Understanding the Rhythm Section
Musical Breathing Technique:
Breathing Pedagogy and Assessment
UNLOCKING STUDENT POTENTIAL
PLUS: Prelude to the face-to-face 2022 FMEA Professional Development Conference
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2 F l o r i d a
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 (email@example.com)
D. Gregory Springer, PhD Florida State University College of Music 122 N. Copeland Street Tallahassee, FL 32306 (850) 644-2925 (office) (firstname.lastname@example.org)
Editorial Committee Terice Allen (850) 245-8700, Tallahassee (email@example.com) Judy Arthur, PhD Florida State University, KMU 222 (850) 644-3005 (firstname.lastname@example.org) William Bauer, PhD University of Florida, Gainesville (352) 273-3182; (email@example.com) Alice-Ann Darrow, PhD College of Music, FSU, Tallahassee (850) 645-1438; (firstname.lastname@example.org) Jeanne Reynolds (email@example.com) John K. Southall, PhD Indian River State College, Fort Pierce (772) 462-7810; (firstname.lastname@example.org)
Valeria Anderson (email@example.com) 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. (firstname.lastname@example.org)
Circulation & Copy Manager
Valeria Anderson, (800) 301-3632
Contents October 2021
Volume 75 • Number 3
F E AT U R E S
Prelude to the 2022 FMEA Professional Development Conference. . . . . . . . . . . . .
Musical Breathing Technique: Breathing Pedagogy and Assessment. . . . . . . . . . . . . . 18 Understanding the Rhythm Section. . . . . . . . 28 Unlocking Student Potential: Implementing Leadership Principles in the Elementary Music Classroom . . . . . . . . . . . . . . . . . . . . 32 D E PA R T M E N T S Advertiser Index. . . . . . . . . . . . 3
Component News.. . . . . . . . . . 34
President’s Message. . . . . . . . . . 4
Research Puzzles. . . . . . . . . . . 38
Advocacy Report . . . . . . . . . . . 6
Committee Reports. . . . . . . . . 39
Academic Partners . . . . . . . . . 16
Executive Director’s Notes. . . . . 42
Corporate Partners. . . . . . . . . . 17
Officers and Directors.. . . . . . . 43
2021-22 FMEA Donors. . . . . . . 26
Advertiser Index The Florida Music Director is made possible by the participation of the following businesses whose advertisements appear in this issue. They make it possible to provide you with a high-quality publication, and we gratefully acknowledge their support of our mission. We hope you will take special notice of these advertisements and consider the products and services offered. It is another important way you can support your professional association and the enhancement of Florida music education. The publisher does not endorse any particular company, product, or service. The Florida Music Education Association (FMEA) is not responsible for the content of any advertisement and reserves the right to accept or refuse any advertisement submitted for publication. Information for advertisers (rate card, insertion orders, graphics requirements, etc.) can be found at FMEAMediaKit.org. Florida Music Director reserves the right to refuse any ad not prepared to the correct specifications OR to rework the ad as needed with fees applied. ADVERTISER Boston Conservatory....................................................................................................................................... IFC University of Florida.......................................................................................................................................... 7 Advertisers shown in bold provide additional support to FMEA members through membership in the Corporate and Academic Partners (FCAP) program. FCAP partners deserve your special recognition and attention.
Our Students Expect Our Greatest Synergy s president of FMEA, I personally
schools are required to offer music expe-
have so much potential. We must always
music education colleagues on the suc-
I strongly encourage you to offer for-
as Tri-M programs that help develop stu-
applaud and congratulate all of my
riences for our students.
keep our diverse learners in mind as well
cessful opening of our schools. We all
midable and realistic goals for your pro-
facing in regard to the COVID-19 pan-
dents, administrators, parents, and entire
music areas and across communities. I
will help shape the scope of realistic,
attended last spring here in Tallahassee
clearly understand the challenges we are demic; however, we are grateful to school
administrators, parents, students, and our communities for believing in and know-
ing the “power of unity in music” as we navigate this trying time of history across
the entire globe. I am very encouraged as schools have opened and their leadership teams are working to provide appropri-
ate facilities and sanitation procedures
to ensure the safety of their schools and music programs, which bring joy to our music students and our communities.
This past May the FMEA board
grams and allow opportunities for stucommunities to have some input, which obtainable objectives. I am often reminded of the saying “It takes an entire village to raise a child.” It is recommended
that you look toward the stars as you
build your music programs, which should include creative and unlimited activities
within your communities. All of our pro-
grams, including but not limited to gen-
eral music, choir, band, orchestra, music industry, guitar, and other specialty areas,
acknowledged the challenges music pro-
grams face in the 2021-22 school year and synergized possible strategies of support
we can provide. The focus and energy
of our discussions were amazing! We observed some of the initial social media posts of music programs, which included rehearsals, ensemble participation proto-
cols, first sounds, selection of literature, concert performance dates, and student
engagement. We collectively realized the importance of music in our schools and societies.
The effect of music in our society is
certainly huge. Many studies have shown that music affects emotions, both mental and mood stages, as well as increases participation and performance out-
comes. The aesthetic qualities of music are imbedded in every human being, which is recognized and respected by
our educational system. That is why all
4 F l o r i d a
R. Frank Nims Middle School
dent inclusion and leadership.
Synergy can be like a magnet in our
am reminded of an outdoor concert I at R. Frank Nims Middle School. The program featured the Fine Arts Department
and included more than 200 student performers and music teachers. Nims, a
Title 1 school, presented music, art, dance, and drama presentations to the 1,000plus attendees, which included parents
and at-large community members. The program was held in front of the school. It was a real-to-life testimony of how
Shelby R. Chipman, PhD President Florida Music Education Association
2021-22 FMEA Membership:
You are eligible for membership in the Florida Music Education Association if you are an individual engaged in the teaching, supervision, or administration of music in elementary and secondary schools, colleges, or universities within the state. Visit FMEA.org/membership to learn more about the benefits of active membership.
SUBSCRIPTIONS: Direct correspondence regarding subscriptions to: Hinckley Center for Fine Arts Education 402 Office Plaza Tallahassee, FL, 32301-2757
R. Frank Nims Middle School
“thinking outside the box” can evolve into something special that only being
creative and energetic in the classroom
can bring. That inner-city school posted
92% attendance in its school rating that
fall. Bravo to the Nims Middle School
Be prepared for any curves that may
come your way. There are support teams
in all of our FMEA component areas, FEMEA, FBA, FOA, and FVA, as well as in your school district offices.
In closing, I sincerely thank all of you
principal, staff, music teachers, and com-
who have renewed your annual FMEA
I am sure similar events are happening
one to renew his or her membership. I
around our great state in various districts.
Therefore, I am challenging everyone to clearly understand that their effectiveness in the classroom and their role within the school have profound effects within the community. Research has shown
that students respond best when they
know we are genuinely concerned about their welfare and progress. Consistency
is critical and paramount to positive out-
comes. I believe our classrooms should
reflect the populations of our schools’ general enrollment. Therefore, let all of us be cognizant of that fact and make an effort to promote a sense of caring for our
music students each day they enter our classrooms.
membership. I strongly encourage everyencourage all music teachers to visit our
FMEA.org webpage to see the various
resources available. We truly have a won-
derful professional association that will
always be focused on providing resources for our members and listening to the pulse of our membership in the realm of professional development and student inclusion.
I continue to be excited for our teachers, students, and your programs, and am certainly synergetic as our music helps to “Build Stronger Communities.” Sincerely, Shelby R. Chipman, PhD, President
Subscription cost included in FMEA membership dues ($9); libraries, educational institutions, and all others within the United States: $27 plus 7.5% sales tax.
The circulation of the Florida Music Director is 4,500 educators. Published eight times annually by The Florida Music Education Association, Hinckley Center for Fine Arts Education: 402 Office Plaza, Tallahassee, FL 32301-2757. FMEA reserves the right to approve any application for appearance and to edit all materials proposed for distribution. Permission is granted to all FMEA members to reprint articles from the Florida Music Director for non-commercial, educational purposes. Non-members may request permission from the FMEA office.
Article and art submissions are always considered and should be submitted on or before the 1st of the month, one month prior to the publication issue to: D. Gregory Springer, PhD, dgspringer@ fsu.edu.
All articles must be provided in digital format (e.g., Microsoft Word). All applicable fonts and images must be provided. Images must be at least 300 dpi resolution at 100% of the size. All submissions must be accompanied by a proof (color, if applicable). Ads may be submitted via email to email@example.com.
Florida Music Education Association October 2021
Jeanne W. Reynolds Chairwoman Government Relations Committee
the audience in the broadest sense of the word. As music educators, we have the
privilege of meeting and interacting with
large groups of people. At our concerts, community events, back-to-school nights, booster meetings, etc., we are meeting
with diverse groups of people from dif-
fering backgrounds. This is a wonderful
opportunity to respectfully engage these people in music advocacy efforts. It is
time, actually it is past time, to engage our audiences more strategically.
Music education advocacy is nonpar-
tisan. In a polarized political society, this
is clearly another superpower. By active-
I hate house cleaning.
I have heard that one large and well-
Housework has never been my long
established environmental group is ask-
messy room, I often find myself over-
writing ten short personal notes per week
suit. When faced with an exceptionally whelmed. My husband, who is great at cleaning, has a simple strategy that
works like magic. Richard says the trick is not to look at the whole room, but rather to pick a corner and start cleaning your way out. Slowly but surely you will
see progress, and before long you will be
ing volunteers to make a difference by that will be mailed to voters in selected
districts in October prior to the election. This is a doable deed, neither an expen-
some of the challenges we face, in terms
of the continuing COVID-19 pandemic, polarized national politics, global
on your own small corner. This could be
hours a month for an issue or a candidate.
Don’t be overwhelmed and think you
ply focused on one of our own advocacy corners and worked slowly and steadily to make positive change?
6 F l o r i d a
bers to capture their thoughts about what can be written recollections or very short video clips. Collect these messages and
share them with local decision makers,
state legislators, and others. Personal, respectful messages are very powerful.
With the 2022 Legislative Session
music education. We hope to refile our
I have often written about the power
groups of students with differing back-
these larger challenges. What if we sim-
One easy, doable deed is to ask your
can make a profound difference.
think it is someone else’s job to do it. You
This list goes on. Just as Richard chooses the same can be said about addressing
beginning early, on January 11, we need
of music and how each day in classrooms
a small corner to begin cleaning, I think
cating together for high-quality music
can’t make a dent in the challenges or
politics, weather-related disasters, and
environmental issues, to name a few.
the next step and involve them in advo-
music education means to them. These
You can use easy steps like this for
In this very complicated world in
if one feels a bit overwhelmed with
derful shared musical experience; let’s go
respectfully with other voters.
something as simple as volunteering two
of this strategy. One could be forgiven
Your audiences are already having a won-
students, parents, and community mem-
for the volunteers. Just voters connecting
finished, having done an exceptionally
which we live, I couldn’t help but think
efforts, you will bring people together.
sive, slick ad campaign nor a heavy lift
any issue that inspires you. Just work
ly engaging your audiences in advocacy
throughout Florida we inspire diverse grounds and beliefs to come together
and make music. In a previous column, I referenced this as our superpower. What
if we used this superpower for even great-
er good? Let’s think in terms of not just members of the ensemble, but also of
to be ready to advocate effectively for
Florida Seal of Fine Arts legislation, and we will need every music educator to
have a committed group of advocates ready to help us get it passed. We can
do this if we work together. It is not an overwhelming task. Just as my husband
suggests, pick something small, your own music advocacy corner, and start
working. You will be surprised at what you can accomplish.
