26.

know what it feels like to be in charge of a classroom for the first time. Exceptional

and relevant professional development can also increase a novice music teach-

Krueger, P. J. (2006). Empowering music student teachers through inquiry: Cooperating teacher views. Music Educators Journal, 92(3), 56-61.

tionships between mentors and mentees

Martinez, S. (2017). Perceptions of a suburban school district’s high new teacher attrition rate.

(Doctoral dissertation, Walden University).

er’s chance for success. Professional relacan limit feelings of isolation and allow

National Commission on Teaching and America’s Future. (2007). Policy brief: The high cost of teacher turnover. Retrieved from https://files.eric. ed.gov/fulltext/ED498001.pdf

novice teachers to discuss their thoughts.

Effective mentorship programs comprise mentors and mentees from the same con-

Robinson, M. (2005). The impact of beginning music teacher assessment on the assessors: Notes from experienced teachers. Bulletin of the Council for Research in Music Education, 164, 49-60.

tent area. Mentor/mentee conversations

are a form of learning and professional development for teachers. Such learning can extend to professional relationships

Sindberg, L., & Lipscomb, S. D. (2005). Professional isolation and the public school music teacher.

Bulletin of the Council for Research in Music Education, 166, 43-56.

between novices and former cooperating teachers. School districts can help novice

teachers by providing orientation and

Snell A. H., Wilson, J., & Cruse, C. S. (2019).

Cooperating teachers’ perceptions of hosting and mentoring music student teachers. Journal of Music Teacher Education, 28(2), 84-97.

professional development directly connected to teachers’ content areas. Through

these supports, novice teachers will be

Wood, A. L., & Stanulis, R. N. (2009). Quality teacher induction: “Fourth-wave” (1997-2006) induction programs. The New Educator, 5(1), 1-23.

better prepared to achieve success in the music classroom.

October 2019

17

FLORIDA MUSIC EDUCATION ASSOCIATION 2019-2020 DONORS

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

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

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

The following have graciously donated to FMEA from April 1, 2019, through September 5, 2019.

MAESTRO’S CIRCLE $10,000 and up

No current donors at this time.

ARTIST’S CIRCLE $1,000 – $9,999

All County Music, Inc. Clifford Madsen

SUSTAINERS $100 – $999

Artie Almeida In Memory of June Audrey Grace Lucinda Balistreri In Memory of June Hinckley Shelton Berg Anthony Chiarito Alice-Ann Darrow In Memory of Mr. & Mrs. O. B. Darrow Virginia Densmore In Memory of Shirley Kirwin Cynthia Heidel Dennis Holt In Memory of Dr. Gerson Yessin Llewellyn Humphrey Steven Kelly Carlton Kilpatrick Sheila King In Memory of John W. King Cathi Leibinger In Memory of Linda Mann 18 F l o r i d a

Music Director

Angel Marchese Carolyn Minear Edward Prasse On Behalf of Nancy Masters Mary Catherine Salo In Memory of Gary Rivenbark & Wes Rainer Kathleen Sanz In Memory of June M. Hinckley J. Mark Scott In Honor of Judy Arthur & Judy Bowers Harry Spyker In Honor of Fred J. & Marleen Miller Jeannine Stemmer In Memory of Barbara Kingman & Lauren Alonso Leiland Theriot Robert Todd In Memory of Gary Rivenbark Richard Uhler David Williams Kenneth Williams

PATRONS

$25 – $99

Carlos Abril Judy Arthur In Memory of Ray Kickliter Jessica Blakley In Memory of John Rose Karen Bradley In Memory of Harold Bradley Jamie Bryan In Memory of Wes Rainer Katarzyna (Kasia) Bugaj Dana Burt Stanley Butts Carol Casey Dale Choate Don Coffman Dayna Cole In Memory of Linda Mann Erin Cushing Virginia Dickert In Memory of Lindsay Keller & Debbie Liles Jason Dobson Michael Dye Judith Evans

C. William Renfroe In Memory of Herb Beam, Past FVA President Alicia Romero-Sardinas In Honor of John Rose Cristyn Schroder Thomas Silliman In Honor of Dr. Thomas Silliman, Sr. John Southall Timothy Stafford In Honor of Olive Stafford Sharon Tacot John Weaver Howard Weinstein In Memory of Barry Weinstein Farryn Weiss Donald West In Honor of Melvin Maxwell

Melanie Faulkner Bradley Franks In Memory of Gary W. Rivenbark Mark Goff Louise Gore Sharon Graham John Henderson Marsha Juday Pauline Latorre Joseph Luechauer Kevin Lusk Cak Marshall In Memory of Sylvia Perry of Peripole, Inc. Stephen Mayo Robert McCormick Kim Miles Ree Nathan John Nista Mary Palmer Galen Peters David Pletincks In Honor of Alexis & Jonathan Pletincks Edward Prasse

Anonymous (4) In Memory of Elliot Tannenbaum

FRIENDS

up to $24

Carmen Aquino Ernesto Bayola Jessica Calandra Ella Carr Renee Cartee Kelly Chisholm Blair Clawson In Memory of Shirley Kirwin David Cruz Richard Dasher Debbie Fahmie Jenny Freeman Tina Gill In Memory of Gary W. Rivenbark Lise Gilly Gerry Hacker

Harold Hankerson Cheryce Harris Angela Hartvigsen Jason Jerald Rolanda Jones In Memory of June M. Hinckley Catherine Lee Anthony Lichtenberg Claudia Lusararian In Honor of Sue Byo Deborah Mar In Memory of Mrs. Barbara Kingman Matthew McCutchen In Honor of John C. Carmichael Kristy Pagan Hank Phillips

Marie Radloff In Memory of Charles F. Ulrey Emma Roser Stacie Rossow Edgar Rubio Melissa Salek Thomas Stancampiano Phil Tempkins Gary Ulrich Billy B. Williamson Matthew Workman Anonymous (5) In Memory of Tom Damato

DONATE TODAY FOR A STRONGER TOMORROW. With your support, FMEA will continue to grow its programs for teachers and students, strengthen united advocacy efforts, and improve your professional development opportunities.

Visit FMEA.org to learn more information about each fund and to make a donation.

October 2019

19

WHY Technology IS

Critical to Success

IN MUSIC CLASSROOMS

by Nicholas Thomas, EdD Music and Student Learning Styles

The primary reason that at-risk students fail is not that they do not get enough instruction, but rather that they do not get

the right kind of instruction in their learning modalities and may require a differ-

ent mode of delivery (aural, visual, and

kinesthetic; Watson, 2018). Furthermore, the educational experiences traditionally

offered and preferred by schools may not always meet the unique needs of individual students. As a result, students often struggle to find success in the classroom.

At-risk students who are struggling in

schools may achieve more success if they

are engaged by more diverse instructional

20 F l o r i d a

methods and by kinesthetic (learning by doing approach) learning opportunities offered in music classes. Music classes

could match at-risk students’ learning

styles by providing them opportunities

for artistic self-expression and creativity that may not be available in other classes.

Music classes develop important social

and learning skills related to listening,

critical thinking, problem solving, and

collaboration. By integrating technology, we as music educators can help to make

studying music more meaningful and engaging, while responding to each student’s individual learning style.

Continued on page 22

Music Director

October 2019

21

Technology Continued from page 20

Figure 1.

The National Standards for Music Education (MENC, 1994)

Instructional Technology

1

Singing, alone and with others, a varied repertoire of music.

2

Performing on instruments, alone and with others, a varied repertoire of music.

3

Improvising melodies, variations, and accompaniments.

4

Composing and arranging music within specified guidelines.

5

Reading and notating music.

6

Listening to, analyzing, and describing music.

7

Evaluating music and music performances.

8

Understanding relationships between music, the other arts, and disciplines outside the arts.

9

Understanding music in relation to history and culture.

In today’s world, technology has become

an undeniable part of life. In the field of education, advancements in technology have enabled educators to adapt their

pedagogy to reach the diverse learners

in music and non-music classrooms.

Educators and researchers have shown

that integrating technology in the class-

room can offer many advantages for both teachers and students (Harris, 2005;

programs enable students to learn

helps motivate students, enhances their

are in control of what they create, giv-

from and with each other. Students

Thomas, 2014, 2015). Using technology

ing them a feeling of ownership while

learning experience, and helps them

intrinsically motivating them in the

develop important cognitive skills that can be transferred to other disciplines

process.

(Wieking, 2016). Technology has enabled

2. Technology helps to augment inter-

range of resources and to direct communi-

use music technology to enhance learn-

students to have greater access to a wide

disciplinary learning. Students can

cation with experts, empowering students the No Child Left Behind (NCLB) Act of

discusses technological goals with the intent to improve students’ academic

achievement through technology. Newer

3. Technology

could

help

involve

nontraditional students in music.

technologies can provide meaningful

Frequently, middle and high school

with the development and expansion of

choirs) are only able to reach nominal

ensembles (bands, orchestras, and percentages of a school’s population

the Internet, teachers now have innova-

(approximately 10%-15%), while music

tive software and apps (applications on

technology courses (recording, com-

mobile devices and tablets) to engage stu-

posing with software, etc.) offer ways

dent learning. The Internet has made the

to engage the other 85% to 90% of stu-

global world smaller, the business sector

dents with music.

faster (more efficient), and education sys-

tems more in sync with world events than

ever before. These tools are not just useful

Technology in Music Classrooms

the music classroom.

ing environment where technology is

for the general core classroom but also for Technology assists music classrooms in

three general areas:

1. Technology encourages collaborative learning. Students can work in groups

Connecting

dents become active participants in learneffectively, and be motivated to continue

their studies. It is important for music educators to be aware of the full capa-

bilities of the tools available to enhance student learning. The many advantages

of utilizing technology, including student support, can be transferred to the

music classroom. Research on the effect of technology in music has been conducted

by NAfME and the Yamaha Corporation

with positive results. Studies documented that students showed more enthusi-

asm and motivation toward music classes when technological devices were used (Facts about Technology Users, 1994).

A single computer in the music class-

everywhere; therefore, they are already

concepts and skills. Teachers can dis-

well acquainted with technology and are

accustomed to having it readily available.

