Florida Music Director October 2026 by Center for Fine Arts Education, Inc

AI CAN DRAFT THE PLAN: But It Cannot Hear the Ensemble

Prelude to the 2027 Professional Learning Conference

A Wardrobe of Warm-Ups:

Fashioning Vocal Excellence

PLUS … FBA 35th Hall of Fame Candidates for FOA President-Elect Crossover Festivals 2027

OCTOBER 2026

PERFORM WITH CONFIDENCE.

At Stetson’s School of Music, students take the stage early and often, building the technique, artistry and discipline to stand out wherever music takes them. Solo or in an ensemble, Stetson musicians are ready for it.

Stetson University School of Music 2027 Audition Dates: January 23 & 30, February 13 & 20 2

stetson.edu/flmusic-director | musicadmissions@stetson.edu

FLORIDA MUSIC DIRECTOR

Contents

OC TOB ER 2026

VOLUME 80

Executive Director Florida Music Education Association Scott Evans

Hinckley Center for Fine Arts Education 402 Office Plaza Tallahassee, FL 32301 (850) 878-6844 or (800) 301-3632 (scottevans@flmusiced.org)

NUMBER 3

Editor-in-Chief Kelly Miller, DMA University of Central Florida 12488 Centaurus Blvd. Orlando, FL 32816-8009 (407) 823-4545 (kelly.miller@ucf.edu)

Editorial Committee

F E AT U R E S

Terice Allen (850) 245-8700, Tallahassee (tallen1962@hotmail.com)

FBA 35th Hall of Fame . . . . . . . . . . . . . . . . . . 9

Judy Arthur, PhD Florida State University, KMU 222 (850) 644-3005 (jrarthur@fsu.edu)

Candidates for FOA President-Elect . . . . . . . . . 16

Alice-Ann Darrow, PhD (alifsu@mac.com) Jeanne Reynolds (jeannewrey@gmail.com) John K. Southall, PhD Indian River State College, Fort Pierce (772) 462-7810; (johnsouthall@FMEA.org)

A Wardrobe of Warm-Ups: Fashioning Vocal Excellence . . . . . . . . . . . . . 35 AI Can Draft the Plan: But It Cannot Hear the Ensemble . . . . . . . . . . . . . . . . . . . 42 Crossover Festivals 2027 . . . . . . . . . . . . . . . . 48

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

Art Director & Production Manager

D E PA R T M E N T S

CONFERENCE

Advertiser Index . . . . . . . . . . . 4

How do I get to the conference? . . . . . . . . . . . . . . . 19

President’s Message . . . . . . . . . 5 Government Relations Report . . 7 Academic Partners . . . . . . . . . 18

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

Corporate Partners . . . . . . . . . 47

Circulation & Copy Manager

FMEA Donors . . . . . . . . . . . . 50

Valeria Anderson, (800) 301-3632

Copy Editor Susan Trainor

Research Puzzles . . . . . . . . . . 53 Component News . . . . . . . . . 54 Council News . . . . . . . . . . . . 61 Committee News . . . . . . . . . . 66 Executive Director’s Notes . . . 72 Officers and Directors . . . . . . 73

Prelude/Important Dates . . . 20-21 Pre-Conference . . . . . . . . . . . . 22 Conference Policies & More . . . . . . . . . . . . . . . 23-25 All-State Ticket Policies . . . . . . . 26 Chaperone Registration . . . . . . 27 Hotels . . . . . . . . . . . . . . . . . . 28 All-State Rehearsals . . . . . . . 30-32 Student Leadership Workshop . . 33 Student Experiences Schedule . . 34

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

OCTOBER 2026

2026–27 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. Subscription cost included in FMEA membership dues ($9); libraries, educational institutions, and all others within the United States: $27 plus 7.5% sales tax. SUBMISSIONS: Article and art submissions are always considered and should be submitted on or before the 1st of the month, one month prior to the publication issue to: Kelly Miller, DMA, kelly.miller@ ucf.edu. All articles must be provided in digital format (e.g., Microsoft Word). All applicable fonts and images must be provided. Images must be at least 300 dpi resolution at 100% of the size. All submissions must be accompanied by a proof (color, if applicable). Ads may be submitted via email to val@FMEA.org. CIRCULATION: 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.