UNIVERSITY OF FLORIDA SCHOOL OF MUSIC
WELCOMES NEW FACULTY
Visiting Assistant Professor Voice
Assistant Professor Guitar
Assistant Professor AI & the Arts—Composition
PH.D. IN MUSIC
BACHELOR OF MUSIC
MASTER OF MUSIC
History & Literature
DOCTOR OF MUSICAL ARTS
Combination with an Outside Field
BACHELOR OF MUSIC
History & Literature
IN MUSIC EDUCATION
BACHELOR OF ARTS
MASTER OF MUSIC EDUCATION (campus/online)
Entrepreneurship Event Management
PH.D. IN MUSIC EDUCATION
Music History and Literature Music History and Literature: Ethnomusicology Music Theory or Composition
INCOMING FRESHMEN AUDITION DAYS January 22, 2022 January 29, 2022
SCHOOL OF MUSIC APPLICATION
January 30, 2022 TRANSFER AUDITION DAY March 19, 2022
2022 FMEA Professional Development Conference January 12-15, 2022
UNITY in BUILDING One Note at
We can’t wait to see you back, face-to-face, in Tampa this January!
he FMEA Professional Development
Conference is one of the largest music
events in the United States. In addition to approximately 250 clinic sessions and concerts, it is host to 23 all-state ensembles featuring Florida’s top band, orchestra, chorus, guitar, Orff, and popular music students conducted by world-class conductors and teachers.
It is attended by more than 10,000 peo-
ple, including secondary music directors, elementary music teachers, music super-
visors, college students, college music teachers, school administrators, K-12 students performing in the all-state ensem-
bles, students and professional musicians
performing with invited performing ensembles, exhibitors, and parents and family members of performing students.
8 F l o r i d a
So many reasons to participate:
« An exhibit hall with world-class exhibitors providing products
and services for music educators
« More than 2,800 music teachers and 200 administrators « More than 120 sessions, covering and students
a variety of topics for all music educators, with on-demand
access to recordings after the
« Performances and mini-concerts conference
from some of Florida’s top music
« Networking opportunities, programs
college fair, awards ceremony, and other special events
Music Education: G COMMUNITIES a Time
2022 FMEA Professional Development Conference JANUARY 12-15, 2022 Tampa Convention Center Tampa, FL
ll registration information must be entered online, beginning
September 18 (click HERE
). At the
end of the online form, you will have the
in with a check until one week before
opportunity to print an invoice to send
Preregistration Rates: Sept. 18-Dec. 11
the preregistration deadline or to pay
the preregistration deadline.
their students, and chaperones as they
online instantly with a credit card until Please Note: To assist our members,
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 informa-
Non-Teaching Spouse of Retired Member
tion on contact cards or mailing lists
Preconference Workshop (First-Year Teacher)
positive relationship with our exhib-
at their booths. In order to maintain a itors who can benefit your students
VIP Preconference Workshop
sheet music, software, and more, we ask
Leadership Workshop – Chaperone
through scholarships, new equipment,
that you please provide the ACTUAL,
CORRECT MAILING ADDRESS and EMAIL for each of your students and
chaperones and do NOT simply enter
your school address or other incorrect information.
$68 $15 $0
Leadership Workshop – Student
Student Experience – Student
Student Experience – Chaperone
To take advantage of early discounted rates, you must register and pay before the deadline. Note: If you are mailing a check to the FMEA office to pay for your registration, it must be postmarked early enough so that it will ARRIVE in the FMEA office before the preregistration deadline.
2022 FMEA Professional Development Conf
director, must explain
the extenuating circumstances preventing the director from attending,
3. Refunds must be requested in writing
tration materials. The school will be
4. All requests for refunds must be
6. Student observers are not allowed to
2022.. Requests received after that
and must be submitted with regisnotified of approval.
attend the conference. If any student
1. All participants—directors, students,
6. Concert tickets are nonrefundable.
in sessions or working for the all-state
rials if preregistered.
3. All participating students must be
ticipation in the conference may be students registered and participating
groups or pick up registration mate-
concerts are exempt from this rule.)
chaperoned. As required by FMEA
7. All school music teachers must reg-
other than a director is required for
directors and be current members of
and FSMA, at least one chaperone
ister for the conference as FMEA
the FMEA. This includes directors of
every ten (10) students or fraction
invited performing groups, mini-con-
thereof; however, FMEA policy allows
certs, and session presenters. All-state
for one free chaperone for every six (6)
conductors from Florida schools, col-
students or fraction thereof.
leges, or universities must also be
4. An additional paid chaperone may
FMEA members. No current music
be registered for (a) each six (6) stu-
teacher may register as a chaperone.
dents 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
1. Full registration refunds are avail-
able for cancellation requests made through December 15, 2021.
that school must furnish a letter des-
2. No registration refunds will be made
school district who is to be in charge
15, 2021, except for emergency situ-
ignating the person from the school or
of that student. The letter should be addressed to the FMEA executive
10 F l o r i d a
date will not be processed.
5. All refunds will be issued after the
eliminated the following year. (Tri-M
2. Only directors may register their
received no later than January 31,
observers are brought to the conference, the offending school’s par-
chaperones, and guests—must be reg-
istered for the conference.
(email is acceptable).
for cancellations made after December ations. These will be reviewed on a case-by-case basis.
conference is completed.
Chaperone registration is based on the following rules:
« For each elementary student regisElementary Students
tered, one free chaperone and one
« Any additional attendees must purpaid chaperone may be registered.
chase a guest pass at on-site regis-
tration for entry into the convention center.
« For every six students registered, one
Middle School and High School Students free chaperone and one paid chap-
erone may be registered. No other chaperones may be registered until
« Any additional attendees (chaperones the seventh student is registered.
or guests) must purchase a guest pass
at on-site registration for entry into the convention center.
he Florida Music Education Association is working with the
« If you have students in more than one Exceptions
performing ensemble, you may pay
for a chaperone for each performing ensemble in which you have regis-
« If you have students from different tered students.
schools, you may pay for a chaperone
for each school for which you have registered students.
Chaperones are not allowed to bring other children who are not participating
Tampa Police Department and Allied Security at the Tampa
Convention Center (TCC) to enhance the conference experience for the students and attendees.
GREAT NEWS! In order to help keep attendees safe, there will
be a heightened security presence throughout the TCC and at
various hotels. All entrances to the TCC will be patrolled by uniformed officers of the Tampa Police Department and uniformed
Allied Security personnel. They will be patrolling the TCC as well. The Tampa
Police Department will be at the crosswalks between Marriott Tampa Water
Street and the TCC, at concerts, 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
in an all-state ensemble. Only registered
registrant obtains the conference packet.
ing a conference badge are allowed in and
if at all possible, to use a clear bag, similar to those used at sporting events, for
students, teachers, and chaperones weararound the rehearsal areas. Directors are asked to make sure their chaperones are aware of this policy before agreeing to
Please be prepared for random bag and/or purse searches. It is encouraged,
Enjoy the Conference Experience.
serve as a chaperone.
e are watching the COVID-19 Delta variant situa-
tion closely. FMEA is committed to the health and
safety of our attendees and will make every effort to develop plans and policies to instill confidence in your ability to attend safely.
At a minimum, we plan to follow CDC recommendations
and guidelines that are in place at the time of the confer-
ence.* For example, if the CDC is still recommending that
everyone in high-risk areas wear a mask while indoors regardless of vaccination status and Tampa is still a high-risk
area at the time, we will follow that recommendation and require masks in all indoor facilities.
As we get closer to the conference, the health information
Tampa Convention Center (TCC)
« TCC holds a Global Biorisk Advisory Council (GBAC) Star Facility accreditation « Frequent sanitation and disinfectant of all restrooms « Continuous cleaning of all touchpoints « Overnight electrostatic cleaning of all areas used « COVID-19 branded signage in all common areas and pre-function spaces « Maintain 6-feet physical distancing in pre-function and “Ready Together” plan
*In the event the CDC recommendations differ for vaccinated
page on the FMEA website will be updated to keep our
and unvaccinated, we plan to meet or exceed all recommendations
ference attendees informed about what to expect during the
mendations for the unvaccinated that are possible given limitations
membership, all-state students, chaperones, and other conconference.
for the vaccinated, and will attempt to implement as many recomin regard to available facilities, budget, and various other factors.
Hotels Contracted for 2022 FMEA Professional Development Conference
January 12-15, 2022 Tampa Convention Center, Tampa, Florida
reetings! It’s that wonderful time of year when we start planning for our very
special conference event. The Florida Music Education Association has contract-
ed the following Tampa hotels for the January 12-15, 2022, Professional Development Conference. Please telephone your hotel of choice directly from the list below begin-
ning Sept. 25, 2021, at 9 am EDT. Guest rooms at the contracted rates are
available until the room block is full or until the cancellation deadline of Nov. 13, 2021, at 5 pm. If your hotel of choice is sold out, please continue to try
CLICK To learn more about the 2022 Conference
to make a reservation until Nov. 13, 2021, 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 Nov. 15, 2021, 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 reservation(s) as soon as possible and no later than 5 pm on Nov. 13, 2021, and you must
secure a cancellation confirmation number. (This courtesy will make surplus rooms available to other guests.) In order to receive complimentary rehearsal
and meeting space, you should book guest rooms in the hotel you are using for your group functions.
NOTE: FMEA IS NOT offering a housing bureau service. All participants MUST call
the hotels directly beginning Sept. 25, 2021, at 9 am EDT and request the “Florida Music
Education Association” room block rate and confirm the guest room rate posted below.
12 F l o r i d a
We look forward to seeing you in Tampa! Music Director
ROOM RATES HOTEL – Cutoff date: 11/13/21
Barrymore Hotel Tampa Riverwalk
111 West Fortune Street, Tampa, FL 33602 (813) 223-1351; Group Code: FMEA Comp. internet; comp. self parking
Courtyard by Marriott Downtown Tampa
102 East Cass Street, Tampa, FL 33602 (813) 229-1100, ext. 1; Group Code: FMEA Comp. internet; $22 valet only
DoubleTree by Hilton Tampa Airport Westshore
4500 West Cypress Street, Tampa, FL 33607 (800) 514-3956; Group Code: FME Comp. internet; comp. parking
Embassy Suites Downtown
513 South Florida Avenue, Tampa, FL 33602 (813) 769-8300; Group Code: FMEA Comp. internet & breakfast; $24 valet only
Embassy Suites Tampa Airport Westshore
555 North Westshore Blvd., Tampa, FL 33609 (813) 875-1555 #1801; Group Code: FME or FMEA 2022 Comp. internet, self parking, & breakfast
$210 (up to 5 in room)
$220 (up to 6 in room)
Four Points by Sheraton Suites Tampa Airport Westshore
4400 West Cypress Street, Tampa, FL 33607 (800) 368-7764; Group Code: FMEA Comp. internet & self parking; comp. shuttle to Tampa airport
Hampton Inn Tampa Downtown Channel District
1155 East Kennedy Blvd., Tampa, FL 33602 (813) 525-9900, ext. 2; Group Code: FME Comp. internet & breakfast; $15 self parking
211 North Tampa Street, Tampa, FL 33602 (800) 445-8667, ext. 1; Group Code: FMEA $9.99 internet (comp. for HH); $35 valet
Home 2 Suites Tampa Downtown Channel District
1155 East Kennedy Blvd., Tampa, FL 33602 (813) 525-9900, ext. 1; Group Code: FME Comp. internet & breakfast; $15 self parking
200 North Ashley Drive, Tampa, FL 33602 (888) 236-2427; Group Code: FMEA Comp. internet
700 South Florida Avenue, Tampa, FL 33602 (888) 789-3090; Group Code: FMEA Comp. internet for Bonvoy members; $32 overnight valet; $20 daytime valet
725 S. Harbour Island Blvd., Tampa, FL 33602 (888) 236-2427; Group Code: FMEA Comp. internet; $30 valet only
Sheraton Tampa Riverwalk Hotel Tampa Marriott Water Street Hotel (formerly Marriott Waterside) Westin Tampa Waterside
2022 FMEA Professional Development Conf
Concert TIckets All Concert Ticket Sales Are Final. No Refunds or Exchanges.