Today’s students are digital natives, where-

Apple’s Garage Band, Sibelius’ Groovy

who did not grow up with these types of

22 F l o r i d a

4

room can be an effective tool for introduc-

as some older generations of parents and

Music series, and more. These software

Responding

Students are growing up in a chang-

to develop projects using simple creation software programs such as

3

ing, they can gain confidence, learn more

gathered in their social studies class.

learning experiences for all students, and

Performing

students use Finale Notepad (a simwrite songs based on facts they have

Education Through Technology,” which

Creating

logical changes; Bauer, 2014). When stu-

ple and popular notation program) to

2001 (Section Part D) features “Enhancing

1 2

ing in other subject areas. For example, a music teacher could have third-grade

to become independent learners. Title II of

Figure 2.

The National Core Arts Standards for Music Education Four Artistic Processes (NAfME, 2014)

teachers are digital immigrants (i.e., those

technology and have to adjust to techno-

Music Director

ing, reinforcing, and reviewing musical

play notation or visual examples using an interactive white board during classroom

presentations, and students can interact with the screen kinesthetically. Students can use the Internet to research a project/

report or to develop a presentation collaboratively. Instructional software such as

Smart Music, Finale, or Music Ace can be

tual relationships between music history

tion of creating something themselves.

literacy skills. This technology can make

of using technology to enhance students’

ital equipment tie together what students

used as tools to develop and refine music traditionally frustrating tasks engaging,

easier, and more entertaining for students, while allowing teachers to reinforce students’ understanding. Most instructional

software applications usually include four parts (tutorials, practice, creativity activi-

ties, and interactive games), which help to

introduce the application at hand and test the student’s knowledge and skills before giving students opportunities to review

and practice those skills. The repetition, feedback, and assessments provided by

these music applications keep students’

interest high and can help them master

musical skills in a variety of unique and enjoyable ways (Bauer, 2014).

Since the majority of American teen-

agers are digital natives and are at ease using different types of technological

media such as cell phones, laptops, and tablets, incorporating technology in the music classroom could assist students

«« Bringing a professional musician/cliaudio or video conferencing technol-

Nicholas Thomas, EdD,

Using such platforms can be useful

music education at Florida

«« Using

the last two (8 and 9) being more conceptual in nature. Students can use the previously mentioned technological devices

to assist them in meeting the standards

through their preferred mode of learning, whether it is visual, aural, or kinesthet-

ic. For example, students might employ YouTube, Google, and even Wikipedia

to delve into historical relationships that could assist in understanding the concep-

and advising music education students. Dr.

YouTube, SchoolTube, and

Thomas has 10 years of public school teach-

EduTube to preview music and per-

ing experience in the DeKalb County School

formances. These sites allow students

System (Atlanta, Georgia) and Broward

to listen to and learn from other pieces

County Schools (Fort Lauderdale, Florida).

of music in order to better prepare for

«« Using

performances, learn theory, etc.

search engines to research

References

music history, biographical informa-

Bauer, W. I. (2014). Music learning today: Digital pedagogy for creating, performing and responding to music. New York: Oxford University Press.

tion on composers, or videos representing the composers/time periods

Facts about Technology Users (1994). New ways in music education, Spring 1994. Yamaha Corporation of America: Grand Rapids, MI.

studied, and more.

Many teachers make using technology

Harris, J. (2005). Our agenda for technology integration: It’s time to choose. Contemporary Issues in Technology and Teacher Education [Online serial], 5(2). Retrieved from https:// www.citejournal.org/volume-5/issue-2-05/ editorial/our-agenda-for-technology-integration-its-time-to-choose

should be a tool used to help enhance musical

room could assist educators in meeting

ly skill based (numbers 1 through 7), with

graduate/graduate music education courses

classroom.

to be organized around four artistic pro-

paragraph). The 1994 standards are most-

his duties include under-

all over the world without leaving the

Conclusion

about music literacy” (NAfME, 2014, first

University (FAMU), where

formers, and other professionals from

for Music Education (NAfME). The orig-

The 2014 Music Standards are “all

Agricultural and Mechanical

to expose students to composers, per-

learning.

cesses (see Figures 1 and 2, respectively).

serves as coordinator for

ogy such Skype or Google Hangouts.

Music Educators National Conference

inal 1994 standards were revised in 2014

what they are doing outside of school.

nician into the classroom using online

the point of a lesson. Rather, technology

(MENC), now the National Association

are doing and learning in school with

learning might include:

in achieving the National Standards for Music Education, as originally set by the

Music classes that use electronic and dig-

and cultures of the world. Other methods

MENC (1994). National standards for music education. Retrieved from https://nafme.org/ wp-content/files/2014/06/Archived-1994Music-Standards.pdf

Integrating technology in the music classthe needs of their students as technology

NAfME (2014). National standards for music education. Retrieved from https://nafme.org/ my-classroom/standards/

can offer opportunities for differentiated

instruction and experiential learning.

Thomas, N. (2014, January). Why technology is important in today’s music education classroom.

Presentation at the Florida Music Education Association Annual In-Service Conference, Tampa, FL.

Technology can be used to support a variety of different needs while allowing students to take ownership in their learning and

increasing the intrinsic motivation to learn.

Thomas, N. (2015, October). Music technology, making a difference. Presentation at the Kappa Delta Pi Biennial Convocation, Orlando, FL.

Technology can possibly attract more non-

traditional music students into music

Watson, S. (2018, July 5). Intervention strategies for students at risk. Retrieved from https:// www.thoughtco.com/intervention-strategies-for-students-at-risk-3111338

classrooms, while helping them develop critical thinking and problem-solving

skills that can be used across other disci-

Wieking, B. A. (2016). Technology integration and student learning motivation (Master’s thesis, Northwestern College, Orange City, IA). Retrieved from http://nwcommons. nwciowa.edu/education_masters/5/

plines. Technology could enable students to become more actively involved in the

study of music, while having the satisfac

October 2019

23

2020 FM E A Professi ona l Development Conference E CEL

B

IN R AT

G

J a n u a r y 8 -1 1 , 2 0 2 0 Ta m p a C o n v e n t i o n C e n t e r 3 3 3 S o u t h F r a n k l i n , S t r e e t , Ta m p a , F l o r i d a All registration information must be entered online, beginning September 21 (click HERE ).

REGISTRATION FEES Description

Preregistration Rates: Sept. 21 – Dec. 6

On-Site Rates:

Director/Member

$138

$168

Collegiate Member

$58

$88

Retired Member

$0

$0

Non-Teaching Spouse

$73

$98

Non-Teaching Spouse of Retired Member

$0

$0

Paid Chaperone

$53

$73

Free Chaperone

$0

$0

All-State Student

$63

$93

Tri-M Student

$38

$38

Preconference Workshop

$58

$68

you please provide the ACTUAL, CORRECT

Preconference Workshop (First-Year Teachers)

$25

$25

of your students and chaperones and do NOT

Concert Tickets

$15

$15

VIP Member

$0

$0

VIP Preconference Workshop

$0

$0

Leadership Workshop Student

$38

$38

Leadership Workshop Chaperone

$0

$0

Student Experience - Student

$38

$38

Student Experience - Chaperone

$38

$38

At the end of the online form, you will have the opportunity to print an invoice to send in with a check until one week before the preregistration deadline or to pay online instantly with a credit card until the preregistration deadline.

Please Note: To assist our members, their

students, and chaperones as they visit exhibit booths, all badges will have a barcode encoded

with contact information. Attendees will be able to allow exhibitors to scan their badges

rather than manually writing information on

contact cards or mailing lists at their booths.

In order to maintain a positive relationship with our exhibitors who can benefit your stu-

dents through scholarships, new equipment, sheet music, software, and more, we ask that

MAILING ADDRESS and EMAIL for each

simply enter your school address or other incorrect information.

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.

24 F l o r i d a

Music Director

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

GREAT NEWS! In order to help keep attendees safe, there will be a heightened security presence throughout the Tampa Convention Center and at various hotels.

All entrances to TCC will be patrolled by uniformed officers of the Tampa Police Department and uniformed Allied Universal Security personnel. They will be patrolling the Tampa Convention Center as well. The Tampa Police Department will be at the crosswalks between Marriott Tampa Water Street and TCC, at concerts, and patrolling some of the downtown hotels during rehearsals.

All attendees (this includes members, chaperones, and student participants) must wear their conference badge during the conference once the authorized registrant obtains the conference packet.

Please be prepared for random bag and/or purse searches.

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

ENJOY THE CONFERENCE EXPERIENCE.

October 2019

25

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

FSMA, 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 director from that student’s school, then the principal from that school must

furnish a letter designating the person from the school or school district who is to be in charge of that student. The letter should be addressed to the FMEA executive director, must explain the

extenuating circumstances preventing the director from attending, and must be submitted with registration materials. The school will be notified of approval. This does not release the director from the requirement that he or she must be registered for the conference.

If approved, the person designated in the letter will pick up the

director’s preregistration packet and supervise the student at all times.

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 or those approved for the Student Experience program who are registered and participating in

sessions or working for the all-state concerts are exempt from this rule. Chaperones or other attendees are not allowed to bring

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

registered students, teachers, and chaperones wearing a conference badge are allowed in and around the rehearsals and conference

areas. Please make child care arrangements before attending the conference.

CHAPERONE REGISTRATION Chaperone registration is based on the following rules:

«« For each elementary student registered, one ELEMENTARY STUDENTS

free chaperone and one paid chaperone

«« Any additional attendees must purchase a may be registered.

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

MIDDLE SCHOOL AND HIGH SCHOOL STUDENTS

«« For every six students registered, one free chaperone and one paid chaperone may be registered. No other chaperones may

be registered until the seventh student is

«« Any additional attendees (chaperones registered.

or guests) must purchase a guest pass

at on-site registration for entry into the convention center.

«« If you have students in more than one EXCEPTIONS

performing ensemble, you may pay for a

chaperone for each performing ensemble in

«« If you have students from different schools, which you have registered students.

you may pay for a chaperone for each school for which you have registered

7. All Florida school music teachers must register for the conference

as FMEA directors and be current members of FMEA and NAfME.

students.