Advertiser Index The Florida Music Director is made possible by businesses and organizations that advertise with us. 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 the following advertisement 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. 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. ADVERTISER Stetson University ...................................................................................................... IFC

FLMusicEd

FLORIDA MUSIC DIRECTOR

FLMusicEd

President’s

MESSAGE

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

Welcome to October, FMEA!

ast year in my October column, I greeted you with “fall is here!” Today, I chuckle again as I watch palms and pines blowing outside in 88-degree heat. Regardless of outdoor temperatures, we are

assured that all the pivotal musical moments that fall brings with it are being ushered into music classes throughout our state. On behalf of all of us on the FMEA Board of Directors, we hope you have had a wonderful first quarter of instruction. I would like to express my deep thanks to the FMEA Board of Directors for a wonderful fall board meeting last month in Tampa. Much business was discussed, and the contributions from each component, council, and committee were nothing short of astounding. The brilliance, steadfast leadership, patience, care, and loyalty to our association are so evident each time we gather on behalf of our organization. Thank you, directors! Over the past calendar year, the FMEA Board of Directors has analyzed the association’s status as an affiliated partner with the National Association for Music Education. Thanks to frequent dialogue and open communication in recent months, we have been enthused to see a renewed commitment by national leaders to work toward specifically addressing state MEA needs in the work of NAfME. In view of our new FMEA bylaw requiring the FMEA president to conduct an annual review of this partnership and any other national affiliations we hold, I am grateful to the appointed members of our newly launched FMEA Affiliation Task Force. FMEA leaders acknowledge the need for a collaborative approach with affiliated partners to ensure proper stewardship of member resources and association needs. The purpose of this task force is to review and evaluate all national partnership affiliations of FMEA and provide recommendations to the Board of Directors through presentations and/or motions for consideration when appropriate. We hope this group will serve in both a collaborative and evaluative function with our national affiliated partners to ensure we meet our members’ needs. You will hear this from me a few more times over the next calendar year—a special, heartfelt thank you to my extraordinary colleagues on the FMEA Executive Committee. Jason Locker, Bernie Hendricks, and our Executive Director/CEO Scott Evans are world-class colleagues for whom I hold the deepest admiration and respect. These gentlemen work tirelessly alongside me for FMEA, and above all, I cherish lifelong friendships with these amazing servant leaders. Thank you, gents! As we look to the winter months, I am sure you are as excited as I am to make plans to attend our annual Professional Learning Conference and All-State Concerts in Tampa. We have another outstanding FMEA conference planned for you. We can’t wait to see you again in person in January! Onward! Always musically yours,

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

OCTOBER 2026

THE ARTS MATTER. SO DOES YOUR VOTE. GENERAL ELECTION DAY: NOVEMBER 3, 2026

From local school boards to state leadership, the representatives we elect shape Florida’s cultural landscape. Research the candidates and make your voice heard. BE PREPARED TO VOTE:

Check your county Supervisor of Elections website to confirm your precinct, hours, and early voting sites. Then set a reminder and bring a friend! MyFloridaElections.com/ways-to-vote

FLORIDA MUSIC DIRECTOR

Government Relations

GOVERNMENT RELATIONS COMMITTEE Co-Chairs

Jeanne W. Reynolds

REPORT

Angela Hartvigsen

Angela and I could not be more thrilled to turn this month’s advocacy column over to Scott Evans, our FMEA executive director. Scott is well respected for his successful advocacy experience and his ability to communicate clearly and connect with people. His message this month is an important, and very timely, one: the

THE ARTS MATTER

arts matter, and so does your vote. As we approach the general election, we encourage you to commit to becoming an informed voter. Become acquainted with the candidates, understand their positions, and consider how their decisions could impact

and So Does Your VOTE BY S COT T E VA N S , E X EC U T I V E D I R EC TO R F LO R I D A M U S I C E D U C AT I O N A S S O C I AT I O N

music education and the arts in your community. As always, if Angela and I can help you become a more informed and effective advocate for music education, please don’t hesitate to reach out. We’re grateful to Scott for sharing

arly October is a critical moment for Florida music classrooms. As FMEA members and Florida’s educators, we shape students’ lives every day. The policies

decided this November will affect your program, your career, and your community

his perspective this month. We hope

for years to come. The arts matter and so does your VOTE.

you’ll take a few minutes to read this

w Funding and resources: Elected officials influence school budgets and how funds are distributed. The right leaders can help secure fair and equitable funding. w Arts as essential curriculum: Some candidates treat the arts as optional. Others

column, and then take the next step by making your voice heard.