Please make sure you know the exact name of the all-state ensemble for which you need tickets before approaching the ticket sales window.
tickets for any all-state concert they
7. General ticket sales for all-state con-
3. There are no free or allotted tickets.
at the FMEA registration desk. There
wish to attend.
All concert attendees must either wear their conference badge or purchase a ticket.
4. A director who preregisters online
If paid for online, these tickets will be
of ensembles that are performing in
1. Registered (BADGED) attendees do state concert. This includes directors/
nonregistered attendees for concerts
spouses, performing all-state students,
all-state students during the on-site
dent members, retired members, and
6. A director with all-state students may
not require tickets to attend any all-
purchase all-state concert tickets for
members, directors’ non-teaching
in which he or she has registered registration process.
purchase additional concert tickets for
your conference registration.
nonregistered attendees for concerts
attendees (parents, family members,
dents at the on-site registration desk
guests, etc.) are required to purchase
9. For entrance, ticket, and concert pur-
5. A director who registers on site may
2. All nonregistered (NONBADGED)
person to purchase tickets after this
attendees for concerts in which he or
preloaded into the director’s registra-
VIP guests that you entered as part of
any other registered attendee be the
8. All ticket sales are final. Concert tick-
she has registered all-state students.
registered chaperones, collegiate stu-
is no requirement that the director or
may reserve and prepay for all-state
concert tickets for nonregistered
ALL-STATE TICKET POLICY
certs will begin at 11 am on Thursday
in which he or she has performing stu-
or at a designated ticket sales location at anytime.
ets are nonrefundable.
poses, a concert is defined as the pair
the same venue in a common, defined
block of time. An example of a concert for purposes of entrance, ticketing,
etc., is the 1 pm concert on Saturday for the All-State Concert Orchestra and the All-State Concert Band.
CONCERTS AT THE STRAZ PERFORMING ARTS CENTER
attendees do not need tickets. Badged attendees will be handed a ticket to enter the concert outside the entrance
to the Straz Performing Arts Center.
attendees (parents, family members, guests, etc.) may purchase tickets for
any Straz concert at $15 per ticket at the FMEA registration desk between 11 am on Thursday and 7 pm on Friday.
On Saturday beginning at 9 am, all
remaining tickets for Straz concerts
will be sold at the Straz Performing Arts Center ONLY.
Note: Directors need to notify persons
for whom they have already purchased a
14 F l o r i d a
ticket. Tickets are nonrefundable. Music Director
ference Michael Antmann, EdD Chairman, Student Development Committee
FREQUENTLY ASKED QUESTIONS
Do I get free tickets for my students’ family members to attend the concert?
No. You can pre-order and pay for their tickets when you preregister for the concert, but there are no free tickets.
Can I get free tickets to any concerts?
FMEA Student Conference Experience
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For concerts at the Straz Performing Arts Center,
FMEA Tri-M Conference Experience
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Experience and the Tri-M Conference Experience.
the conference, you may purchase tickets at
access to the annual conference to students from throughout the state.
anytime during the regular registration hours.
tors, college representatives, and incredible performing groups. These
at 11 am on Thursday.
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There are more family members and guests
Conference. Students will participate in workshops, observe rehearsals,
registered attendees with their conference name badge will be handed a ticket immediately
If you are an FMEA member registered for
he Florida Music Education Association offers two programs to make our conference accessible to students who may not have an
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The purpose of the FMEA Student Conference Experience is to expand
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Participating students will interact with amazing clinicians and educa-
Everyone else may purchase tickets beginning
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Extra tickets may be purchased when general ticket sales open. Tickets will be sold at the main registration area and cost $15 each.
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The purpose of the FMEA Tri-M Conference Experience is to provide
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One teacher per school may nominate students for these programs,
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16 F l o r i d a
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M USIC A L BR E AT H I NG T EC H N IQU E
Breathing Pedagogy and Assessment by Víctor Manuel Rubio Carrillo
M Musical Breathing
to breathing. Its purpose is to synchronize technical
The first music education research on musical breathing
Engaging in a musical breath is an artistic approach
procedures based on human anatomy and physiology with an embodied intention to communicate emo-
tions. Additionally, musical breathing can be transmitted through traditional music notation to facilitate its practice
and development. It is supported by a music and breathing philosophy where both elements are an invigorating vital force (Hall, 1982; Ramacharaka, 1932). Contemporary
research on music education shows that the application
of musical breathing positively impacts music performers and music educators (Rubio Carrillo, 2020a, 2020b).
To engage in a musical breathing process, one needs
to integrate traditional breathing methods employed in
Posture, Intention, and Flexibility
technique provided a model with three main components (Rubio Carrillo, 2020a). First is the focus on posture, intention, and flexibility. Postural considerations are essential; deviations from a balanced posture can
compromise the breathing system and reduce its effec-
tiveness. Intention implies a conscious affective message
that is transmitted through a musical breath. Flexibility refers to an openness to activate a musical breath while engaging in other activities; it also pertains to the necessary muscular flexibility (principally from the abdomen, ribcage, neck, and back).
singing, wind instruments, and conducting with a holistic
Airway Passages and Muscular Control
uses (for more examples, see Jordan et al., 2011; Olson,
which are the nose, mouth, and respiratory tract. For this
perspective regarding everyday benefits and other artistic
2009; and Sellers-Young, 2001). This integrated approach
to breathing combines traditions to forge a contemporary musical breathing system that is anatomically, physiologically, and psychologically sound for peak breathing performance.
18 F l o r i d a
The second component is the control of airway passages, control, the musician regulates how to breathe in and out.
The inhale can occur through the nose, mouth, or both
simultaneously—the same for the exhale. The airway passages’ control allows musicians to create an array of Continued on page 20
MUSICAL BREATHING TECHNIQUE
Continued from page 18
inhale/exhale combinations to draw upon depending on the task at hand.
Once you have gained proper control
of the airway passages, you can turn your attention toward the muscular control
methods. The main underlying mecha-
nisms to control are the abdominal (see Figure 1), intercostal (see Figure 2), and
clavicular (see Figure 3). We can engage with them independently or simultane-
ously. A full breath occurs when all three mechanisms are involved.
Musical Breathing Range and
Note. Resting position (left). Inhaling while expanding the abdomen (right). Figure 2
Once the muscular control methods are mastered, we can maximize our musical
breathing range by regulating the air
volume we take in and out of the lungs. Our full breathing range is approximate-
ly 5,000 ml (imagine this as if it were
five octaves on a keyboard); our normal breathing is around 10% of that (equivalent to half an octave). That means we have
more than four “octaves” of breathing range that we commonly do not engage
with unless we are practicing music or other physical exercises. Learning to control our full musical breathing range and
our breathing intensity can substantially improve our breath control.
Note. Resting position (left). Inhaling while expanding the ribcage via the intercostal muscles (right).
When all the described components are
integrated, we engage in complete breath
cycles (inhale-exhale sequence). Unlike other animals, we have considerable vari-
ability in our breath cycles. For instance, we do not have to always breathe in
and out in that particular order. We can approach breathing creatively. For exam-
ple, we can breathe in, retain, breathe in again, breathe out, retain, breathe
out again, which is a form of reversing
our cycles. Any possible combinations of inhaling, retaining, and exhaling are
possible and can further our technical control.
20 F l o r i d a
Note. Resting position (left). Inhaling while raising
the chest with the clavicles (right).
Figure Photos: Víctor Manuel Rubio Carrillo
Well-Being, Flow, and
for reflection helps you think about poten-
From a follow-up research study on musi-
musical activity and everyday life.
cal breathing, we now know that using this
musicians’ mental well-being (defined as
help you improve your musical breathing
and everyday activities can cultivate
The musical breathing assessment can
optimism in life, the attitude of being able
controls. By improving the ratings on each
relaxed, and an energetic feeling; Rubio Carrillo, 2020b). Also, using it actively
while doing other activities does not necessarily interfere in those tasks (such as
driving, listening to lectures, preparing presentations, reading). Most important, while playing string instruments, per-
experience (O’Neill & McPherson, 2002). Furthermore, musicians who can manage
their musical breathing range have an increased vital capacity compared to the
the average person, meaning their breath maneuvering performs better, aiding in
physiological processes and mental activity (Fried & Grimaldi, 1993).
Musical Breathing Technique Assessment
description of previous breathing training
allows you to reflect on your breathing journey or get to know the student bet-
ter. A series of primary airway passages’ controls are then performed, followed by engagement of the muscular mechanisms
relevant to the technique. Finally, a space
again while expanding your ribcage.
You will notice you have more room to take in the air despite the last feeling of being full. Hold in that position
and learn to feel calm with the added
« From the previous position, inhale pressure.
The notated exercises (see Appendix 2)
again by raising your chest. Similarly,
ibility, and creativity concerning your
you will feel that you can max out
musical breathing. They facilitate the
your breath despite the last feeling of
visual representation and can help you
« Exhale everything and relax. « Repeat the exercise but transitioning being full. Hold in that position.
manipulate your musical breathing at will. Additionally, they can help you gain a more refined control by reading breath-
from steps 2-3-4 seamlessly without
ing exercises through musical notation.