This includes directors of all-state students, invited performing

Chaperones are not allowed to bring children

from Florida schools, colleges, or universities must also be FMEA

ensemble. Only registered students, teachers,

Collegiate students must be collegiate members of FMEA and

are allowed in and around the rehearsal

members of NAfME. Attendees who live outside of the United

chaperones are aware of this policy before

groups, mini-concerts, and session presenters. All-state conductors

who are not participating in an all-state

members. No current music teacher may register as a chaperone.

and chaperones wearing a conference badge

NAfME. Attendees who live outside of Florida must be current

areas. Directors are asked to make sure their

States may contact our office for registration instructions.

agreeing to serve as a chaperone.

26 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 attendees (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 packet.

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

state concert 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

ALL CONCERT TICKET SALES ARE FINAL.

NO REFUNDS OR EXCHANGES. Please make sure you know the exact name of the all-state

ensemble for which you need tickets before approaching the ticket sales window

performing students at the conference on-site

registration desk or at a designated ticket sales location 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 nonrefundable.

9. For entrance, ticket, 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

REFUND POLICIES 1. Full registration refunds are available for cancellation requests made through December 15, 2019.

2. No registration refunds will be made for cancellations made after December 15, 2019, 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, 2020. Requests received after that date will not be processed.

purposes of entrance, ticketing, etc., is the 2 pm

5. All refunds will be issued after the conference is

and the All-State SSAA Chorus.

6. Concert tickets are non-refundable.

concert on Saturday for the All-State TTBB Chorus

completed.

October 2019

27

2020 FMEA Student Conference Experience The purpose of the Florida Music Education Association’s Student

Conference Experience is to expand access to the annual 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. The program will take place on Thursday and Friday of the 2020 FMEA Professional Development Conference. Students will participate in workshops, observe rehearsals, attend COLLEGE NIGHT

and engage in social activities with their peers.

,

«« Online nominations will be open September 21 through November 11, 2019. «« The schedule and list of clinicians/sessions will be available no later than October 1. «« Updates and information can be found HERE .

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 chaperone attend the conference at all Student Conference Experience activities. The music teacher may not serve as the chaperone. «« All participating students and chaperones will be required to stay at the conference hotel designated for the Criteria/Guidelines

Student Conference Experience.

«« Directors will nominate students online beginning September 21. The deadline is November 11. «« In mid-November, nominations will be reviewed and directors will be notified of accepted students by Thursday, November 14. «« Directors will add the accepted students and their chaperones to their conference registration.

Nomination & Registration Process

Any questions should be director to Michael Antmann (michael.antmann@ocps.net) and Charlene Cannon (charlene.cannon@ocps.net), coordinators of the FMEA Student Conference Experience.

Hotel Information

Holiday Inn Tampa Westshore

(800) 465-4329, Group Code: FMEA

Ask for the “Student Conference Experience block.”

Bus transportation will be provided from this hotel to the convention center for the student experience students and

their chaperones. All student experience students and chaperones must reserve rooms in this hotel block only.

Directors do not necessarily need to stay in this block, but the students and chaperones do.

28 F l o r i d a

Music Director

Student Leadership Workshop The keynote speaker and clinician for the 2020 Student Leadership Workshop will be…

Fran Kick. Mr. Kick will bring his high-energy, interactive presentation style to FMEA in this humorous, informative, educational, and entertaining workshop.

The workshop is designed for high school student leaders. All participants will be actively involved through activities, examples, and valuable information. students will be exposed to the following:

• • • • • •

Setting High Standards of Excellence Fundamentals of Self-Discipline Effective Communication Principles Value of Risk Behavior Modification vs. Motivation Dealing With Insecurities

Students who are not in an all-state ensemble can receive a one-day exhibit pass for Thursday, but are expected to travel home on Thursday afternoon with a chaperone. Students may not stay for the rest of the week if they are not in an all-state ensemble.

Students who ARE in an all-state ensemble or who are also attending the conference as a Tri-M student or are attending the Student Conference Experience must also be registered for the conference.

Chaperones who will be attending for the remainder of the week must also be registered for the conference.

Wednesday, January 8, 2020, 1 pm–4:30 pm Tampa Convention Center, West Hall A The cost for the workshop is $38 per student. Chaperones are free.

Register as part of your FMEA conference registration.

CLICK HERE

October 2019

29

2020 FM E A Professi ona l Development Conference

Hotels Contracted for 2020 FMEA Professional Development Conference The Florida Music Education Association has contracted the following Tampa hotels for the January 8-11, 2020, Professional

Development Conference. Please tele-

phone your hotel of choice directly from the list on the following page beginning

September 21, 2019, at 9 am EDT. Guest

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

cancellation deadline of November 9, 2019, at 5 pm. If your hotel of choice is sold

out, please continue to try to make a res-

ervation until November 9, 2019, as FMEA attendees will periodically release surplus guest rooms.

A maximum of five (5) guest rooms

may be reserved per teacher and/or

parent. Each and all rooms reserved on

November 12, 2019, will be charged a non-refundable, one-night fee to the

responsible credit cardholder. (Invalid credit cards risk a reservation cancellation.)

We urge any guest holding surplus

reservations/rooms to cancel excess reser-

vation(s) as soon as possible and no later than 5 pm on November 9, 2019, and you

must secure a cancellation confirmation number. (This courtesy will make sur-

plus rooms available to other guests.) In order to receive complimentary rehearsal

and meeting space, you should book guest rooms in the hotel you are using for your group functions.

NOTE: FMEA IS NOT offering a

housing bureau service. All participants

MUST call the hotels directly beginning September 21, 2019, at 9 am EDT and request the “Florida Music Education

Association” room block rate and confirm the guest room rate posted below. We look forward to seeing you in Tampa!

30 F l o r i d a

HOTEL — Cutoff date: 11/9/19

ROOM RATES

Group Code: FMEA unless otherwise noted

Single

Double

Triple

Quad

Barrymore Hotel Tampa Riverwalk 111 West Fortune Street, Tampa, FL 33602 (813) 223-1351, Comp. internet; $10 parking

$143

$143

$143

$143

Courtyard by Marriott Downtown Tampa 102 East Cass Street, Tampa, FL 33602 (813) 229-1100, ext. 1, Comp. internet; $20 valet only

$154

$154

$154

$154

DoubleTree by Hilton Tampa Airport Westshore 4500 West Cypress Street, Tampa, FL 33607 (800) 514-3959, ext. 1, Comp. internet & parking

$157

$157

$157

$157

Embassy Suites Downtown 513 South Florida Avenue, Tampa, FL 33602 (813) 769-8300, ext. 1

$249

$249

$259

$269

Embassy Suites Tampa Airport Westshore 555 North Westshore Blvd., Tampa, FL 33609 (800) EMBASSY, Group Code: FME or FMEA 2020

$193

$193

(up to 5 in room)

(up to 6 in room)

Four Points by Sheraton Suites Tampa Airport Westshore 4400 West Cypress Street, Tampa, FL 33607 (800) 368-7764, Comp. internet

$142

$142

$142

$142

Hampton Inn Tampa Downtown Channel District 1155 East Kennedy Blvd., Tampa, FL 33602, Group Code: FME (813) 525-9900, ext. 1, Comp. internet & breakfast; $15 parking

$185

$185

$185

$185

Hilton Downtown 211 North Tampa Street, Tampa, FL 33602 (800) 445-8667, ext. 1, $9.99 internet (Comp. for HH); $24 valet

$208

$208

$208

$208

Holiday Inn Tampa Westshore Airport 700 North Westshore Blvd., Tampa, FL 33609 (800) 465-4329, Group Code: FMA, Comp. internet & parking

$124

$124

$124

$124

Home2 Suites Tampa Downtown Channel District 1155 East Kennedy Blvd., Tampa, FL 33602, Group Code: FMA (813) 525-9900, ext. 2, Comp. internet & breakfast; $15 parking

$215

$215

$215

$215

Tampa Marriott Water Street Hotel (formerly Marriott Waterside) 700 South Florida Avenue, Tampa, FL 33602 (888) 789-3090, ext. 3, Comp. internet for Bonvoy members; $27 overnight valet & $15 daytime valet

$205

$205

$205

$205

Residence Inn 101 East Tyler Street, Tampa, FL 33602 (813) 221-4224, Comp. internet; $17 self-parking

$176

$176

$176

$176

Sheraton Tampa Riverwalk Hotel 200 North Ashley Drive, Tampa, FL 33602 (888) 236-2427, Comp. internet

$199

$199

$219

$219

Westin Tampa Waterside 725 South Harbour Island Blvd., Tampa, FL 33602 (800) 937-8461, Comp. internet; $30 valet

$199

$199

$199

$199

Music Director

$203

$213

Please take time to thank and support our 2019-2020 Corporate Partners.

GOLD PARTNERS

SILVER PARTNERS The Horn Section, Inc. Carl Fischer Music Eastman Music Co. Excelcia Music Publishing Head’s House of Music Music & Arts National Concerts

BRONZE PARTNERS

Noteflight Romeo Music Tampa Bay Institute for Music Therapy Tampa Music School West Music Company

Partners as of September 5, 2019.

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

October 2019

31

ComponentNews T

FLORIDA MUSIC SUPERVISION ASSOCIATION

Harry “Skip” Pardee, President

he 2019-20 school year is off to a great

NAfME Collegiate chapters on Sunday,

Professional Development Conference.

behalf of all of us in the Florida Music

This session will be a great opportunity

listed below during FMEA.

start in our beautiful state, and on

Supervision Association, we wish you a happy and musical fall. I can recall many

instances this summer when folks would

ask, “How is your summer going; do you get some chances to relax in preparation

for the new school year?” The answer

is always a smiling “no,” as I am sure my colleagues in FMSA would agree.

The work done in those crucial summer

months sets the proverbial stage for the

October 20, at Florida Southern College.

for our collegiate members to spend time

We are excited to offer the four sessions Also, just as a reminder, a big part of

with our FMSA membership and to learn

our mission in FMSA is to be connected

state about interview techniques, resume

music supervisor or even content-specific

from the supervisors from around the

building, and the first few years in the classroom.

Part of the ongoing work of FMSA is

to provide meaningful sessions for future music educators at the annual FMEA

upcoming school year. Planning profes-

sional development, budget forecasting, advocacy work, facilities planning, purchasing, and hiring all come to mind as

means much until passionate educators greet our state’s students on day one and

the work continues through day 180 and

beyond. Our immediate past president, Dr. Kenneth Williams, appropriately calls

you in your efforts as music education practitioners in the field.

office. If we can be of any help to you in

advocating for your great work, please do not hesitate to contact us. Have a great October with your students!