Why your vote matters for Florida music classrooms

recognize music as essential to a complete education. Your vote helps choose who

w Teacher compensation and retention: Competitive pay and benefits keep skilled will protect arts access for every student in Florida.

educators in our classrooms. Decisions on pay, retirement, and workload shape

ElectionsFLA Click to learn about 2026 Florida Midterm Candidates

w Local choices that matter: School board members, state legislators, and ballot your career longevity and quality of life.

amendments affect daily operations in your district. Local races matter as much as statewide contests.

continued on page 8 OCTOBER 2026

Government Relations REPORT

continued from page 7

How FMEA members can

3. Study amendments

evaluate candidates and amendments 1. Check records and state-

nizations, and community

Amendment 3 and other

carefully, especially

leaders to understand

amendments; examine

Amendment 3. Read the

local implications.

official analyses and reputable nonpartisan guides

full text; examine official

5. Verify claims with repu-

ments on public education

analyses and reputable

table local news, official

and the arts. Look for con-

nonpartisan guides;

candidate sites, and non-

crete proposals, not just

and consider how each

partisan voter guides.

mail ballot, or vote

rhetoric.

amendment would affect

Be cautious with social

November 3 in person

school funding, tax struc-

media sound bites that

and add the date to your

ture, and local control.

omit important details.

2. Ask specific questions: — Will this candidate

(

dos.fl.gov).

3. Decide: early vote, request

calendar.

support stable equita-

Don’t rely on headlines

ble funding for public

or social media summa-

Quick action checklist for

your ballot as early as

schools across Florida?

ries. Understand the real

FMEA members

possible and return it so

impacts for your district

1. Confirm voter registration

the supervisor receives

and address with your

it by 7 pm, November 3,

— Do they support arts standards and required access for all

and your classroom. 4. Seek local context.

students?

Statewide measures and

4. If voting by mail, request

county supervisor of elections (

myfloridaelec-

2026. (

dos.fl.gov).

5. Share this timeline with

— What are their plans

candidate positions can

for teacher salaries,

play out differently by

2. Download/print your

Voting is both a privilege

benefits, and profes-

county. Talk with col-

county’s sample ballot

and a responsibility. During

sional development?

leagues, component orga-

and read the full text of

one of my Listen & Learn

tions.com).

colleagues.

tours, a teacher quietly told me they no longer feel their vote matters. I heard the fatigue in their voice—not

For decades, FMEA has been a leader in championing music education in Florida by providing support for local coalition building and actively supporting state legislative priorities.

GET INVOLVED! If you are interested in getting more involved in advocacy initiatives or need local support, please contact the FMEA office. (850) 878-6844 or (800) 301-3632 jeannewrey@gmail.com

from caring less about students, but from feeling left out of decisions that shape classrooms. I completely and wholeheartedly believe we still have the power to influence the outcome of our local, state, and national elections. Every time we choose to cast our ballot, we choose to defend our beliefs, champion our passions, and stand up for those in need. Regardless of your party affiliation, your right to vote is how we protect Florida music classrooms and the students who fill

CLICK HERE

them. The arts matter and so does your VOTE.

FLORIDA MUSIC DIRECTOR

F L O R I DA BA N D M A S T E R S A S S O C I AT I O N

35th Hall of Fame Weekend The 35th Florida Bandmasters Association Hall of Fame weekend is scheduled for November 21 & 22, 2026, on the campus of Stetson University in DeLand, Florida. The weekend includes a banquet and two concerts to honor the Roll of Distinction inductee, Dr. Douglas Phillips (Stetson University, retired) and the Hall of Fame inductees, Kelly Dorsey (Union County High School) and Jody Dunn (Crestview High School). On Saturday, November 21, at 7:30 pm, the weekend activities begin with the Roll of Distinction Concert featuring the Southern Winds, Dr. Douglas Phillips, conductor and Roll of Distinction inductee. A reception follows the concert in the Marshal and Vera Lea Rinker Welcome Center on the Stetson University campus. The Hall of Fame banquet is scheduled for 12 noon, Sunday, November 22, in the Stetson Room located in the Carlton Student Union Building. While the banquet is open to the public, reservations are required by November 1. Contact Dr. Chandler Wilson for reservations and information (