The exercises provided here can help you control your airway passages, your breathing musculature, your musical
and expressiveness with which you per-
provided by the musical breathing assess-
By learning to control the mechanisms
breathing range, as well as the intensity
ment, learning to breathe effectively can
is to engage your full breathing capaci-
mance or to evaluate students. First, a
« From the previous position, inhale
cises that can help you.
main components of your breathing techassess your musical breathing perfor-
ic tension that does not need to feel
your breath control. Here are some exer-
The Full Breath Achievement
nique. You can use the measure to self-
that internal pressure; it is a dynam-
exercises to work on various elements of
The musical breathing assessment tool (see Appendix 1) allows you to check the
position. Learn to relax while feeling
Additionally, you can perform notated
can help you gain enhanced control, flex-
of time, and an intrinsically rewarding
ing) and hold your breath in that
ble to develop your musical breathing.
mal state for musical performance that
of controlling outcomes, a distorted sense
pressure (like you cannot keep inhal-
ness of the control mechanisms possi-
involves focused concentration, a sense
men until you feel the internal air
of the components, you will gain aware-
cussion, and keyboards, it can enhance a state of flow, which is considered an opti-
« Stand up with a balanced posture. « Inhale by expanding only your abdo-
ratory system, try the following exercise:
tial uses of breathing throughout your
technique model in music performance
to resolve problems, the capacity to feel
breath that engages all parts of your respi-
be expedited. You can save years of self-
doubt regarding effective breathing by
precisely knowing which muscle groups
The purpose of achieving a full breath
to activate for specific breathing tasks
and by gaining full control of your airway
ty or musical breathing range; however,
passages. Learning to use your breath
this might not be necessary for all musi-
effectively will allow you to live its bene-
cal behaviors. For instance, singing does
fits beyond musical performance.
not require you to actively engage your
clavicle breathing; preferably, a flexible approach to intercostal and abdominal
better understand how to avoid engaging
Musicians who applied musical breath-
control is recommended (Miller, 1996). To
certain parts of your breath, it is necessary
ing in their instrumental performance
to learn to control them. To practice a full
Continued on page 22
MUSICAL BREATHING TECHNIQUE Continued from page 21
mentioned they felt a stronger connection with the music they played (Rubio Carrillo, 2020b). It helped them relax and
concentrate with more focus, which facil-
itated a sense of ease while performing. In ensembles, musicians reported they could synchronize better while perform-
ing. Furthermore, when musicians who applied musical breathing in their playing were compared with musicians who did
not, they were more accurate thanks to the constant breath support that helps
regulate the body’s physiological needs (Rubio Carrillo 2020a).
As mentioned earlier, states of flow can
be enabled by applying musical breathing. It is important to remember that
musical breathing applies beyond wind
instruments. It can be coupled creative-
ly with any instrumental family. In the case of air-dependent instruments, however, the flexibility of musical breathing is restricted by the necessity of maintaining
in your breath while reading, writing,
an air column for tone production.
walking, thinking, or undergoing stress-
estimating the power of your breathing.
are strict requirements for the breath-
Although vocal pedagogy deals with
and breath control, the musical breath-
researcher Víctor Manuel
understand the breathing process and its
going PhD studies at the
the vocalist can feel and isolate the neces-
is chair of the Musical
Research Network of the Americas. He holds
ing can strengthen the performance
Similarly, in vocal performance, there ing system to support vocal production.
ful situations. Be cautious about under-
It is better to use it musically. Let your
similar notions of intention, connection,
musician, educator, and
ing technique can help a singer better
Rubio Carrillo is under-
multiple control mechanisms. In this way,
University of Miami. He
sary breathing responses to fulfill intense
Learning Community, part of the Action the MM in music education and the BA in
Just like engaging with musical breathof the musical arts, it can also help
the performance of everyday tasks.
Maintaining constant musical breath-
ing implies being active and intentional
22 F l o r i d a
Bloch, S., Orthous, P., & Santibanez, G. (1987). Effector patterns of basic emotions: A psychophysiological method for training actors. Journal of Social Biological Structure, 10(1), 1-19. https://doi.org/10.1016/01401750(87)90031-5
Fried, R. & Grimaldi, J. (1993). The psychology and physiology of breathing in behavioral medicine, clinical psychology, and psychiatry. Plenum Press. Hall, M. P. (1982). The therapeutic value of music: Including the philosophy of music. Philosophical Research Society. Jordan, J., Moliterno, M., & Thomas, N. (2011). The musician’s breath: The role of breathing in expression. GIA. Miller, R. (1996). The structure of singing. Schirmer. Olson, M. (2009). Musician’s yoga. Berklee Press. O’Neill, S. A. & McPherson, G. E. (2002). Motivation. In R. Parncutt, & G. E. McPherson (Eds.), The science and psychology of music performance (pp. 31-46). Oxford University Press. Ramacharaka, Y. (1932). The Hindu yogi science of breath: A complete manual of the oriental breathing philosophy of physical, mental, psychic, and spiritual development. Yogi Publication Society. Rubio Carrillo, V. M. (2020a). Musical breathing education for guitarists. Research Perspectives in Music Education, 21(1), 35-47. Rubio Carrillo, V. M. (2020b). Musical breathing education with music educators [Manuscript in preparation]. Department of Music Education. University of Miami. Sellers-Young, B. (2001). Breathing, movement, and exploration. Applause.
Musical Breathing Technique Assessment Previous Training: Please detail your previous experiences concerning breathing training.____________________________________ _____________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________ Airway Passages (Silent Control): Perform the following tasks silently. Please inhale and exhale through your nose.
1 2 3
Please inhale and exhale through your mouth.
1 2 3
Please inhale through your nose and exhale through your mouth.
1 2 3
Please inhale through your mouth and exhale through your nose.
1 2 3
Please inhale and exhale through both your nose and mouth simultaneously.
1 2 3
Breathing Muscles Control Clavicular
Please take a breath while engaging solely the muscles attached to your clavicles.
1 2 3
Please elevate the muscles attached to your clavicles without engaging your breathing.
1 2 3
Abdominal Please take a breath while engaging solely your abdominal muscles.
1 2 3
Please expand and contract your abdominal muscles without engaging your breathing.
1 2 3
Intercostal Please take a breath while engaging solely your intercostal and dorsal muscles.
1 2 3
Please expand and relax your intercostal and dorsal muscles without engaging your breathing.
1 2 3
Intention How do you think breathing can be performed with an emotional intention?_________________________________________________ _____________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________ How would you say breathing can be used to communicate emotions with others?____________________________________________ _____________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________ How can breathing be used to achieve specific emotional states?____________________________________________________________ _____________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________ Scoring Key 3 = Performs the task with ease and comfort; there is no problem isolating the required task from other mechanisms.
1 = The task is performed with difficulty, it is uncomfortable, and there is a struggle to isolate it from other mechanisms.
2 = Performs the task with ease, but displays an uncomfortable pattern and struggles to isolate it from other mechanisms.
MUSICAL BREATHING TECHNIQUE Continued from page 23 Appendix 2 Exercise 1 In this exercise, the objective is for you to develop control
signal an exhale. A minus sign (-) means breath retention
from your nose and mouth while controlling the rhythm
cise, try changing the (N) for the (M); thus, start by inhal-
over your airway passages through inhaling and exhaling and dynamics (breath intensity). Where you see an (N),
use your nose; where you see an (M), use your mouth. One comma (,) represents an inhale, while two commas (,,)
before an exhale. Once you get comfortable with the exering through your mouth and exhaling through your nose.
Ideally, perform the exercises at 60 BPM or less; if it is too difficult, try 80-100 BPM.
Exercise 1.1 This exercise is a variation of Exercise 1. It requires you to
alternate your inhale and exhale between nose and mouth. Once you get comfortable, change the (N) and (M); that
way, you start inhaling with your mouth. Both exercises (1 and 1.1) also help you build your musical breathing range.
Exercise 2 These exercises have the objective of helping you control
abdomen in a fast motion. Then, perform long breaths iso-
out through your mouth in eighth notes, using just your
your breathing musculature. Start by breathing in and
24 F l o r i d a
lating your intercostal muscles, followed by your clavicular
Exercise 2.1 This exercise adds challenge by inhaling through both your
nose and mouth simultaneously and engaging your abdom-
inal and intercostal breathing. Additionally, it challenges
you to keep your ribcage open while performing the eighth notes using your abdomen.
Exercise 3 The following exercises draw from physiological research
expressive marks notated over the figures. The performance
connect, through breathing, with our emotions. To perform
expressions) should accompany it. A plus symbol (+) means
on acting (see Bloch et al., 1987, for more). The objective is to
these exercises, you need to connect profoundly with the
should not only be internal, but gestures (such as facial breath retention before an inhale.
Exercise 3.1 Like Exercise 3, the objective is to explore the range of emotions by using your musical breathing. In this case, you have
more than two emotions. Think of yourself as a performing
artist and work toward authentically regulating your emotions at will.
FLORIDA MUSIC EDUCATION ASSOCIATION 2021-2022 DONORS
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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
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No current donors at this time.
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26 F l o r i d a
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Understanding the Rhythm Section
by Jeremy L. George
he rhythm section is arguably the most important
section of the jazz band, and as a jazz adjudicator and
clinician, I have found it to be the least understood by secondary-level music educators who have little or no expe-
rience playing jazz music. To have a successful jazz band,
the director must develop a thorough understanding of each instrument and its functions within the section. This
article will serve as a resource for secondary-level music educators to enhance their knowledge of how the rhythm section functions in the jazz ensemble.
Breaking Down the Rhythm Section
The rhythm section plays three critical roles in the jazz band: to serve as the rhythmic and harmonic backbone
of the band, to accompany a soloist, and to act as an extension of the horn section (by doubling horn parts). In
order to fulfill each of these roles, players and the teacher must possess a thorough understanding of how their
instrument works within the rhythm section. To better explain how the rhythm section works, the rhythm sec-
tion can be divided into two subsections: the timekeepers and the harmonic voices. The timekeepers focus on the groove and feel, while the harmonic voices focus on the harmonic qualities and textures of the music. Note that
the personnel of each subsection can change, and some members of the rhythm section can simultaneously serve as timekeepers and harmonic voices. Essentially, the role
that each instrument plays depends on which elements they contribute to the music.
28 F l o r i d a
Continued on page 30
Rhythm Section Continued from page 28
« Comp in the middle of the keyboard. Stay out of the bass. « Take turns comping with the guitar. « Fill the empty spots in the music. « Use the sustain pedal sparingly. « 3rds and 7ths are your best
In a jazz band, the pulse is anchored by its
lowest and highest frequencies; the acoustic bass and the cymbals on the drum set
are the timekeepers. Because these instru-
ments anchor the pulse, each player must always listen to the others, play in time,
and balance their rhythmic patterns so
they work together as one cohesive unit. I like to call this “locking in.” When the
timekeepers lock in the time, it creates a strong foundation for the band. Without a strong foundation as the timekeepers
accompany the ensemble, many other musical aspects will suffer. The Groove
When the time is locked in, the next priority of the timekeepers is to establish
and maintain a solid groove. To establish a solid groove, each player must actively listen to the others as they play to determine how they should support each other. For example, if a piece is written in a
swing style and the drummer plays four to the bar (four quarter notes in each measure) on the ride cymbal, the bass player
should play long, even quarter notes that
match the sustain of the ride cymbal. On the other hand, if the drummer decides
to swing on the hi-hat, the bass player should play in a two-beat style, consisting
of long, evenly sustained half notes that match the sizzle of the hi-hat.
friends. Get to know them.
« Pull the strings and maintain
good pressure on your
« While walking, play long, sustained quarter notes. « Lock your quarter note with the fingerboard hand.
drummer’s ride cymbal, hi hat,
« Place your amp on a chair behind and bass drum.
you and make sure your EQ is
« Accent the important beats in the flat.