Objectives

Desired Audience

Meet the Supervisors

Allow future music educators an opportunity to meet the music supervisors or arts representatives from various school districts around Florida

Any collegiate

Interview Strategies for Pre-Service Music Teachers

Collegiate music educators benefit from interview coaching sessions in small groups with the music supervisors from around Florida

Juniors/Seniors

First-Year Teacher Panel

Collegiate music educators enjoy a panel of first-year teachers sharing their experiences in the field after they have obtained a position

Any collegiate

School District Exhibit

Learn from music supervisors about working and living in their various communities; music supervisors provide relevant application information and anticipated vacancies

Any collegiate

our profession a noble one, and FMSA members feel humbled to be able to assist

representation in their county’s central

Title

essential parts of the music supervisor’s

role. Very little of that work, however,

with districts that do not have a full-time

We are pleased this month to spend

time with our colleagues from the Florida

2020 F M E A P rofess i o na l Deve l o p me nt Co nfe re nce

BEexhAibitonr!

32 F l o r i d a

Music Director

R E S E RSVPEO T Y O U RD AY !

TO LEA R N MOR E AT:

DEADLINE

Nov. 15, 2019

FMEA.org/Exhibits

For information specific to the Trade Show Exhibition, please email Exhibit Managers Byron and Bobbie Smith at exhibits@fmeaexhibits.com.

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

John D. Ash, President

Music Learning Theory

I

would like to make it very clear that I am

beats, and melodic rhythms (or rhythm

or Music Learning Theory. Honestly,

mally feel if we were to move to the piece.

learning about Gordon and his approach

on the first beat of each measure, which

patterns). Macros are the beats we nor-

not an expert on the Gordon Approach

In a waltz, for example, we would move

three years ago is when I first began

would last all three beats of the measure.

to teaching audiation. Audiation is the

The micro beats are beats two and three

ability to “hear and comprehend music in the mind” (giml.org

of the same measure. Micros are the divi-

), and according to

sion of the macro. The melodic rhythm,

Gordon, it is the foundation of musician-

or rhythm pattern, are the syncopations

ship. Below is a very brief explanation of

of the macros or micros. Each measure is

the approach in terms of rhythm, and I

Photo: giml.org/gordon

hope it will leave you wanting to learn more about Gordon.

{

I spent 16 years as a high school band

director, and if there is one question I

got from my students more than anything else, it was, “How does this go?”

Edwin E. Gordon, (1927-2015)

broken down into macros and micros and

scrutinized for rhythm patterns. Gordon

expresses a whole/part/whole approach to music, and this is it in practice: Break the whole measure into digestible parts,

learn the parts, and then put it all together again.

This method allows students to see

Surely most of us have heard this ques-

tion before. “How does this rhythm go?”

each individual macro or micro beat as

asked after an unfamiliar time signature

rhythm pattern within each one. In my

a singular unit and to understand the

was probably the most frequent, usually

teaching using this approach, the rhythm

was introduced (think /8 time with the 3

patterns usually last the duration of the

rhythm eighth note followed by four 16th

notes beamed together). As educators, it is

our job to teach our students how to read and comprehend what this rhythm is asking for. Instead, many of us will sing

it to them and move on until it shows up again, and then we will follow the same

pattern of rote until they have been con-

ditioned to play the piece the “right” way.

After learning about Gordon, I began

applying the approach in my sight-sing-

As educators, it is our job to teach our students how to read and comprehend what this rhythm is asking for.

ing and ear-training classes at the college.

and that is their basis for rhythms. It

rhythm and seem very simple at first,

brains so they understand that the quar-

The sight-singing books I use begin with

with lots of 4/4, 3/4, 2/4, C, and cut-time

rhythms. There are lots of whole, half,

dent is able to read well in

/4 time but

3

is completely lost in /8 time, then the 3

understanding of those patterns is not present. The time signatures 3/2, 3/4, 3/8,

and 3/16 all have the same patterns and are

counted the same ways, but with a lack of understanding of how homonymous pat-

terns exist in each of these, students will simply raise their hands and ask, “How does this go?”

You can read more about Gordon at

two eighth notes, four 16 notes, and so

giml.org

the time signature.

The rhythm part of Gordon is merely the

th

in, more time signatures appear (4/16, 3/8,

The Gordon Approach to rhythms uses

/8, etc.), and these expose an issue with

three elements that are used in decipher-

that the quarter note equals one beat,

three elements are macro beats, micro

many students. They have been taught

emphasizes the pattern instead. If a stu-

ter note is merely a vessel that contains

on. The length of that note depends on

4

beat. It removes the time signature and

takes time to wash this idea out of their

and quarter notes and their rests in the

beginning pages, but a couple of pages

beat or are syncopated in half of the

and reach out to experts for

a better understanding of this approach.

tip of the iceberg. The rest is truly fascinating and should be explored further if

you are in need of enhancing your lesson

ing the way the rhythm is audiated. The

plans in this area.

October 2019

33

ComponentNews

FLORIDA NAfME COLLEGIATE

Mark A. Belfast, Jr., PhD, Advisor

FLORIDA NAfME COLLEGIATE

Katherine Attong-

Mendes, President

F

lorida NAfME Collegiate is excited to announce our upcoming Fall

Conference! Our annual professional development conference, developed

by collegiates, for collegiates, will be

held on Sunday, October 20, at Florida

Southern College. Our speakers for the conference will be some of the most engaging and knowledgeable

professionals in music education,

Photo from Fall Conference 2018

also continue to host a networking

O

of the Florida Music Supervision

to have schools close, and students and

including none other than our FMEA president, Dr. Steve Kelly. We will

session for students with members Association. Registration for the con-

ference is only $7! Any member of any NAfME chapter is encouraged to

attend this conference and enjoy the benefits of sessions geared specifical-

ly toward music education students.

Additionally, our website has been

updated. Our new website can be accessed HERE

. Our website

includes resources for chapters and chapter

officers,

ctober?! It’s hard to believe we are already approaching mid-semester.

deal of resources to assist with the devel-

stride when you begin the semester only

management of your local chapter. If you

It is always a challenge to find your

faculty evacuated, in anticipation of a

hurricane’s arrival—moments after you find the perfect parking spot! That said, I hope things have been settling down

for you and you have been finding this

semester to be a rewarding one. Our thoughts remain with our friends and

colleagues in the Caribbean and on the east coast of our state. We hope you will

not hesitate to contact your FMEA or

Florida NAfME Collegiate leadership if we can be of assistance to you.

as

October marks the beginning of a very

well as updates

on our events and

active season for NAfME Collegiate. I

chapter that you would like to be fea-

will be able to attend the Fall Conference

activities. If you have pictures of your tured on our website, please feel free

to email them to flnafmecollegiate@ gmail.com.

You can also contact

us at this email address for any questions you may have.

Finally, follow us on Facebook.

Our page is Florida NAfME Collegiate (click HERE

).

34 F l o r i d a

Finally, NAfME has provided a great

hope all chapters and chapter advisors at Florida Southern College in Lakeland

on Sunday, October 20. Be on the lookout for more information from the Florida

NAfME Collegiate leadership about registration and the event’s itinerary. The Fall Conference is a relatively inexpensive

event that provides incredible professional development and networking opportunities for collegiate students and college music faculty. We hope to see you there!

Music Director

opment, organization, recruitment, and

haven’t done so recently, be sure to check out the NAfME Collegiate website right away (click HERE

). The site includes

everything from detailed descriptions

of the national association’s expectations of local chapters, to links related to the Chapter Recognition Program, fund-raising and recruitment ideas, and downloadable logos for use on your chapter’s

documents. Students, please also check with your advisor for social media promotional graphics for your meetings.

Access to the graphics formatted for Twitter, Instagram, and Facebook was

provided to chapter advisors via email toward the end of August and may have

easily gotten lost in the bustle of the new semester and the hurricane scare. Ask

your advisor for access to those graphics, and use them to raise awareness of

your chapter’s activities. If your advisor

is unable to access the files, please ask him or her to contact me and I will send the link.

I wish you all the best this month, and

I look forward to seeing you at the Fall Conference!

FLORIDA VOCAL ASSOCIATION

Jason Locker, President

F

or FVA, October means all-state vocal

Mark’s leadership has been an asset

been named, he or she will work along-

decision to retire as FVA executive direc-

will assume the full responsibilities of

quality testing! By now, the All-State

to our association, but he has made the

imagine that many of you can hear the

tor, effective June 30, 2021. While we will

Reading Chorus has been seated, and I dulcet tones of Matthew Curtis singing The Heavens Are Telling or Zion’s Walls in

your sleep! Thank you for doing everything you can to ensure that your stu-

dents are thoroughly prepared for this critical phase of the audition process (don’t forget the vocalises).

Speaking of thanks, please be inten-

tional about thanking your district chairperson for the many hours he or she puts

in behind the scenes to make your dis-

trict’s all-state audition process smooth and successful. It’s so easy for us to show

up for an audition where everything is set

up and ready to go, or to pass judgment if we don’t think the event is well planned

or executed. You can never truly under-

stand or appreciate the pressure that a district chairperson feels until you serve

in that role and shoulder those responsibilities yourself. So please, reserve your judgment if you think something isn’t

quite “perfect,” and instead smile at your chairperson and thank him or her for

giving so generously of his or her time

in service to the rest of the district. And then, offer to help!

For the past decade, the Florida Vocal

Association has been so fortunate to be under the guidance and care of Executive

Director J. Mark Scott. It is impossible

to overstate the wisdom, kindness, and

vision that Mark has brought to this role. Mark revived our state music performance assessment when it was struggling to survive. He introduced honors

recitals and choirs of distinction, and

made them truly special for students and directors alike. He expanded the opportunities and recognitions available to our

middle school programs. He helped to expand the vision of FVA, while keeping us on solid financial footing.

side Mark for the 2020-21 school year, and the role on July 1, 2021.

be sad to see him go, we wish him and

To lead is to serve. Your district chair-

Brenda all the best in his retirement. As

person, our executive director, and all

director search this year. The application

by virtue of their service. FVA, like

a result, FVA is conducting an executive

of the other members of our board lead

period will close on October 16, 2019.

any other organization, is constantly in

The position announcement can be found on our website (FVA.net

search of the next generation of leaders. I

have often heard members ask how they

) and below.

can become a leader in our association.