cwilson18@stetson.edu) or visit the

FBA website (Awards/Hall of Fame) for RSVP information. The Hall of Fame Concert is scheduled for Sunday, November 22, at 4 pm, featuring the Stetson University Symphonic Band, Dr. Chandler Wilson, conductor. A reception follows the concert in the Marshall and Vera Lea Rinker Welcome Center. Both concerts are held in the Elizabeth Hall located in Lee Chapel. These two concerts are free and open to the public. Both concerts will also be live streamed (see the FBA website under Awards/Hall of Fame for a link). The Hampton Inn and Suites DeLand (20 Summit Oak Place, DeLand, FL 32720) is holding a block of rooms until October 15, 2026, at discounted rates of $160 per night (Friday and Saturday) and $120 per night (Sunday night). To make a reservation online, please visit the FBA website under Awards/Hall of Fame and use the link provided. Phone reservations can be made by calling directly at (386) 279-7808 and asking for the FBA (Florida Bandmasters Association) discounted rate.

2026 Inductees

OCTOBER 2026

F L O R I DA BA N D M A S T E R S A S S O C I AT I O N

H A L L O F FA M E 2026 Inductee

Kelly J. Dorsey Kelly J. Dorsey

“How to Be Successful at the Concert

has dedicated

more than three decades of her life

MPA With Limited Instrumentation,”

to music education. She has served

and she is a regular presenter for

as the band director at Union County

the American School Band Directors

High School since 2003, and prior to

Association (ASBDA) “How to Fix It”

building this outstanding band pro-

series and currently serves as co-chair

gram, she taught for 13 years at Bell

of the ASBDA Clinics Committee.

Jr./Sr. High School. She earned her

Since 2003, she has served as coor-

BME from Florida State University.

dinator of the North Florida Honor

Under Ms. Dorsey’s direction,

Band representing Baker, Bradford,

both Bell and Union County bands

Columbia, Dixie, Gilchrist, and Union

have consistently received superior

counties. Ms. Dorsey has made a profound

ratings at all Florida Bandmasters Association (FBA) sponsored events,

contribution to the development of

several of which have included the

young musicians. Her accomplish-

Otto J. Kraushaar Award. She has

ments have been acknowledged with

built a reputation of excellence, and

numerous professional recognitions

on many occasions, she has devot-

such as Teacher of the Year at Bell

ed her time as a guest clinician for

High School in 1997–98, Teacher of

numerous band programs and honor

years: Professional Resources Committee,

the Year at Union County High School

bands throughout the state, as well as

Marching Band Study Committee,

in 2013–14, and Union County School

an adjudicator for the FBA. In addition,

Concert Music Selection Committee,

District Teacher of the Year for 2020–21.

she was given the prestigious honor of

and the Classification Committee. She

She also received the Oliver Hobbs

conducting the Florida All-State Small

currently assumes the role of chair of

Award from the Florida Bandmasters

Schools Honor Band in 2008 and the FBA

the Small Schools Committee. She has

Association in 2016 and was honored

Nine Star Honor Band in 2022.

presented numerous clinics at the Florida

with the Legion of Honor Award from

Ms. Dorsey’s passion for musical

Music Education Association (FMEA)

the John Philip Sousa Foundation in 2024.

instruction extends beyond the high

Professional Learning Conference,

Not only has she committed her life

school setting to the Florida Bandmasters

including “Building Successful Small

to music education in schools, but Ms.

Association, in which she has actively

School Band Programs,” “The Concert

Dorsey is a life member of the Florida

served on various committees over the

Band Sight-Reading Experience,” and

Bandmasters Association, Florida Music

FLORIDA MUSIC DIRECTOR

Partners Make It Possible The Florida Corporate and Academic partners help strengthen music education in Florida through their tireless work to support teachers. Education Association, National Association for Music Education, National Band Association, and Tau Beta Sigma National Band Sorority. She is also an elected member of the American School Band Directors Association and Phi Beta Mu International Bandmasters Fraternity. Throughout her distinguished career, Ms. Dorsey has left a lasting impact on the lives of her students, colleagues, and fellow educators. Through music, she builds community, inspires excellence, and creates meaningful opportunities for young musicians across Florida. Those fortunate enough to study under Ms. Dorsey leave not only as accomplished musicians, but as the very best versions of themselves.