« Play with lots of sensitivity. « The right hand and left foot are the timekeepers. « Use the right foot (kick) for setups. « You are the leader of all dynamics; learn to control the band. « Learn to use brushes. « Always play hi-hat (left foot)
When playing jazz, the drummer con-
trols the foundation of swing with their shuffle pattern on the ride cymbal or the
hi hat. The shuffle pattern provides an
ornament to the long quarter notes of the bass. While playing the shuffle, the
drummer should play strong on beats 2 and 4 with their foot on the hi-hat. These accents help to emphasize the swing pat-
tern of the ride cymbal. In addition, while swinging on the cymbals, the drummer
should play soft quarter notes on the bass
30 F l o r i d a
Here are some extra tips for your players’ success:
« Take turns comping with the piano. « Articulate like Freddie Green. « Always defer to the piano player when playing chords. « Stay away from power chords unless the piece calls for it. « Turn up your volume only for
solos; while comping, you should be felt and not heard.
drum to help punctuate the articulation of the bass. This technique is called feathering the bass drum. While feathering, the
drummer should play one volume level under the bass. This provides a punctuation to the bass notes and helps to drive
the swing. When all of these elements are appropriately executed, they create a
good swing feel and a solid groove for the soloists, the ensemble, and the listener. The Harmonic Voices
The harmonic voices are the piano and the guitar. These instruments work together
to contribute to the groove being played by the timekeepers by providing depth
To better explain how the rhythm section works, the rhythm section can be divided into two subsections: the timekeepers and the harmonic voices.
change depending on the arrangement of
was the strum pattern of Freddie Green on the guitar. This pattern consisted of
four even, articulated quarter notes to
every bar with accents on beats 2 and 4, congruent with the snap of the drummer’s hi-hat. Aside from its rhythmic values, this pattern offers a simple harmonic
structure, which provides the pianist with space to play more complex harmony.
Because of this pattern’s rhythmic importance, while playing the Basie Comp, the
guitarist straddles both subsections, the
should take turns comping by alternat-
ing musical passages. For example, if a tune is in an AABA form, the comping order can be A1 piano, A2 guitar, B piano,
A3 guitar, or however the players may
decide. For younger rhythm sections, I suggest that the comping order should be
preplanned to eliminate mistakes on the bandstand during a performance. More
experienced players can make this decision in the moment on the bandstand;
meetings are necessary.
is the Basie Comp, made famous by the
The driving force of the Basie Comp
and take, the piano and guitar players
dencies and be able to come to an agree-
piano and guitar players must learn sev-
and the 1960s.
of the section. While playing in the give
they will learn each other’s musical ten-
many different comping styles, but one of
ics and heavy swing between the 1930s
to the harmonic and rhythmic elements
tune. As they continue to play together,
For harmonic flexibility, both your
band known for its wide range of dynam-
style just as the piano does, offering more
meeting to go over their chords on each
as required by the composition. There are
Count Basie Orchestra, a prominent big
but rather in a more rhythmic comping
time outside of the jazz ensemble’s normal
ment in the moment, but until then these
the most commonly used comping styles
longer plays in the Freddie Green style,
ommend that the harmonic voices take
and color to the music through comping— accompaniment with chord progressions
give and take.” Here, the guitar player no
however, it can be helpful to talk through the tunes and discuss comping roles prior to the performance. When playing the
eral ways to voice chords, as they can
give and take, active listening and prior
planning are a must, as this style is not
the music and the size of the ensemble.
as clearly structured as the Basie style
For players with less experience, start
of comping and can easily sound clut-
with simple two-note voicings like the
tered. Regardless of the comping style you
3rds and 7ths. These are the most import-
choose, always remember that the rhythm
ant notes to play because they outline the
section must swing, and each member of
harmonic function of the sound. As your
the section must listen and work together
players begin to feel more comfortable,
to create a strong foundation for the band.
slowly start to add extensions, like 9ths,
Most important, as a jazz musician, you
11ths, and 13ths (be mindful, as they add more notes to their chords, they must omit
must listen to jazz regularly. As you listen,
the best clarity of sound, strive to comp in
like the record. Do this in small chunks
imitate and try to play your part exactly
some chord tones like roots and 5ths). For
daily, and you will see tremendous
the middle of the keyboard (between C3
improvement in your groove, rhythm,
and C6), as the lower register can become
and comping to create a strong founda-
too muddy and the higher register too
tion for the jazz band.
timekeepers and the harmonic voices.
The Give and Take
Jeremy L. George is a graduate teaching
guitar, the harmonic voices must always
suit of the PhD in music
When two chordal instruments play
together, the possibility for harmonic
clashes to happen increases exponentially.
Therefore, as the harmonic voices comp, each player must listen and focus on their
voicings to make sure their note choices agree. For harmonic clarity, I highly rec-
assistant at Florida State University in pur-
Because of the nature of the piano and the
education. He has served
be strategic about when they play, or they
as a music educator for
risk getting in each other’s way. Unless
10 years. He is an FBA
they are taking the Grant Green approach
adjudicator and jazz cli-
(where the pianist comps for all solos),
nician who maintains an
it can be musically effective for the har-
ambitious gig and clinic
monic voices to alternate the comping
schedule around the state.
responsibilities. I like to call this style “the
UNLOCKING STUDENT POTENTIAL
Implementing Leadership Principles in the Elementary Music Classroom by Shannon Stem, Chairwoman FEMEA District 6
In my music teaching career, I have had the distinct pleasure of working at two absolutely amazing schools. Both schools put a huge emphasis on empowering students to take ownership of their education, and when this happens, amazing things happen! As elementary music
teachers, we have the privilege to teach
every student (in most cases). One of the greatest lead-
ership processes that impacted every student I taught
when it was implemented in our school and my music classroom is The Leader in Me (LeaderInMe.org).
The Leader in Me process is based upon the books
The 7 Habits of Highly Effective People and The 8th Habit by Stephen R. Covey. Utilizing the same eight habits that
Covey promotes in his books, we were able to empower and challenge the students at our school to take control
of their own learning and to be stakeholders in what happens with their academic futures. “The Habits,” as the
« Habit 1 – Be Proactive « Habit 2 – Begin With the End in Mind « Habit 3 – Put First Things First
kids have grown to call them, are as follows:
« Habit 4 – Think Win-Win « Habit 5 – Seek First to Understand, Then to Be Understood « Habit 6 – Synergize « Habit 7 – Sharpen the Saw « Habit 8 – Find Your Voice (Covey, 2020; Covey, 2006)
Most often when schools implement these leadership
principles, their “specialists” fall through the gaps. This
happens because, as a process, The Leader in Me seems to
cater to the homeroom classroom on the most basic level.
In reality, we specialists have been inherently incorpo-
rating many of these principles within our field since we
began teaching. What I would like to share with you is what has worked for us at our school, in our classroom.
If you walk the hallways at any of our schools, you
will more than likely notice the teachers have classroom
jobs for our students. These jobs are something we have designed to give the students more responsibility and to give them a sense of purpose and pride.
The students have helped create the leadership roles
within our music classroom. Our leadership roles include,
« Greeter « Behavior Leader
but are not limited, to:
32 F l o r i d a
« Room Monitor and Cleaning Crew « Bucket Filler « Instrument Leader « Song Leader « Leader in Waiting
Implementing these roles in our music classroom has
given the students a sense of ownership. It is no longer my music room, but they call it theirs … and I love that. They
are running certain aspects of our time together, and seeing them succeed, seeing them find their voice, that is
truly the best part. When they became stakeholders, the classroom climate changed and true music was made.
Many of you may find yourself teaching at a Leader in
Me school, and you may be wondering where to begin. Honestly, that was me. There aren’t a lot of resources
for us as music teachers. My encouragement to you is to start small. If students can take charge of certain tasks,
let them! After they master those, have genuine conver-
sations and see what else they might be interested in helping with. After many students find their voice, great things happen.
I know that ultimately we teach music because we love
it and we want to expose young minds to that love of music as well … but how cool is it that in the process you can also be growing young leaders that might just become
the next mayor, senator, music teacher, or youth pastor in your community or our state? Empowering students with leadership skills through music is incredible. Shannon Stem is the music teacher at
University Academy in Panama City, Florida. She graduated from Troy University with the BME. She has been teaching elementary music
for the last nine years. She serves as the dis-
trict chairwoman for FEMEA District 6, has
served on several revision committees for the Florida Teacher
Certification Exam in Music, and has served on her local music committee in multiple capacities. In 2017, Shannon Stem was
named Hutchison Beach Elementary School’s Teacher of the
Year and has since taken on roles within her district as a mentor teacher to beginning teachers and those new to the area. References Covey, S. R. (2004). The 8th Habit: From Effectiveness to Greatness. New York: Free Press, A Division of Simon & Shuster. Covey, S. R. (2020). The 7 Habits of Highly Effective People (30th Anniversary Edition). New York: Simon & Schuster.
FLORIDA BANDMASTERS ASSOCIATION
Ian Schwindt, President
his month the article writers of the
families, our circumstances, our profes-
with “Tell us how you dance to the music
perspectives, our students … and the list
Florida Music Director were charged
that is playing in your life.” When
happen to good people.” Bad things are
goes on and on. So, how do we pick the
most traumatic things that happens to an
music of our lives with so many differ-
I first read this charge, I was not
ent music streams competing
sure how to answer it. First of
Of course, we all know that “bad things
sion(s), our administration(s), our own
for our attention?
all, I can’t dance, as wit-
nessed by anyone who
this question, I was
has ever seen me attempt
any sort of physically expressive
reminded of a verse that says,
I had ever really thought about
ever is noble, whatever is right,
“Finally, whatever is true, what-
movement. Second, I am not sure
whatever is pure, whatever is
the “music that is playing in
going to happen in our lives. One of the
individual is the loss of a loved one. Even this type of event creates multiple
streams. There is a stream that
plays this music: “Life is unfair,
and I should give up. I just can’t
go on, so why even try? Because
this loss happened to me, it is OK for
me to treat those around me badly.” But then there is another stream that
my life.” As I did think about
lovely, whatever is admirable—if
says, “I loved this person so much, and
“musics” clamoring for my atten-
worthy—think about such things.”
life. I truly am a better person because
anything is excellent or praise-
it, I realized there were many
tion, and they all were “dancing” music.
This is definitely the type of music
thing around us. Music is created by our
Our life’s music is created from every-
that I want to dominate my life’s
I am so happy they were a part of my
of them. I am going to make sure that I make those around me feel the same
way they made me feel.” Our natural
tendency is to gravitate to the first reac-
tion and, of course, it is so important to FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION
Marc Decker, DMA, President
hose special moments in rehearsal are back! You know what I’m referring to. The fleeting seconds when the ensemble shares a moment of true con-
nection. As brief as each moment is, time slows as it approaches, with each second lengthening into the next. On arrival it feels unexpected because so many
grieve the loss, but then we have a choice
to make. What does that event lead us to?
I hope for all of us it is the second stream of music.
This is not easy, and it is not natural to
come to the “positive” side of every aspect of our lives, but that side is there! There is always a positive side or
prior attempts failed. But the feeling of connection is real and is felt deeply by
opportunity even if we
how important and rare true connection is. Over the last year it has been nearly
with an intention to find it
everyone. Those are the moments to which I refer. As music teachers, we know
impossible to connect in a meaningful way virtually. But now those moments are back. They give purpose to music education, provide context for the students, and enliven our musical souls.
Most of us are still facing significant challenges as we return to in-person
instruction. One of the most frustrating for me is adapting to the unknown.
Like all of you, I carefully plan performances months in advance, and nothing is more frustrating than events being cancelled or significantly modified with
little notice. What sets me at ease is when I’m in rehearsal and see the students
revitalized, eager to connect, excited to learn, and highly adaptable. I can see in their eyes that they yearn to connect and are more eager than ever to help the group arrive at those special moments.
I hope each of you is enjoying a renewed sense of connection in your class-
room. Stay safe and teach well!