Please submit all inquiries and appli-

cation materials to execdirsearch@fva. net.

My response is to find some way, no matter how seemingly small and insig-

Jeannine Stemmer, president-elect,

nificant, to serve. I guarantee you, that’s

has agreed to chair this very important

what J. Mark Scott did when he was a

committee, which has been charged with

young teacher. And look at what a lasting

making a recommendation to the full

impact this member of the FVA Hall of

FVA Executive Board for approval in the

Fame has had on all of us as a result!

spring. Once a new executive director has

Florida Vocal Association Executive Director Position Announcement The Florida Vocal Association is a component organization of the Florida Music Education Association. Its mission is to provide

opportunities that support comprehensive

secondary vocal music education in the state of Florida.

«« Awards «« Sight-reading materials «« Board meetings «« Serve on FSMA board «« Assist chairpersons «« Assist and supervise business manager «« Certificates of liability insurance

«« Patience with a steady temperament «« Organization and flexibility «« Experienced music educator «« A thorough understanding of the REQUIREMENTS

Florida Vocal Association; its past, present, and a clear vision of the future

«« Cover letter «« Curriculum vitae «« Compensation requirements «« Vision/goals for FVA

APPLICATION REQUIREMENTS

«« Summer Conference «« All-State «« State music performance

RESPONSIBILITIES

assessment

Deadline: October 16, 2019

Send all inquiries and application materials to execdirsearch@fva.net

October 2019

.

35

ComponentNews I

recently participated in

FLORIDA BANDMASTERS ASSOCIATION

Cathi Leibinger, President

The same is true for our

joy, of creativity, of belonging, of love.”

bers are in fear for their psy-

dents, I’ve tried to be more open with

get hustling to get across that

concert, we performed

an online book club host-

ensembles. If a group’s mem-

group of band directors. We

chological safety, they will

ed on social media by a spent a few weeks reading

line. In fact, as Dr. Tim says,

and discussing The Culture Code

by

Daniel

they will run over others

Coyle.

to get to the end. The prob-

Coyle’s premise is that

lem becomes that there is no

great organizations don’t

longer trust in the relation-

happen by chance. Instead,

ship and they don’t want to

they are built on three basic

rules of engagement: safety,

stick around for the next race.

vulnerability, and a common goal. As I

Building trust through encouragement

myself thinking about the organizations

members of the organization will cross

dug deeper into these principles, I found in my life and how they meet (or fail to meet) these simple tenets.

I have often heard

is a longer process, but in most cases, the the finish line together and immediately

start looking for the next big event. Be mindful of the long game as you encourage your students to achieve their best

Dr. Tim Lautzenheiser

results.

talk about how to moti-

vate others. He will ask

To make a deeper connection with stu-

them. For our spring

Larry Clark’s Live On, which

was

written

in honor of our FBA Past President Linda Mann after her sudden

passing in 2017. As we

rehearsed the piece, I shared my memo-

ries of Linda, our love of our dogs, and my sadness at her passing. The students

knew how much she meant to me and by

extension, how important it was to per-

form the piece for her. Those moments of vulnerability helped create a connection

with my students that will remain long after the notes die out.

Finally, there is a proverb that states:

his audience this ques-

“If you think you are leading and no one

group to cross the fin-

a walk.” It’s hard to get an organization

is following you, then you’re only taking

tion: Which will get a

moving forward if there is no common

ish line faster, fear or

goal in mind. Members will be more

encouragement? We all desperately want

energized if they both see and agree upon

to be that teacher who can get students

some priorities for the group. Our stu-

to do their absolute best willingly and

dents will be much more eager and will-

without hesitation. The reality is that

ing to work hard if they can understand

fear will often get things moving faster

the goal as well as the purpose of each

than encouragement. This is made quite

step along the way. When they feel like

clear annually during hurricane season.

a valued part of something bigger than

We all know the season starts June 1 and

we should prepare early to have water, batteries, nonperishables, and all of the

If you haven’t yet watched Brené

other items on our hurricane preparation

Brown’s TEDxHouston talk on the power

shows up on our news feed, mad panic

reading this and do so immediately (click

list. Yet as soon as that first forecast cone starts and the fear for safety motivates people to prepare.

themselves, they often can far exceed our expectations.

I wish you the best for this school year

of vulnerability, I encourage you to stop

and would love to hear great stories of

HERE

to build a positive culture in your class-

). In her talk, Ms. Brown states

that “vulnerability is the birthplace of

how you and your students are working rooms.

MUSIC EDUCATION JOB BANK! CLICK HERE

36 F l o r i d a

Music Director

ComponentNews W

e all work too hard. It seems as if we teachers are given the impos-

sible task: teach to the highest standards,

with ever-limited time and resources.

FLORIDA ORCHESTRA ASSOCIATION

Matthew Davis, President

or contact FOA through the Mentoring

auditioned for All-State this year. A spe-

2019 FOA/FLASTA Fall Conference this

and all those who assisted with the all-

in responsibilities to home and family.

year. It was an honor to meet our keynote

we do not first help ourselves. During these busy weeks ahead, make sure to take time for yourself. Something as sim-

ple as a walk around the neighborhood can do wonders to clear your mind and

ease stress. Connections to colleagues can also help you in difficult situations. No

one understands your frustrations and challenges better than your colleagues.

Seek out string teachers in your district,

Congratulations to our students who

Speaking of connecting to colleagues,

it was wonderful seeing all of you at the

But remember, we cannot help others if

incredible support.

help and support YOU!

This stress can certainly take a toll on us as teachers, especially when factoring

planning committee members for their

Committee. Remember, we are here to

cial thank you goes out to Brain Hellhake

state adjudication process. Once all-state

speaker, Deborah Baker Monday, and to

results have been posted, please remem-

witness the fine sessions presented by our

ber to release any hotel rooms you will no

very own FOA and FLASTA members. I

longer need, in order to assist those who

hope you were able to return home with

may still be in need of reservations.

great ideas for your classroom. We are

As always, I welcome your feedback

truly blessed to have such insightful col-

about all areas in which FOA is in-

our website, myfoa.org  , for handouts

myfoa.org

volved. Feel free to email me at mdavis@

leagues here in Florida. Be sure to check

shared from the conference sessions. I

. I hope you have a truly

wonderful October!

would also like to thank our vendors, as well as our executive committee and

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Ernesta Chicklowski, President

T

he school year is in full swing and, we hope, settling into a nice routine for our students. Thank you for preparing

and submitting your students for the all-state/regional audi-

FEMEA Northern Regional Honor Choir and Orff Ensemble

District chairpersons have worked diligently to process and

WHEN

tions during this busy time at the start of the school year!

WHERE

confirm all paperwork. Our all-state coordinators, Robert Todd

REGISTRATION

and Holly Mullenix, are making the final preparations of the

materials for our January conference. Our executive director,

Jennifer Sullivan, has processed all of the finances for our annual all-state submissions. We look forward to sharing our

all-state/regionals chorus and ensemble results on October 1.

Wishing all of our teachers and students the best of luck! We look forward to a beautiful concert in January at our annual FMEA conference.

In addition to All-State, we are very excited about our

FEMEA Regional Honor Choirs and Orff Ensembles this fall.

Teachers are encouraged to participate in the professional development offered at these festival events. Click HERE

for

more details. We look forward to these exciting honor festival events for our talented students.

SESSION

CONCERT

time. Please visit our website at femea.flmusiced.org ).

and

Saturday, October 19, 2019 8:30 am

9 am to 5:30 pm

7 pm

FEMEA Southern Regional Honor Choir and Orff Ensemble WHERE

Florida International University, Miami

WHEN

Saturday, October 19, 2019

REGISTRATION SESSION CONCERT

8:30 am

9 am to 5:30 pm 7 pm

FEMEA Central Regional Honor Choir and Orff Ensemble

University of South Florida, Tampa

WHERE

Saturday, November 2, 2019

WHEN

The FEMEA Board is here to work for YOU! Contact us anyfollow us on our Facebook page (click HERE

Florida State University, Tallahassee

REGISTRATION SESSION

CONCERT

8:30 am

9 am to 5:30 pm 7 pm

October 2019

37

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

RESEARCH COMMITTEE CHAIRMAN

Don D. Coffman, PhD University of Miami

What literature choices are jazz ensemble directors making for their MPAs?

T

he Florida Bandmasters Association has established lists of required and recommended literature for concert

band music performance assessments (MPAs) and solo and ensemble MPAs in Florida, but not for jazz ensembles.

Victoria Warnet recently examined five years (2012-2017) of the literature performed by middle school, junior/senior

high school, and high school bands at jazz MPAs to better understand directors’ performance choices (Warnet, 2019).

Her data spanned 5,664 performances and 1,816 compositions. I present highlights from her report, organized by her research questions.

What pieces were performed at FBA District Jazz Band MPAs between 2012 and 2017? Just over half of the pieces (n =

949, 52.25%) were only performed once. The top five most frequently performed pieces were: 1) Groovin’ Hard, 2) Caravan, 3) Autumn Leaves, 4) Birdland, and 5) Moanin’.

What composers were performed most frequently at FBA District Jazz Band MPAs between 2012 and 2017? Warnet tallied 619 different composers. About a third of the composers appeared only once (n = 243, 39.26%), and another

third (n =216, 34.89%) averaged at least one appearance each year, while 10 composers wrote 23.55% of the compositions. The top five composers were: 1) Duke Ellington, 2) Sammy Nestico, 3) Gordon Goodwin, 4) Michael Sweeney, and 5) Victor Lopez.

What arrangers were performed most frequently at FBA District Jazz Band MPAs between 2012 and 2017? Just over half of the performances (52.27%) used pieces that were arrangements, and Warnet identified 249 arrangers. Nearly

half (n =112, 44.97%) appeared once during 2012-2017. Nearly a third (n = 77, 30.92%) had an average of at least

one appearance each year, while only 10 arrangers were responsible for half (49.96%) of the arrangements. The top five arrangers were: 1) Michael Sweeney, 2) Mark Taylor, 3) Rick Stitzel, 4) Paul Murtha, and 5) Dave Wolpe.