Join or Renew TODAY… For more information, CLICK HERE

, or visit:

FMEA.org/partners OCTOBER 2026

F L O R I DA BA N D M A S T E R S A S S O C I AT I O N

H A L L O F FA M E 2026 Inductee

Joseph W. Dunn J

oseph W. “Jody” Dunn is

was selected for a Florida all-state

a lifelong resident of Crestview,

band and/or chorus every year

Florida, in the Panhandle—or as it

and was chosen to lead the Big Red

is affectionately known, LA (Lower

Machine as drum major during

Alabama). His roots run deep in

his senior year, something he had

the red clay of his hometown, even

dreamt of for as long as he could

if his family tree doesn’t necessar-

remember.

ily branch all that much. Most of

After graduating in 1986, Jody

his immediate family hails from

went on to earn his music educa-

Crestview and the surrounding

tion degree from the University of

areas. His parents, aunts, uncles,

Southern Mississippi in Hattiesburg,

cousins, nieces, nephews, and all

Mississippi. Determined to start his

four of his children are products

career as a band director as soon

of the Okaloosa County School

as he possibly could, Jody took the

District, and like Jody, many are

maximum credit hours per semes-

proud graduates of Crestview High

ter, all while maintaining a rigorous

School. After a wonderful child-

rehearsal and performance sched-

hood spent riding his bike, climbing

ule as well as working as an on-air

trees, and eating all the wild fruits

personality and producer at a local

growing along the roadside and

radio station, where he was known

in his Grandaddy’s yard, he enjoyed the

mater, Crestview High School, where he

as Joe Dunn, a tribute to his late father.

absolute best experiences of his young

played starting center (of the bench) and

While at USM he was a member of the

life in the band at Richbourg Junior High

guard (of the water cooler) on the junior

Pride of Mississippi Marching Band, in

School, where Joe Hooten, a 2019 FBA

varsity basketball team for one glorious

which he served as section leader and

Hall of Fame inductee, started him on

season. After admitting to himself that

vice president. He was a member of the

this incredible journey into the world of

the NBA was not in his future, he turned

Wind Ensemble, the Symphonic Band,

band.

his attention to his music and spent the

Jazz Lab I, and the Trombone Choir. He

In his ninth grade year, playing on a

rest of his time at CHS singing, dancing,

also performed with the USM Chorale

trombone that Mr. Hooten loaned to him,

acting, and playing his trombone. (Little

and Men’s Choir and was a founding

Jody was selected as first chair in the

did he know that one day he would, in

member of the USM Jazz Singers.

Florida All-State Junior High Band. From

fact, be in the NBA—the National Band

After graduation from USM, Jody

there, Jody went on to his beloved alma

Association!) While a student at CHS, he

spent a year exploring the wonderful

FLORIDA MUSIC DIRECTOR

world of Walmart selling fishing licenses

and Dunn’s partnership proved to be

the South Pointe Middle School Wind

and changing car batteries, as well as

ten of the most valuable years in Jody’s

Ensemble, from Diamond Bar, California,

being a substitute teacher (PE was his

career. Upon Mr. Cadle’s retirement in

at their performance at Symphony Hall

specialty; “Coach Dunn” remains one

2006, Jody assumed his current position

in Boston, Massachusetts, where he

of the favorite things he has ever been

as director of bands at Crestview High

returned to conduct the Crestview High

called), writing drill, teaching march-

School. He now conducts the Wind

School Wind Ensemble in April 2026.

ing fundamentals and color guard, and

Ensemble and Jazz Ensemble I and over-

Mr. Dunn is active as a clinician and

making clandestine recordings of local

sees three additional concert bands, a

adjudicator throughout the country. He

band directors as they rehearsed their

percussion class, Jazz Ensemble II, two

has served on the State Executive Board

bands. In the summer of 1991, he offi-

chamber winds classes, and all aspects

of the Florida Bandmasters Association.

cially began his career as director of the

of the Big Red Machine marching band.

He served as chair of the FBA Ethics

Pickering High School Band in Leesville,

For the past 20 years under his direction,

Committee as well as the chair of the

Louisiana. While there, Jody leaned into

the Crestview Band has continued the

FBA Marching Band Task Force. He is

the culinary culture and quickly became

tradition of excellence that had been

a recipient of the Certificate of Merit

an expert at the fine art of eating craw-

long-established by previous directors

from the National Band Association.

fish. In 1992, he returned to his home-

like Romulus Thompson, Louis Lindsay,

He is a member of Phi Mu Alpha

town and taught drop-out prevention

David Cadle, and Randy Folsom. The

Sinfonia, Florida Music Education

at Crestview High School while writing

2025–26 school year marks Mr. Dunn’s

Association, the National Association

more drill, teaching more color guard,

31 year at his alma mater and his 35

for Music Education, the National Band

and making more rehearsal recordings.

year overall as a teacher.