34 F l o r i d a
can’t see it right away. But and to practice looking for it, soon we find ourselves
consistently enjoying an
uplifting, inspiring, and
positive life’s music stream.
And while we will fall out of that stream and find ourselves
again in the negative stream (bad
things happen to good people),
because we are practiced at finding our
positive music, we will be able to quickly
move there again. And what an incredi-
ble place to be, as Fiyero says, “Dancing Through Life!”
FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION
Joani Slawson, President
s you know, elementary music teach-
room that represents the culture of your
Most of the time you are the only person
relationships. Students often have a rich
ers have a unique position at school.
teaching music at your school, and you get to share music with your students for their entire elementary experience.
Building relationships year after year is one of my favorite parts of teaching
Happiness can be
class can enhance the lives of everyone at
darkest of times if
one only remembers
to turn on the light.
This year, as we face many challenges, I
into thoughtful young people. I believe
found even in the
and allowing them to share it in music
hope you use music as a way to build rela-
music teachers are an essential part of
background of music in their home life,
music. I am filled with pride and joy as I watch these tiny human beings grow
As one of my favorite fictional characters
school is an essential part of building
– Albus Dumbledore in J.K. Rowling’s Harry Potter and the Prisoner of Azkaban
tionships with your students and school Let music be a light for us all!
Music is a beautiful way to build rela-
tionships. Throughout the world music is
FLORIDA VOCAL ASSOCIATION
used as an integral part of culture, and
Jeannine Stemmer, President
I hope it is part of your school’s culture.
The songs and activities we do year after
year become ways to connect with our students. Each year students ask when we
uzie’s first year of choir was during the 2020-21 school year. She was a virtual student for the entire year. Although Suzie fared well virtually, her choir
are going to sing Ode to Joy or Happy or
teacher had no idea that she has serious health issues. Suzie is on the organ trans-
see the smiles on their faces, and I know it
second-year choir class.
dance to some of our favorite folk songs. I is music that brings us together. My heart
is full of joy when I see students sharing music they learned in class when they
are on the playground at recess or when
a student who struggles in other classes finds success in my room. These moments remind me that what I do is such an important part of children’s lives.
I am also amazed when I see students
passing down songs and games to each other. I know a lesson has been a success when younger students come in and want
plant list and needs a feeding tube. This year she was placed in the intermediate Occasionally Suzie struggles to make it to class on time. Her father became
concerned when she told him that some teachers were upset about her tardiness, so he wrote this email:
Dear administrators, my daughter Suzie is a sophomore at your school this year. She has multiple health issues and we, as parents, were concerned that physical school would be too demanding on her. I am asking that you please
advise your teachers to be patient with her. She has chosen not to discuss
her illness with others because she wants to feel “normal.” We want you to know that the only reason she wants to go to school is to be in choir. Thank you, Suzie’s Dad.
This story is from an FVA member. The names and details were adjusted for
to learn a song their older brother or sister
privacy, but each of us has a Suzie story. The Suzies are the ones who recharge
ones teaching the older students, and that
Suzie stories when the days get rough, tomorrow seems uncertain, and you feel
has learned. Sometimes it is the younger
is great as well. Using music in your class-
our spirits when we feel like all of the odds are against us. Remind yourself of the
like what you do isn’t appreciated. Suzie has been waiting all day to get to your
class. She has battled through the hallways, she has conquered today, and the uncertainties of tomorrow are placed on hold as she walks through your door. Though it may seem as if Suzie is the one receiving the gift, the gift is really ours. It is my amazing privilege to encourage the best teachers in the world today.
I urge you every day to wake up, love what you do, and conquer today—because CLICK
Suzie is waiting.
FLORIDA NAfME COLLEGIATE
Mark A. Belfast, Jr., PhD, Advisor
A few weeks ago, my son and I hap-
pened upon the trailer for Vivo as we
were searching for something to watch
on Netflix. I had never heard of it, but the title was intriguing and the animation
While the Vivo soundtrack shares many of
a shot. As soon as the trailer started,
highlighted in Hamilton, its book is firmly
looked pretty hip, so we gave the trailer
I recognized the voice of Lin Manuel Miranda, and once the music kicked in, my first grader said, “Hey, this is like Hamilton!” OK, I admit it, we let him hear
clean portions of Hamilton because … it’s educational, right?!
Anyway, I digress. I’ve thought about
the same pop and hip hop characteristics
rooted in the Latin sounds and styles of Cuba and South Florida. I mean, if you don’t start tappin’ your feet or moving
your hips when that beat drops in the pic-
Lin Manuel Miranda
you’re not alive!
foods, customs and traditions, and yes …
ture’s opening number “One of a Kind,”
nities to explore a multitude of languages,
We’ve had the soundtrack running on
MUSIC! While listening to the music of
that exclamation, the moment my son
repeat in our house, and the more I listen
selections by the same composer, for the
blessed we are to live in such an incredi-
made a transfer between two musical last few weeks. He was right. The music of Vivo IS like the music of Hamilton, but it’s definitely NOT the music of Hamilton.
to it, the more I’ve thought about how
bly diverse state. The wide variety of cultures present in Florida provide opportu-
Vivo and dancing all around my house,
I realized I’ve always loved hearing and playing Latin music, but that love hasn’t
resulted in nearly enough Latin music being programmed for my ensembles. That’s going to change, but when I teach it,
I want to really teach it. That means going FLORIDA NAfME COLLEGIATE
Alexis Hobbs, President
back to school, doing my research, and depending on friends and colleagues who
really know the Latin culture and musical traditions to help keep me on the path to
reetings, everyone! Our annual Fall Conference, Looking to the Future, is on
Sunday, October 24, 2021, at Southeastern University in Lakeland, Florida.
I encourage you to do the same in
The cost of attendance is $10, and we will be providing hotel scholarships to
whatever areas you find you might benefit
We have a great lineup of presenters for this year’s conference. We are excited
year. A great way to get that ball rolling
music sessions along with live performances. This year we welcome the following
Collegiate Fall Conference this month.
from a little professional development this
to announce a 4-in-1 breakout session with band, choir, orchestra, and elementary
would be to attend the Florida NAfME
« Dr. Jeffery Redding, Keynote Speaker, Choir Session « Dr. Brandon Meeks, Defying Gravity: Conquering the Fear of Parents! « Dr. Lori Gooding, Music Therapy Within Music Education/Special Education « Dr. Lindsey Williams, Meet the Music Supervisors « Ms. Emma Lines, FigureNotes « Mr. Ian Schwint, Band Session « Mr. Jason Jerald, Orchestra Session « Mr. Scott Feshanko, Elementary Music Session « First-Year Teacher Panel
The one-day event will be held October 24
Please click HERE
to reserve your spot at the conference.
For questions or concerns, please contact me at firstname.lastname@example.org or (352) 220-2791.
36 F l o r i d a
on the campus of Southeastern University, and your Executive Board has gathered an
all-star cast of professionals who are sure to leave you fired up about music and the
teaching profession. Be on the lookout for details on the Florida NAfME Collegiate
website, social media outlets, and in your email. I can’t wait to see you there!
“Heeeeey, lo le lo lai, lo le lo lai, lo le lo lei.
And if you like that dance won’t you clap your hands? If you like that dance won’t you clap your hands? Go!”
FLORIDA MUSIC SUPERVISION ASSOCIATION
FLORIDA ORCHESTRA ASSOCIATION
Lindsey R. Williams, President
Laurie Bitters, President
In Search of “Better” Rather Than “Best”
ast school year, our teaching looked and sounded far different
from any other year of teaching and
s music educators, we need to con-
change can be scary and cause some anx-
and the “how” of what we do to discover
“less than,” and perhaps they’re more of
change. With all of these changes we
Acknowledging tradition is important
adapt and adjust. With that in mind, I
ever, perhaps it should not serve as the
activities that will be happening this
done. Especially in light of recent circum-
learning that will take place.
in the normal routine of our daily lives,
ly grateful to have my students back
opportunity to look at things
starting to make music! Students who
perspectives? Mr. Grant’s book
while sitting in front of a screen in
about how I approach things
engaged and excited to play music
while also fostering an attitude
concentrating on fundamentals of
do what I do. I hope I have done
this is time well spent for any class
but alas, that may not have been the case.
me, “I’m even enjoying these playing
discuss strategies with our peers that will
students and I are looking forward to
serve our students and ourselves.
the rest of the year.
seeing so many colleagues at our 2021
iety, new procedures are not necessarily
required a great deal of flexibility and
“in addition to.”
experienced, we definitely learned to
practice can often be perceived to have a
and is often a great source of pride; how-
am looking forward to all the musical
ary process that expands the art of teach-
primary impetus for how something is
year and enjoying the teaching and
stances that have caused such upheaval
On a personal level, I am extreme-
tinue to invest in both the “what”
better practices rather than focus on the static idea of “best.” Using the term “best”
sense of finality instead of an evolutioning, especially teaching the arts.
These past many months have required
us to change our approaches to perfor-
might we now have a unique
in the classroom and that we are
in new ways or from different
struggled with trying to “orchestra”
has encouraged me to think
their rooms at home have come back
personally and professionally
together again. We started the year
of reflection on why I choose to
playing and performance, but I think
encourages the reader not only to be an
that as a teacher throughout my career,
during any year. One student said to
actions, moving away from the concept of
Let’s all take time to think, reflect, and
tests because I did it live!” Both the
affirm our decisions and allow us to best
our collaborative efforts throughout
mance, teaching, and assessment because of a catastrophic
event that is still present today.
Now that we are in COVID
Year 2, we can continue to expand our thought process
to seek effective and meaning-
ful ways to advance this art form with our students. In his
book Think Again, Adam Grant
active thinker but to reflect on ideas and
“this is how we’ve always done it.” I am certain we have all been in meetings or
gatherings in which the ever-pervasive “that’s how it’s always been” or “that’s how we’ve always done it” has either been
stated outright or lurked beneath the surface like the “kraken of tradition.” While
At the state level, it was wonderful
Grant, Adam (2021). Think Again: The power of knowing what you don’t know. New York: Viking Press.
FOA/FLASTA Fall Conference in
Orlando. We had Soon Hee Newbold, Brenda Brenner, and many other
amazing colleagues from around the
state share their knowledge and expe-
FMEA values the broad human diversity in the state of Florida. We are distraught and frustrated by the continued injustice and violence toward Black people in our country. Social inequality and violence, in any form, must not be tolerated in our nation. FMEA sees, hears, and supports the struggles of our teachers and students in the Black community. We are with you, and together we can and will do better to end discrimination while advocating for equality.
rience during our sessions. I hope you
were able to return home with great ideas for your classroom. I would also like to thank our vendors as
well as our Executive Committee and
FOA planning committee members for their incredible support.
ResearchPuzzles FOR MUSIC TEACHERS
William I. Bauer, PhD FMEA Research Committee Chairman, University of Florida
This on-going column seeks to stimulate awareness of research issues for FMEA teachers and researchers.
Developing Students’ Musical Independence
primary goal for many music teachers is to help their
and prescribing solutions to musical problems. Finally, critical
capable of meaningful, lifelong musical experiences. Musical
decisions for the rehearsal with substantive support” (p. 65).
students become musically independent so that they are
independence, which can be especially challenging to address in large ensembles, has been part of professional discourse for more than 50 years (e.g., D’Arms et. al, 1973; Leonhard
decision making was defined as students “making meaningful
Weidner found that all three of these areas were connected, with each influencing the other two.