What percentage of secondary schools in the state of Florida with an FBA classification attended FBA District Jazz Band

MPA between the years 2012 and 2017, and how many ensembles performed each year? Jazz MPA participation is option-

al, and not all schools have jazz band programs. Of the 948 schools registered with FBA for a band classification between 2012-2017, about half (n = 467, 49.26%) brought a jazz band at least once to their district jazz MPA during these years. Warnet noted a steady growth in participation, from 403 bands in 2012-13 to 464 bands in 2016-17.

The full report displays the compositions played 25 times or more, the composers performed 50 times or more, and

the arrangers performed 50 times or more, so I encourage you to dig into her article for more details.

Reference

Warnet, V. (2019). An Investigation of the Music Literature Being Performed at Jazz Band Music Performance Assessments in Florida.

Update: Applications of Research in Music Education. https://doi.org/10.1177/8755123319868827

Email your questions and feedback to d.coffman1@miami.edu with a subject heading Research Puzzles. Your questions, if selected for publication, will remain anonymous.

38 F l o r i d a

Music Director

CommitteeReports

PROFESSIONAL DEVELOPMENT COMMITTEE

Scott Evans, Chairman

T

he FMEA Professional Development Conference is an amazing opportu-

nity for all of us to improve our craft by identifying areas of growth and attending workshops designed to help us be better teachers. During the conference we learn

from our colleagues, develop life-long

friendships with our peers from across

the state, and enjoy the impressive artistry of local, state, and nationally recog-

nized ensembles. Although we all know the value of this professional conference, many of our colleagues are challenged

with obtaining financial support from

their school administrators. If you are one of those educators, the following strategies may be of help when working to con-

vince your administrators of the return on investment they will receive by helping you attend the conference.

1. Be sure to work the FMEA conference

into your personal growth plan in

your district. Identifying conference

3. Accept the fact that you may not be

and improvement and noting spe-

tration to financially support your

opportunity for your students and

will attend to improve your targeted

commit to investing in your own

tors provide you with the assistance

attendance as a strategy for growth cific workshops and sessions you growth area will help support your

request to attend. It will also make it easier for your principal to utilize

Title II dollars to pay for your registration and expenses.

2. Start advocating for your attendance now. Take the time to build a rela-

tionship with your principal that

successful in getting your adminis-

attendance the first year. Despite this, personal growth by attending the

to share what you learned with your

with scarce resources while juggling

how you will apply what you learned

Consider this as you work to develop

be specific about what you learned,

stand the importance of your professional

growth and its direct impact on student

when discussing the conference. The

achievement in your classroom. Visit the

FMEA website for additional resources

Florida standards for music courses

and support materials to share with your

should be an outstanding tool.

put in for time and to ask for finan-

5. Make every effort to help your stu-

a foundation of understanding and

the incredible all-state performance

appreciation for the work you do.

a relationship that helps them under-

how students will benefit.

alignment of the conference with the

cial assistance, you will have built

multiple issues and financial requests.

to your classroom, and ultimately,

your passion for music education

growth. Later, when it comes time to

School administrators are often faced

principal when you return. Be sure to

4. Talk about curriculum and standards

and your commitment to personal

you need to attend the conference.

conference, and then take the time

isn’t based on immediate needs, but

instead helps him or her understand

will also aid in helping administra-

administrator. Start planning now, and commit to your own personal growth

dents audition successfully for one of

by attending the FMEA Professional Development Conference, January 8-11,

ensembles. This is an important

2020.

October 2019

39

CommitteeReports

AWARDS COMMITTEE

Debbie Fahmie, Chairwoman

I

hope everyone has welcomed another great school year. October is gener-

ally about the time we feel settled in and are anticipating the upcoming holidays followed by the FMEA Professional Development Conference. For me when I was a teacher, the FMEA conference

was always an exciting time to prepare all-state students and to select which professional development sessions to attend.

I would also get excited to reconnect with so many music education friends throughout the state who have inspired

my journey. I have had the absolute privi-

lege of being a part of the FMEA Awards

sure this year will be no exception when

attended by principals, superintendents,

always such a thrill to learn of all the won-

FMEA Awards Breakfast. All components

leaders, and NAfME/FMEA leaders.

Ceremony for over 10 years now, and it is derful things happening throughout our state that support quality, comprehensive

music education in all Florida schools. I’m

the awardees converge to celebrate at the of FMEA (band, chorus, orchestra, and elementary music) are always well represented at this exciting event, which is also

school board members, music industry Are you part of a middle or high school

music program that offers dynamic music instruction with high recruitment and retention numbers? If so, you can be a part

of this year’s awards program by apply-

ing for the FMEA Enrollment Award!

EMERGING LEADERS COMMITTEE

Applications should be made following

Mary Palmer, EdD, Chairwoman

a school’s FTE count in October. In order to qualify, 30% at the high school level

T

he NAfME National Conference is coming soon! A special preconference

and 45% at the middle school level of

and from 8 am to 5 pm on November 7. Let’s “kick it up a notch” to find out what’s

involved in a music program taught by an

to serve as part of the planning team with great leaders from across the country.

As FMEA honors and encourages alter-

FORUM for Emerging Leaders will be held from 3:30 pm to 7 pm on November 6

the entire school’s population must be

happening with Emerging Leaders around the United States. It’s been my privilege

FMEA member.

I’m thrilled that a group of our FMEA Emerging Leaders will present our signature

native music courses that are so inviting to

ence. Dr. Jeffery Redding, who was a keynote speaker at our Summer Conference,

young musicians out there, I hope we will

this amazing opportunity at the beautiful Gaylord Palms Hotel in Kissimmee/

recognized with the FMEA Enrollment

FMEA Emerging Leaders are once again assisting at the FMEA Professional

that is offering nontraditional music

Thank you to all who have volunteered. It’s not too late! We still need more willing

and orchestra courses, please invite them

Steven Covey’s idea of “starting with the end in mind” resonates. What is your

MS/HS Enrollment Award. Applications

Pecha Kucha style session (Japanese “chit-chat”) as part of the main NAfME confer-

many of the talented, yet nontraditional,

will be a keynote speaker at one of the conference sessions. You won’t want to miss

see that reflected in the schools that are

Orlando. Please watch for registration information.

Award this year. If you know of a school

Development Conference: at the registration desk, as session hosts, and more.

courses alongside quality band, chorus,

workers. Please contact Malissa Baker at bakerm@manateeschools.net

to take a look at the criteria for the FMEA

.

end leadership goal for this year? Whether you take big steps or small ones, focus

for this award are due on November 1.

that to be a leader, you must have followers. Remember that it’s a journey! Happy trails!

or more years? If so, you qualify for the

on developing your skills of engaging others to achieve that vision. Keep in mind

40 F l o r i d a

Music Director

Have you been teaching music for 25

Music Education Service Award, and the

CONTEMPORARY MEDIA COMMITTEE

David Williams, PhD, Chairman

application process is very simple. If this

is you, I’d like to give a gentle nudge to submit your application so you can

be part of the exciting awards ceremo-

APPLY NOW for two exciting musical events being held during the 2020 FMEA

Professional Development Conference in Tampa this January. The submission deadline for each event is November 8, 2019, at 5 pm EST.

ny in January. This application is due

Crossover Music Festival

November 3.

January 8, 2020 • 5 pm

FMEA has a very special award that

honors those reaching the mark of 50

Tampa Convention Center

years of service in music education.

The Crossover Music Festival celebrates students as makers of music from popular

who have earned their place in the distin-

rock, electronic dance music, country, rap, punk, soul, metal, Southern rock, Latin,

Music Education Service Award (Mr. John

5 pm to 7 pm, in the Tampa Convention Center. The submission deadline is 5 pm

Holt, and Mr. Larry W. Reed). Surely,

found HERE

club. If you know of someone who has

however, be nominated by an FMEA member teacher. The nominating teacher of

Currently, we have four FMEA members

music genres such as rock, alternative, blues, pop, R&B, hip hop, funk, folk, indie

guished group of awardees of the 50-Year

new age, reggae, etc. This year’s event will be held on Wednesday, January 8, from

DeYoung, Dr. Mary Palmer, Dr. Dennis

EST, November 8, 2019, and the application, along with full information, can be

there are a few more who might join this

All Florida students in grades K-12 are eligible to participate. Students must,

.

stayed active with FMEA into his or her

each selected ensemble must attend the festival.

colleague’s service. Please let me know

formers may apply. Submissions must include URL addresses (from YouTube,

follow up with them (must hold retired or

must be an original.

retirement years, we want to honor this who these folks are, and I will personally

Ensembles of two or more students, as well as solo acoustic songwriter/per-

Vimeo, TeacherTube, etc.) to video recordings of two pieces, of which at least one

current membership in FMEA). It is such

a highlight of our awards ceremony when

Digital Music Showcase

among us.

Marriott Water Street Hotel

January 10, 2020 • 10 am

we can recognize and honor the legends

The school enrollment and music

education service awards are typically self-nominated and take only minutes

to complete online. 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 5 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

2020 FMEA award recipients, and I thank

The Digital Music Showcase is designed to encourage musical creativity, critical thinking, and collaboration by students in K-12 schools. It will be held Friday,

January 10, starting at 10 am, in the Marriott hotel. The submission deadline is 5

pm EST, November 8, 2019, and the application, along with full information, can be found HERE

.

Again, all Florida students in grades K-12 are eligible to participate. Students

must, however, be nominated by an FMEA member teacher. The nominating teacher of each selected ensemble must attend the showcase.

There are three submission categories:

1. Live Performance. This category includes musical compositions that involve

one or more live performers who manipulate sound in real time. Compositions can include any combination of instruments and vocalists; they must prominently feature at least one digital instrument.

all those who have participated in nom-

2. Fixed Media. This category includes musical compositions that are completely

and in the past. It is a thrill to hear of so

3. Music With Video. This category includes musical compositions that are part

Thank you to the awards committee

For more information concerning either the Crossover Music Festival or the

inations and applications both this year many exemplary people and programs. members for their time and commitment to selecting this year’s awardees.

prerecorded.

of a music-with-video piece.

Digital Music Showcase, please email David Williams at davidw@usf.edu

October 2019

.

41

CommitteeReports

DIVERSE LEARNERS COMMITTEE Alice-Ann Darrow, PhD, Chairwoman

The Mental Health Crisis Among Our Youth: Can Social-Emotional Learning and Participation in Music Help?