To realize this model of independent musicianship, Weidner
& House, 1972; Music Educators National Conference, 1967;
observed the teachers using student-centered instructional
1969). The strategies and instructional approaches that can
modeled thought processes, for instance when solving a musi-
National Coalition for Core Arts Standards, 2014; Regelski,
best facilitate the development of individual students’ musicianship while simultaneously addressing valued group roles and outcomes may not be clear.
Educator and researcher Brian Weidner (2020) explored
this issue in high school concert bands, seeking to develop
a theory of musical independence, which he defined as “the individual’s ability to engage in musical activity on one’s
own” (p. 54). Using a constructivist grounded theory meth-
od, Weidner spent a year studying three high school concert band programs. The groups varied by the type of community
in which they existed, demographic makeup, specific curriculum, and rehearsal structures; however, all of the teachers
indicated that the development of musical independence was
an important outcome of their classes. Weidner collected data through multiple (a) observations of rehearsals and (b) interviews of the teachers and their students.
strategies that included (a) cognitive modeling—the teacher cal problem; (b) scaffolded instruction—for example, using open-ended questioning to help support students’ individual
and collective making of musical decisions, and (c) student-led music making—students led sectionals and, in some instanc-
es, developed and executed a rehearsal plan for portions of full ensemble rehearsals. Weidner concluded that “teaching for musical independence is not an either/or proposition for
the large-ensemble director and can be incorporated into traditional ensemble teaching practices” (p. 73) “by prioritizing
that each student develops skills to engage with, critique,
and value the wide range of music experiences that they can choose to pursue across a lifetime while a participant in curricular band programs” (p. 74). References
Following qualitative analysis of the observational and
D’Arms, E. F., Klotman, R. H., Werner, R. J., Willoughby, D., Dello Joio, N., & Schaeffer, J. E. (1973). Contemporary Music Project: Comprehensive musicianship. Music Educators Journal, 59(9), 33-48. https://doi.org/10.2307/3394301
pendence comprising three interrelated concepts: (1) lifewide/
Leonhard, C., & House, R. W. (1972). Foundations and principles of music education (2nd ed.). McGraw-Hill.
sion making. The teachers expressed a desire for their students
Music Educators National Conference. (1967). The Tanglewood Symposium. Music Educators Journal, 54(3), 49-80. https://doi. org/10.2307/3391187
interview data, Weidner developed a theory of musical indelifelong musicianship; (2) student agency; and (3) critical deci-
to have lifewide/lifelong musicianship that would allow them to (p. 62) throughout their current and future lives. One teach-
National Coalition for Core Arts Standards. (2014). National Core Arts Standards: A framework for arts learning. http://www. nationalartsstandards.org/
would not only be musically active but also serve as advocates
Regelski, T. (1969). Toward musical independence. Music Educators Journal, 55(7), 77-83. https://doi.org/10.2307/3392471
play music and “be musically successful as nonperformers” er mentioned a desire to develop “citizen-musicians” who
agency developed through facilitation of students’ autonomy
Weidner, B. N. (2020). A grounded theory of musical independence in the concert band. Journal of Research in Music Education, 68(1), 53-77. https://doi.org/10.1177/0022429419897616
programs, students sometimes assumed full responsibility
Email your questions and feedback to email@example.com
for music and music education in their communities. Student in, and ownership of, their music-making. In these band for the rehearsal process, including identifying, diagnosing,
38 F l o r i d a
with a subject heading Research Puzzles.
ow two months into the school year,
FMEA Awards Categories Due November 5, 2021
how’s your light doing? Are you
being brave enough to see it? Are you being brave enough to be it?
« Middle/High School Music Enrollment Award « Music Education Service Award
A reminder for you today …
For there is always light. If only we’re brave enough to see it. If only we’re
(Includes 50-Year Membership Award)
brave enough to be it.
– Amanda Gorman
Whether you are new to FMEA or a
AWARDS COMMITTEE Sondra A. W. Collins Chairwoman
longtime member, I would like to remind
tion must be involved in a music program
has stayed active with FMEA into his or
Awards Program, is an integral part of
honors and encourages alternative music
this colleague’s service. Please let me
you that the light of FMEA, the FMEA
our organization and our annual conference, connecting all areas of the FMEA
membership as well as administrators,
district leaders, school board members, music industry leaders, NAfME and FMEA leaders, and the community.
FMEA takes a special moment during the conference to celebrate individuals who have made outstanding contribu-
tions to music education—who have been brave enough to see and be the light.
The awards ceremony also plays a pivotal role for music advocacy for all those who attend. It’s a great way to showcase amazing music education models and to
advocate to others about all the exemplary music education programs and partners we have throughout the state.
Like what you hear? And now you
ask how YOU can be involved with the FMEA Awards?
Enrollment Award! Applications should be made following a school’s FTE count
in October. In order to qualify, 30% at the high school level and 45% at the middle
school level of the entire school’s popula-
It is such a highlight of our awards cere-
those alternative music courses reflected
mony when we can recognize and honor
in the schools that are recognized with
the legends among us.
the FMEA Music Enrollment Award this
The school music enrollment and
year. With such a large shift in music
education during the pandemic, you all
music education service awards are typ-
cution of new ideas for teaching music
utes to complete online. If you qualify in
ically self-nominated and take only min-
surely have been exemplary in your exe-
one of these categories and are thinking
and the overarching change in music
you don’t have the time to submit an
education delivery. It’s time to award
application, think again. It takes some-
you. If you know of a school that is offering nontraditional music courses along-
where between 5 and 15 minutes to sub-
courses, please invite them to take a
Come on y’all—most of you are probably
mit this user-friendly application online.
side quality band, chorus, and orchestra
online longer than that within the first or
look at the criteria for the FMEA MS/HS
last hour of each day. (I know I am.) You
Music Enrollment Award. Applications
can do this!
for this award are due on November 5,
I look forward to celebrating with you
Have you been teaching music for
and all the 2022 FMEA award recipients,
the Music Education Service Award, and
pated in nominations and applications
the application process is very simple. If
program by applying for the FMEA Music
retired or current membership in FMEA).
musicians out there, I hope we will see
dynamic music instruction with high so, you can be a part of this year’s awards
sonally follow up with them (must hold
the talented yet nontraditional young
25 or more years? If so, you qualify for
recruitment and retention numbers? If
know who these folks are, and I will per-
courses that are so inviting to many of
Are you part of a middle or high
school music program that offers
her retirement years, we want to honor
taught by an FMEA member. As FMEA
and I thank all those who have particiboth this year and in the past. Also,
a huge round of applause and thanks
this is you, I’d like to give you a gentle
to the members of the FMEA Awards
nudge to submit your application so you
Committee for their time and commit-
can be part of the exciting awards cere-
ment to selecting this year’s awardees.
mony in January. This application is due
As always, if you have any questions
November 5, 2021. FMEA also has a very special award that honors those reaching
about the FMEA Awards Program or the
education. If you know of someone who
tate to contact me.
nominations process, please do not hesi-
the mark of 50 years of service in music
HEALTH AND WELLNESS COMMITTEE
Revae Douglas Ross, Chairwoman
e’ve all heard the quote “You can’t
from what seems like an endless supply of
referring to wellness. For many of us, it
selves to our students, we must make time
to address every aspect of our SPECIES
Intellectual, Environmental, and Social)
pour from an empty cup” when
may feel like our cup is fractured all over
with only a few drops left that haven’t already seeped out. Yet, somehow, we still manage to devote ourselves to our students, providing them with the best
possible music education experience we
effort. The reality is, to fully devote our-
to commit to our wellness. It’s imperative (Spiritual, Physical, Emotional, Career, wellness.
My name is Revae Douglas Ross, and
can. What if I told you that even in these
it is a true honor to serve as chairwoman
that fractured cup and FMEA is here to
alongside our incredible committee mem-
incredibly trying times, we can repair
help us do it? As educators, it feels as if we are expected to continuously sacrifice
of the Health and Wellness Committee
bers. We are thrilled to offer support for our association in the following areas: �
Be An Exhibitor! @ RESERVE YOUR SPOT TODAY!
Mental Health Awareness Affirmative Practices
Wellness Self Care Hobbies and Interests
Our committee plans to offer these
supports through workshops, webinars,
and sessions at our FMEA Professional
Development Conference. We will also offer you opportunities to connect socially with other members throughout the state to increase your support network.
Sometimes it feels as if devoting time to
creating a healthier relationship with ourselves is a selfish act, but actively partici-
pating in enhancing our wellness is just as
… to learn more about Exhibiting at the 2022 Conference OR Contact Us: (850) 878-6844 Toll-Free 1-800-301-FMEA exhibits@FMEA.org
students. Our committee looks forward to
40 F l o r i d a
important as considering the needs of our
sharing strategies to help repair that frac-
tured cup. And if your cup isn’t fractured,
let’s make it a larger cup to pour from. Take a moment and ask “When was the last time I invested in myself?”
CONTEMPORARY MEDIA COMMITTEE
David Williams, PhD, Chairman
All-State Popular Music Collective and Digital Music Showcase
he FMEA Contemporary Media Committee is excited to announce that both the Florida All-State Popular Music Collective and the Digital Music Showcase are
returning for the 2022 Professional Development Conference in January. The Florida All-State Popular Music Collective is an all-state group for students in grades 9-12, selected by audition, and
Mary Palmer, EdD, Chairwoman
erhaps more than ever before,
leadership matters. The pan-
demic has thrown our world into a spin, causing a great need for confident and believable leaders. What
is YOUR leadership brand? Do you deliver on what you say you will do?
What are you known for? What do
will include a DJ, a VJ, two or three rappers/hip-hop art-
you want to be known for?
ists, two or three vocalists, two or three guitarists, a bass
The great thing is we are on a
guitarist, two keyboardists, two drummers, and poten-
pathway of continuous growth and
tially other instrumentalists. Staff will include a director,
self-awareness. Take some time
a vocal coach, and a sound technician.
The Collective will focus on and perform mostly origi-
nal music created by the students, and it will be run using a
learner-centered pedagogical approach where the students will have significant
autonomy over the choice of literature performed. In addition to practices and per-
formances as part of the conference, students will also be expected to participate in preconference Zoom meetings to begin the planning process of creating music. Audition materials are available on the FMEA website.
EMERGING LEADERS COMMITTEE
Auditions will occur
through videorecordings, with links submitted to the FMEA website by October 15, 2021.
to consider your central purpose. What are the beliefs and values that
inform your practice? What is your
vision for the future? What is your role in realizing that future? What would you like your legacy to be? Take
expanding your skills, accepting
greater responsibilities). Leverage your strengths and identify areas for
improvement. Engage with valued
The Digital Music Showcase is designed
colleagues and friends—don’t make
to encourage musical creativity, critical
yours strictly a solo act. Working
thinking, and collaboration by students
with others is part of the joy of true
in K-12 schools. Students are welcome to
leadership. Celebrate and share suc-
submit their original compositions for the
opportunity to have them presented at the
Like Alice (in Wonderland), we can
Professional Development Conference in
choose to wander … and eventually
All Florida students in grades K-12 are eligible to participate. Students can enter
in one of three divisions: elementary (K-5), middle school (6-8), or high school (9-12). Students can submit compositions individually or as part of a collaborative group. While submissions can include any combination of instruments and
vocalists, they must prominently feature at least one digital instrument, and the
inclusion of other performing arts such as movement, dance, theater, poetry, and visual art are all encouraged.
There are three submission categories: live performance, fixed media, and
music with video. The application deadline is November 1, 2021. All the necessary information is available on the FMEA website. Please contact David Williams (firstname.lastname@example.org
) with any questions.
get somewhere. In the September FMD,
Chipman shared his journey, vision,
and pathway of achievement. I hope you will take time to reread his message … you’ll be inspired.
Being an inspirational leader
takes time and effort. The rewards last a lifetime … and beyond.
This fall will be like no other …
make it be GREAT!
Unity in Music Education:
Building Communities One Note at a Time FMEA Executive Director Kathleen D. Sanz, PhD
egistration for the 2022 FMEA Professional Development Conference is open HERE
for our face-to-face conference. Be sure to watch The mission
of the Florida
Music Education Association is to promote quality,
comprehensive music education in all
the FMEA website to take advantage of all of the opportunities at this excellent conference in Tampa, January 12-15, 2022.
The FMEA hotel block opened on September 25.
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 13, 2021, after which time
your credit card will be charged for the first night’s
call the FMEA office and we will assist you with beginning a chapter.
June M. Hinckley Scholarship
FMEA awarded two high school students with the June M. Hinckley scholarships, Haley Fleischman
from Cypress Bay High School and Timothy Schwindt
from Titusville High School. They have started their college careers and plan to major in music educa-
tion. Their inspirational essays were included in the August edition of the FMD.
stay. See more information in this magazine.
Student Opportunities at the 2022
Promoting Music Education to Increase the
Number of Music Educators
Florida continues to have a critical teacher shortage, including music positions. In addition, there
is a large shortage of substitute teachers. FMEA is continuing to work toward finding solutions to this
critical problem through programs and activities
Florida NAfME Collegiate chapters
throughout the state, which include a major-
ity of our colleges and universities. Florida NAfME Collegiate is holding its Fall Conference
on October 24, 2021, in Lakeland. Information to register is on their website. In addition, they con-
duct a day to visit legislators during the session
« The Tri-M program, a national honor society to advocate for music.
for student musicians in middle and high school. This program is conducted through
the National Association for Music Education. In the words of NAfME, A Tri-M Music Honor
Society chapter opens up a world of opportunities for students who have already shown themselves to be
academically capable and musically gifted. Through performance and community service, they’ll develop
confidence, creativity, critical thinking, compassion, and a host of other leadership skills sure to serve them well in school and beyond. You can begin a chapter
is on the NAfME website under “students.” Or
at your school for your students. Information
Professional Development Conference and
« All-State Ensembles. Student participation in music activities at the state level helps students to continue to be engaged in music making. Students auditioned to participate in performing ensembles
« Popular Music Collective and Digital Music for All-State that will be held January 12-15, 2022.
Showcase for singer/songwriters and digital music composers and performers. See the FMEA
website under “programs” for additional infor-
« Student Leadership. The Student Leadership sesmation and criteria for participation.
sion with Dr. Tim Lautzenheiser will be held on
« Student Experience. The Student Experience proWednesday, January 12, 2021, from 1 pm to 4 pm.
vides an opportunity for students from across the state to work and learn together. Eligibility for the
Student Experience program is included on the
« Tri-M. There will be a strand for students from the many Tri-M chapters throughout the state. « Florida NAfME Collegiate. The collegiate FMEA website.
students have scheduled strong sessions for college students from our state colleges and universities.
I hope you are having a great year! Kathleen D. Sanz, PhD
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
EXECUTIVE BOARD President
Shelby Chipman, PhD
Florida A&M University, Department of Music Foster-Tanner Music Bldg., Room 318 Tallahassee, FL 32307; (850) 599-8165 email@example.com Past President
Steven N. Kelly, PhD
Florida State University; College of Music, KMU 330 Tallahassee, FL 32306 (850) 644-4069; firstname.lastname@example.org President-Elect
Orange County Public Schools 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; email@example.com FBA President
Titusville High School 150 Terrier Trail S.; Titusville, FL 32780-4735 (321) 264-3108; firstname.lastname@example.org FCMEA President
Marc Decker, DMA
Florida Atlantic University 777 Glades Rd.; Boca Raton, FL 33431 (561) 297-3883; email@example.com FEMEA President
Holy Trinity Episcopal Academy 1720 Peachtree St.; Melbourne, FL 32901 firstname.lastname@example.org Florida NAfME Collegiate President
Southeastern University (352) 220-2791; email@example.com Florida NAfME Collegiate Advisor
Mark A. Belfast, Jr., PhD
Southeastern University 1000 Longfellow Blvd.; Lakeland, FL 33801 (863) 667-5104; firstname.lastname@example.org FMSA President
Lindsey Williams, PhD
Seminole County Public Schools (407) 320-0434; email@example.com FOA President
Winter Park High School 2100 Summerfield Rd.; Winter Park, FL 32792 (407) 622-3200; firstname.lastname@example.org
FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION
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; email@example.com
President......................................................................... Marc Decker, DMA Florida Atlantic University; 777 Glades Rd.; Boca Raton, FL 33431 firstname.lastname@example.org
Editor-in-Chief.....................................................D. Gregory Springer, PhD FSU College of Music; 122 N. Copeland St.; Tallahassee, FL 32306 (850) 644-2925; email@example.com
President...................................................................................Alexis Hobbs Southeastern University; (352) 220-2791; firstname.lastname@example.org
President.................................................................................Joani Slawson Holy Trinity Episcopal Academy; 1720 Peachtree St.; Melbourne, FL 32901 email@example.com
Budget/Finance, Development................................ Shelby Chipman, PhD Florida A&M University, Department of Music, Foster-Tanner Music Bldg., Room 318 Tallahassee, FL 32307; (850) 599-8165; firstname.lastname@example.org
Past President............................................................ Ernesta Chicklowski Roosevelt Elementary School; 3205 S. Ferdinand Ave.; Tampa, FL 33629 (813) 272-3090; email@example.com
Committee Council............................................................... Debbie Fahmie firstname.lastname@example.org
Executive Director............................................................. Jennifer Sullivan 1750 Common Way Rd., Orlando, FL 32814 (321) 624-5433; email@example.com
Conference Planning Committee.............................John K. Southall, PhD Indian River State College; 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810; firstname.lastname@example.org
FLORIDA MUSIC SUPERVISION ASSOCIATION President...................................................................Lindsey Williams, PhD Seminole County Public Schools (407) 320-0434; email@example.com
Contemporary Media................................................... David Williams, PhD University of South Florida; 4202 E. Fowler Ave., MUS 101 Tampa, FL 33620; (813) 974-9166; firstname.lastname@example.org
Past President............................................................Harry “Skip” Pardee email@example.com
Emerging Leaders............................................................ Mary Palmer, EdD 11410 Swift Water Cir.; Orlando, FL 32817 (407) 382-1661; firstname.lastname@example.org
Treasurer......................................................................................... Ted Hope Hillsborough County Public Schools, School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4861; email@example.com
FMEA Corporate & Academic Partners.....................................Fred Schiff All County Music; 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; firstname.lastname@example.org
FLORIDA ORCHESTRA ASSOCIATION
Government Relations..................................................Jeanne W. Reynolds email@example.com
President.................................................................................Laurie Bitters Winter Park High School; 2100 Summerfield Rd.; Winter Park, FL 32792 (407) 622-3200; firstname.lastname@example.org
Health & Wellness........................................................ Revae Douglas Ross Brandon High School; 1101 Victoria St.; Brandon, FL 33510 (813) 744-8120, ext. 311; email@example.com
Past President.......................................................................Matthew Davis Harrison School for the Arts; 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 499-2855; firstname.lastname@example.org
Multicultural Network...........................................................Bruce J. Green (407) 927-3141; email@example.com Professional Development........................................................Scott Evans Orange County Public Schools; 445 S. Amelia St.; Orlando, FL 32801 (407) 317-3200; firstname.lastname@example.org
Executive Director............................................................. Donald Langland 220 Parsons Woods Dr.; Seffner, FL 33594 (813) 502-5233; Fax: (813) 502-6832; email@example.com
Reclamation......................................................................... William Reaney Buffalo Creek Middle School; 7320 69 St. E.; Palmetto, FL 34221 (239) 826-8077; firstname.lastname@example.org
FLORIDA VOCAL ASSOCIATION President........................................................................ Jeannine Stemmer Florida Christian School, 4200 SW 89th Ave.; Miami, FL 33165 email@example.com
Research......................................................................William I. Bauer, PhD University of Florida; firstname.lastname@example.org
Past President......................................................................... Jason Locker email@example.com
Secondary General Music.............................................................Ed Prasse Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; firstname.lastname@example.org
Executive Director.....................................................................Michael Dye 231 S. Bayshore Dr.; Valparaiso, FL 32580 (850) 217-7419; email@example.com
Student Development.............................................. Michael Antmann, EdD Freedom High School; 2500 W. Taft-Vineland Rd.; Orlando, FL 32837 (407) 816-5600; firstname.lastname@example.org
Business Manager..................................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; email@example.com
Social Justice & Diverse Learners..................................Bernie Hendricks Ocoee High School; firstname.lastname@example.org
CENTER FOR FINE ARTS EDUCATION
PROFESSIONAL DEVELOPMENT CONFERENCE
402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793
Exhibits Manager email@example.com
President..................................... Kathleen D. Sanz, PhD (firstname.lastname@example.org)
Local Chairman Ted Hope—(813) 272-4861; email@example.com
Director of Operations........................Valeria Anderson, IOM (firstname.lastname@example.org) Technology Director......................................Josh Bula, PhD (email@example.com)
FLORIDA BANDMASTERS ASSOCIATION
Past President..................................................................... Cathi Leibinger Ransom Everglades School; 2045 Bayshore Dr.; Miami, FL 33133 (305) 250-6868; firstname.lastname@example.org
Miami Northwestern Senior High School email@example.com
FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION
Awards............................................................................Sondra A. W. Collins firstname.lastname@example.org
Florida Christian School 4200 SW 89th Ave.; Miami, FL 33165 email@example.com
Past President...........................................................................Julian Grubb Florida Gulf Coast University, firstname.lastname@example.org
FMEA COMMITTEE CHAIRPERSONS
Florida NAfME Collegiate
FSMA President ........................................................................Valerie Terry email@example.com
President...................................................................................Ian Schwindt Titusville High School; 150 Terrier Trail S.; Titusville, FL 32780-4735 (321) 264-3108; firstname.lastname@example.org
Public Affairs & Communications Coordinator..................................... Jenny Abdelnour, CAE (email@example.com) Marketing & Membership Coordinator................................. Jasmine Van Weelden (firstname.lastname@example.org) Business Manager..................................Carolyn Gentry (email@example.com)
Executive Director......................................................................Neil Jenkins Florida Bandmasters Association P.O. Box 840135; Pembroke Pines, FL 33084 (954) 432-4111; Fax: (954) 432-4909; firstname.lastname@example.org Business Manager..................................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; email@example.com
44 F l o r i d a
The official publication of the Florida Music Education Association. Featured in this issue: Musical Breathing Technique, Understanding the...
Published on Sep 24, 2021
The official publication of the Florida Music Education Association. Featured in this issue: Musical Breathing Technique, Understanding the...