R

ecent reports indicate a sobering

teens, especially girls, and that the suicide

assisting students with mental illnesses is

teens and young adults. The Centers for

in 2015. Only 20% of these young adults

preparation courses. Teachers are often

health crisis among our nation’s

Disease Control and Prevention reports

that one in five American children ages 3 through 17—about 15 million—have a

diagnosable mental, emotional, or behavioral disorder in a given year (CDC, 2019).

These data indicate a substantial increase in rates of anxiety, depression, and suicidal ideation. The CDC further reports that serious depression is worsening among

42 F l o r i d a

rate among girls reached a 40-year high

are ever diagnosed and receive treatment; approximately 80% are not receiving any

treatment (CDC, 2017). These data are based on diagnostic assessments and not self-report, nor service or treatment utilization.

Not surprisingly, states are looking to

schools to address the mental health crisis among teens and young adults; however,

Music Director

a topic generally not addressed in teacher

unfamiliar with mental illnesses or with what they can do to assist students expe-

riencing poor mental health. Yet mental health conditions can result in grave

consequences if left untreated. They also result in some of the poorest academic

outcomes for students. Fortunately, the National Education Association (NEA) has developed a guide that provides

resources, tools, recommendations, and

who do not have emotional or mental

cerned with the feelings, values, beliefs,

students’ mental health disabilities, as

tencies such as healthy peer relationships,

learners (Delisle, 2002). It is these aspects

evidence-based practices for addressing well as school crisis plans.

The NEA’s School Crisis Guide can be downloaded HERE

.

attitudes, and emotional well-being of

health needs.” Nevertheless, SEL compe-

of students’ emotional development that

responsible decision making, self-management,

self-awareness,

and

lead them to engage in positive life expe-

social

riences. An affective education includes

awareness can greatly benefit students

curricula and programs designed to

with mental health conditions. In addi-

promote the emotional development of

tion, there is a preventive component to

students. Typically, these curricula or

promoting students’ mental health. Kang

programs include components such as

(2017), a physician, believes SEL can be the

emotional regulation and self-concept

most proactive initiative for mental illness

development. The development of these

prevention. Research shows SEL is asso-

attributes empowers students to take

ciated with mental health variables that The National Alliance on Mental Illness

also provides numerous resources for schools, teachers, and families. These and other resources can be found HERE

.

charge of their lives and, as such, sup-

increase children’s attachment to school

ports their postsecondary outcomes.

and motivation to learn and that reduce

Sometimes termed emotional intelli-

risky behaviors (Durlak, Weissberg,

Dymnicki, Taylor, & Schellinger, 2011).

gence, social competence includes skills

ing mechanisms are protective factors for

ulation, and self-esteem (Coleman, 2009).

related to self-awareness, emotional reg-

Developing positive social skills and cop-

Students can develop these skills by

mental health.

having opportunities to express their

feelings appropriately, and engaging in

Promoting the Social and

positive social experiences (Goleman,

Emotional Growth of Students: Understanding the Relationship Between Mental Illnesses and Social-Emotional Learning

There is a frequent assumption that social

and emotional learning (SEL) programming directly addresses the mental health

needs of students. SEL does not encom-

pass mental health conditions such as depression, anxiety disorders, post-traumatic stress disorder, obsessive-compulsive disorder, and bipolar disorder. Balow

(2018, p.1), attempting to explain the relationship between mental illnesses and

social-emotional learning, states “there is clear co-morbidity of SEL competen-

cies and student mental health issues

with many students having needs in both domains. However, there are students with clinically diagnosable mental health conditions who do not have identified deficits in SEL competencies, as well as

students with specific social skill deficits

1997). Music-making experiences can be

Can Music Help?

motivating, flexible, and enjoyable, and

The Collaborative for Academic, Social,

at the same time provide opportunities

and Emotional Learning (CASEL) (2019,

to practice important life skills that will

p. 1) defines social emotional learning

benefit students’ social and emotional

as “the fostering of social and emotional

development—as well as their music

competencies through explicit instruc-

development. Croom (2012) maintains

tion and through student-centered learn-

that music engagement contributes to

ing approaches that help students engage

an individual’s well-being by influenc-

in the learning process and develop ana-

ing positive emotions, engagement with

lytical, communication, and collaborative

others, achievement, and self-awareness.

skills. The key word in this definition is

These elements of music engagement are

‘competencies.’ Competencies are skills

also fundamental to the development

that can be taught and learned through

of emotional intelligence. Music educa-

proper pedagogy and science-to-practice

tors engage in music-making experiences

methodologies.” It is important that stu-

with their students every day; however,

dents develop competence in skills that

they may need additional knowledge to

will promote their emotional and social

link these experiences to the emotional

success in school. Affective education

development of their students.

during the school years has the potential

Numerous authors have offered var-

to improve the quality of students’ lives

ious ways music engagement serves to

as they transition into adulthood (Zins

promote social competence. Koelsch Continued on page 44

& Elias, 2007). Affective education is that

aspect of the educational process con

October 2019

43

CommitteeReports Continued from page 43

(2013, p.1) states that “when playing music in a group, individuals have contact with

other individuals, engage in social cog-

«« Participating in ensembles or group

music activities can assist young

adults in building relationships and

nition, communicate, coordinate their

actions, and cooperate with each other, leading to increased social cohesion.”

Other authors have cited specific music

classroom activities that are compatible to social and emotional learning (Darrow,

having positive experiences with

others—which can lead to increased

«« Learning to play an instrument has self-esteem.

been shown to be a great source of pride for many young adults. Playing

2014; Gooding, 2009; Hourigan, 2009;

«« Music

an instrument also provides the

Jacobi, 2012):

opportunity for developing a leisure

skill, which has also been shown to

interventions such as lyric

affect self-esteem (Costa-Giomi, 2004).

analysis can help young adults iden-

With contemporary digital technolo-

tify and express feelings about their

gies, students with little music train-

emotional status, relationships with

«« Songwriting activities can also pro-

ing can learn to play an instrument.

others, or personal concerns.

Much of the attraction to participating

vide young adults an outlet for expres-

in school music programs is the social-

sharing feelings. Furthermore, the

formance trips, and while just “hang-

sion and a nonthreatening forum for

songwriting product can instill in young adults a sense of pride and pro-

ductivity. Songs can also be recorded

to share with family and friends to increase positive socialization with others.

ization in the music classroom include

«« Using peer partners and other peer-mediated learning experiences; «« Structuring repertoire choices such the following:

that students perform together in both

«« Avoiding cliques in a class or ensemlarge and small groups; and

ble by having students sit next to different students and allowing time for

conversing. Providing topics for dis-

cussion, such as “songs you both like,” “music artists you both like,” and

“concerts you both want to attend,” is

one way to initiate conversations and to open up opportunities for shared experiences.

Being able to express one’s self effec-

ization that occurs at rehearsals, on per-

tively and directly, while still respecting

ing out” in the music room before and

aspect of social communication. Music

after school. Music educators can assist in the social-emotional development of students by providing opportunities for

interpersonal interactions and encouraging socialization. Ways to promote social-

the opinions of others, is an important educators can request students to express their opinions about the ensemble’s music repertoire, music performance, or their

own music skills. Inherent in expressing opinions appropriately is the ability

to articulate reasons for these opinions.

Asking students to articulate their reasons for preferring one style of music

to another, or one piece to another, is

one way to promote critical or analytical thinking. Generally, there are no incorrect

Elementary, Middle, and High School Band, Choir, and Orchestra 2020: April 3 April 17 April 24

2021: April 9 April 16 April 23

2022: April 8 April 22 May 6

www.SMMFestival.com or call:1-855-766-3008 44 F l o r i d a

answers for expressing such opinions, but

asking to students to support their reasoning when faced with opposing opinions can facilitate their self-confidence and higher-order thinking.

Conclusions

Music educators can do much to assist students in becoming sociable, emotionally healthy, and contented musical adults.

We cannot assure that promoting social

and emotional learning will result in bet-

ter mental health for students. We do know, though, that mental health can be

influenced by one’s social and emotional Music Director

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skills, and that these skills can be learned. We know, too, that music has

the potential to influence emotions positively. Using these assets, music educators are in a position to create an environment where social and

emotional learning can flourish. When music educators structure their

curriculum to enhance students’ affective education, they also increase the likelihood their students will have a smoother and more successful transition to adulthood.

References Balow, C. (2018). Social Emotional Learning vs. Mental Health: What’s the Difference? Illuminate Education. Retrieved from https://www.illuminateed. com/blog/2018/10/social-emotional-learning-vs-mental-health-whats-the-difference/

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

CASEL, (2019). What is SEL? Retrieved from https://casel.org/what-is-sel/

Smoky Mountain Music Festival........................................................44

Centers for Disease Control (CDC). (2019). Data and statistics on children’s mental health. Retrieved from https://www.cdc.gov/childrensmentalhealth/data.html

Yamaha................................................................................................ IFC

Centers for Disease Control (CDC). (2017). QuickStats: Suicide rates for teens aged 15-19 years, by sex—United States, 1975-2015, MMWR Morb Mortal Wkly Rep2017; 66:816.

Coleman, A. (2009). A dictionary of psychology (3rd ed.). Oxford, England: Oxford University Press.

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.

Costa-Giomi, E. (2004). Effects of three years of piano instruction on children’s academic achievement, school performance and self-esteem. Psychology of Music, 32, 139-152.

Croom, A. M. (2012). Music, neuroscience, and the psychology of well-being: A précis. Frontiers in Psychology, 2, 393.

Darrow, A. A. (2014). Promoting the social emotional growth of students with disabilities. General Music Today, 28(1), 29-32.

Delisle, J. (2002). Affective education and character development: Understanding self and serving others through instructional adaptations. In F. Karnes & S. Bean (Eds.), Methods and materials for teaching the gifted (pp. 471-494). Waco, TX: Prufrock Press.

Durlak, J. A., Weissberg, R. P., Dymnicki, A. B., Taylor, R. D., and Schellinger, K. B. (2011). The impact of enhancing students’ social and emotional learning: A meta-analysis of school-based universal interventions. Child Development, 82(1), 405-432.

Edgar, S. N. (2013). Introducing social emotional learning to music education professional development. Update: Applications of Research in Music Education, 31(2), 28-36.

Goleman, D. (1997). Emotional intelligence: Why it can matter more than IQ. New York, NY: Bantam.

Gooding, L. (2009). Enhancing Social Competence in the Music Classroom. General Music Today, 23(1), 35-38.

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: D. Gregory Springer, PhD, dgspringer@fsu.edu .

Jacobi, B. S. (2012). Opportunities for Socioemotional Learning in Music Classrooms. Music Educators Journal, 99(2), 68-74.

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 .

Kang, S. (2017). Why we need social and emotional learning in schools. US News & World Report. Retrieved from https://health.usnews.com/wellness/for-parents/ articles/2017-08-10/why-we-need-social-and-emotional-learning-in-schools

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.

Koelsch, S. (2013). From social contact to social cohesion – the 7 Cs. Music and Medicine, 5, 204-209.

2019-20 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.

Hourigan, R. M. (2009). The Invisible Student: Understanding Social Identity Construction within Performing Ensembles. Music Educators Journal, 95(4), 34-38.

Pellitteri, J. S. (2006). The use of music in facilitating emotional learning. In J. S. Pellitteri, R. Stern, C. Shelton, & B. Muller-Ackerman (Eds.), Emotionally intelligent school counseling (pp. 185-199). Mahwah, NJ: Erlbaum.

Zins, J. E., & Elias, M. J. (2007). Social and emotional learning: Promoting the development of all students. Journal of Educational and Psychological Consultation, 17, 233-255.

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

October 2019

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

Officers and Directors EX-OFFICIO MEMBERS

EXECUTIVE BOARD President

Steven N. Kelly, PhD

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

Kenneth Williams, PhD

Douglas Anderson School of the Arts 2445 San Diego Road; Jacksonville, FL 32207 (904) 346-5620; kenwms@flmusiced.org

Historian/Parliamentarian & Executive Director....................................................Kathleen D. Sanz, PhD Hinckley Center for Fine Arts Education 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793; kdsanz@fmea.org Editor-in-Chief.....................................................D. Gregory Springer, PhD FSU College of Music; 122 N. Copeland St.; Tallahassee, FL 32306 (850) 644-2925; dgspringer@fsu.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

President-Elect

Awards.................................................................................... Debbie Fahmie fahmied@yahoo.com

Florida A&M University, Department of Music Foster-Tanner Music Bldg., Room 318 Tallahassee, FL 32307; (850) 599-8165 shelby.chipman@famu.edu

Budget/Finance, Development.................................. Steven N. Kelly, PhD Florida State University, College of Music, KMU 330 Tallahassee, FL 32306; (850) 644-4069; skelly@admin.fsu.edu

Shelby Chipman, PhD

Committee Council...................................................................................TBA

FBA President

Conference Chairman................................................John K. Southall, PhD Indian River State College; 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810; johnsouthall@me.com

Ransom Everglades School 2045 Bayshore Dr.; Miami, FL 33133 (305) 250-6868; president@fba.flmusiced.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

Cathi Leibinger

FCMEA President

John D. Ash

College of Central Florida 3001 SW College Rd.; Ocala, FL 34474 (352) 854-2322; ashj@cf.edu FEMEA President

Ernesta Chicklowski

Roosevelt Elementary School 3205 S. Ferdinand Ave.; Tampa, FL 33629 (813) 272-3090 ernesta.chicklowski@sdhc.k12.fl.us

Diverse Learners.....................................................Alice-Ann Darrow, PhD Florida State University, Music Education and Music Therapy 123 N. Copeland St.; 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

Katherine Attong-Mendes

Multicultural Network...................................................Bernard Hendricks Ocoee High School, 1925 Ocoee Crown Point Pkwy.; Orlando, FL 34761 (407) 905-3009; bernard.hendricks@ocps.net

Florida NAfME Collegiate Advisor

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

Florida NAfME Collegiate President University of Miami; kxa395@miami.edu

Mark A. Belfast, Jr., PhD

Southeastern University 1000 Longfellow Blvd.; Lakeland, FL 33801 (863) 667-5104; mabelfast@seu.edu FMSA President

Harry “Skip” Pardee

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

Research...................................................................... Don D. Coffman, PhD University of Miami; d.coffman1@miami.edu Secondary General Music.............................................................Ed Prasse Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net Student Development.............................................. Michael Antmann, EdD Freedom High School; 2500 W. Taft-Vineland Rd.; Orlando, FL 32837 (407) 816-5600; michael.antmann@ocps.net

PROFESSIONAL DEVELOPMENT CONFERENCE

Matthew Davis

Exhibits Managers................................................ Byron and Bobbie Smith 4110 Tralee Rd.; Tallahassee, FL 32309 (850) 893-3606; fmeaexhibits@fmea.org

FVA President

Local Co-Chairpersons Ted Hope—(813) 272-4861; ted.hope@sdhc.k12.fl.us Melanie Faulkner—(813) 272-4461; melanie.faulkner@sdhc.k12.fl.us Hillsborough County Public Schools, School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602

FOA President

Harrison School for the Arts 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 499-2855; matthew.lawson.davis@gmail.com

Jason Locker

Orange County Public Schools 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jason@fva.net Member-at-Large

Edgar Rubio

Silver Trail Middle School 18300 Sheridan St.; Pembroke Pines, FL 33331 (754) 323-4321; merenguesax@aol.com

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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

Music Director

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

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION President......................................................................................John D. Ash College of Central Florida; 3001 SW College Rd.; Ocala, FL 34474 (352) 854-2322; ashj@cf.edu Past President............................................................. Stacie Rossow, DMA srossow@fau.edu

FLORIDA NAfME COLLEGIATE President............................................................ Katherine Attong-Mendes University of Miami; kxa395@miami.edu Past President...............................................................Jennifer Luechauer jennifer.luechauer@browardschools.com

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION President..................................................................... Ernesta Chicklowski Roosevelt Elementary School; 3205 S. Ferdinand Ave.; Tampa, FL 33629 (813) 272-3090; ernesta.chicklowski@sdhc.k12.fl.us Past President...............................................................Rosemary Pilonero rosemary@femea.flmusiced.org Executive Director............................................................. Jennifer Sullivan 1750 Common Way Rd., Orlando, FL 32814 (321) 624-5433; slljenn@aol.com

FLORIDA MUSIC SUPERVISION ASSOCIATION President.....................................................................Harry “Skip” Pardee Collier County Public Schools; 5775 Osceola Trail; Naples, FL 34109 (239) 377-0087; pardeh@collierschools.com Past President............................................................................Scott Evans scott.evans@ocps.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................................................................................Matthew Davis Harrison School for the Arts; 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 499-2855; matthew.lawson.davis@gmail.com Past President...........................................................................Jason Jerald jason.jerald@sdhc.k12.fl.us 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.................................................................................. Jason Locker Orange County Public Schools; 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jason@fva.net Past President.....................................................................Tommy Jomisko tommy@fva.net Executive Director....................................................................J. Mark Scott 7122 Tarpon Ct.; Fleming Island, FL 32003 (904) 284-1551; exec@fva.net Business Manager..................................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; business@fva.net

CENTER FOR FINE ARTS EDUCATION

402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 Executive Director....................... Kathleen D. Sanz, PhD (kdsanz@fmea.org) Director of Operations........................Valeria Anderson, IOM (val@fmea.org) Director of Finance & Client Relations...............................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)

ExecutiveDirector’sNotes

Promoting Our Profession

T

he teacher shortage in Florida is critical. We continue to have numerous openings for music teachers, with

substitute teachers in many of our music classrooms. As we work to encourage students to major in music

FMEA Executive Director Kathleen D. Sanz, PhD

education and carry on the great traditions of our programs, we ask that you help to promote our worthwhile profession.

FMEA has programs that are helping with this cause. Florida NAfME Collegiate chapters throughout the

state are increasing. In addition, the Tri-M Music Honor Society for middle and high school students is growing. Consider starting a Tri-M chapter at your school. You can get more information HERE

The mission

of The Florida Music

, or call the FMEA

office and we will be happy to assist you in this endeavor. Additionally, the Student Conference Experience at our state conference in January provides an opportunity for students from across the state to work and learn together. Eligibility information for the Student Conference Experience can be found HERE

.

Education

Association is to promote quality, comprehensive

Student Opportunities at the 2020 FMEA Professional Development Conference

«« All-State Ensembles: Students’ participation in music activities at the state level helps them to continue to

and All-State Concerts

music education for all Florida students as a

be engaged in music making. Students auditioned to participate in 22 performing ensembles for All-State,

«« Cross-Over Music Festival and Digital Music Showcase: These events are for singer/songwriters and which will be held January 8-11, 2020.

part of their complete

education.

digital music composers and performers. For additional information and criteria for participation, click

«« Student Leadership: The Student Leadership Session with Fran Kick will be held on Wednesday, January 8, 2020, from 1 pm to 4 pm. «« Student Experience: The FMEA Student Conference Experience expands access to the annual conference to students throughout the state. Click HERE for details. «« Tri-M: The conference will offer sessions for students from Tri-M chapters located throughout the state. «« Florida NAfME Collegiate: The collegiates have scheduled strong sessions for college students who HERE

for the Festival and HERE

for the Showcase.

attend our state colleges and universities.

Florida has 41 students participating in the NAfME All-National Honor Ensembles, November 8-10, 2019, at the Gaylord Palms in Orlando. Students auditioned and were selected from all 50 states.

2020 FMEA Professional Development Conference Celebrating Musical Excellence: Past, Present, & Future

Registration for our 2020 conference began on September 21, 2019. Be sure to watch the FMEA website (click HERE

) to take advantage of this excellent conference in Tampa, January 8-11, 2020.

The FMEA hotel block opened on September 21, 2019. 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 an unneeded hotel room is November 10, 2019, after which time your credit card will be charged.

The FMEA committees and components are working hard to continue to provide opportunities for mem-

bers and students. Please be sure to read the FMEA committee and component reports to stay up-to-date on information from FMEA and the component associations.

All the best for a fantastic year!

Kathleen D. Sanz, PhD

October 2019

47

2020 FMEA Professional Development Conference

January 8-11, 2020 TAMPA CONVENTION CENTER 333 South Franklin, Street, Tampa, Florida

48 F l o r i d a

Music Director