Association, the American School Band

In 1993, he became the assistant director

In 2011, Mr. Dunn served as a cli-

Directors Association, and Phi Beta Mu

of the Richbourg Middle School Band

nician/conductor for the Southeastern

International Bandmasters Fraternity, in

and Chorus, the first of two full-circle

United States Honor Band at Troy

which he has served as president of the

milestones, returning to where his jour-

University. In 2012, the Crestview High

Omega Chapter and currently serves as

ney began. It was during these next three

School Band was featured in the 123

a member of the International Board of

years that Jody developed a true appre-

Tournament of Roses Parade in Pasadena,

Directors. He was the recipient of the

ciation for all middle school teachers and

California. By invitation from the parade

2020–21 Florida Bandmasters Association

really began to develop his student-cen-

president, Jazz Ensemble I performed

Oliver Hobbs Award. In December

tered teaching philosophy.

for the Tournament of Roses President’s

2025, he was named a Legion of Honor

Breakfast at the Four Seasons Hotel. In

Laureate by the John Philip Sousa

those two full-circle milestones, Mr.

2014, the Wind Ensemble made its debut

Foundation. In January 2026, Mr. Dunn

Dunn returned to his high school band

at Carnegie Hall in New York City. In

was elected to the Florida Bandmasters

room as the associate director of bands at

February 2017, the Wind Ensemble per-

Association Hall of Fame. In January

Crestview High School. He was the visu-

formed at the Southeastern United States

2028, he will conduct the California All-

al coordinator of the marching band as

Concert Band Clinic in Troy, Alabama.

State Golden State Band.

well as the director of the Concert Band

In the spring of 2019 and 2023, Mr.

and Jazz Ensemble II. During this time,

Dunn served as the guest conductor of

professional accomplishments, Jody is

Jody received doctoral-level tutelage from

the Matanuska-Susitna Honor Band in

most proud to be the father of Olivia,

David Cadle, his neighbor, colleague,

Palmer, Alaska. In January 2020, he was

Elizabeth, Joseph, and Elijah. They are,

and dear friend. From the 1997 Fiesta

the conductor of the Florida All-State

without a doubt, his greatest accomplish-

Bowl Parade appearance to the 2005

High School Honor Band. In the spring

ment and his richest blessing.

Macy’s Thanksgiving Day Parade, Cadle

of 2023, he was the guest conductor for

From 1996 to 2006, in the second of

While he is extremely proud of these

OCTOBER 2026

F L O R I DA BA N D M A S T E R S A S S O C I AT I O N

ROLL OF DIST I NC T ION 2026 Inductee

Douglas L. Phillips, DMA A

ctive and sought-after as

and regularly performs for the

a conductor, clinician, adjudica-

Florida Bandmasters Association

tor, and mentor, Dr. Douglas L.

Summer Conference. Honored by

Phillips has devoted his career and

an invitation from the International

life’s work as a music educator and

Clarinet Association, Southern Winds

conductor to the study and perfor-

served as the featured concert

mance of important and significant

band at ClarinetFest® 2017 (July

musical works of art with students

2017) in Orlando, Florida, and was

and colleagues alike. His commit-

honored to collaborate with four

ment to artistic music-making at

of the world’s preeminent clarinet

the highest level is at the core of his

soloists: Nicholas Baldeyrou, Julie

work with musicians of all ages.

DeRoche, Alex Fiterstein, and Anna

As a result, Dr. Phillips is regularly

Hashimoto.

engaged to conduct county and

In May 2023, after an extreme-

state honor bands, as well as work

ly rewarding 25-year career as a

with middle school, high school,

professional music educator, Dr.

community, and college/university

Phillips retired from his full-time

ensembles.

career in academia and joined the

Dr. Phillips is the music direc-

ranks of the self-employed, becom-

tor and conductor of the Southern

ing a manufacturer’s product repre-

Winds symphonic band. Dr. Phillips

sentative while also still continuing his

succeeded his mentor, the founding and

sionals. The ensemble had its inaugural

work with music ensembles of all levels,

long-time music director and conductor

performance on November 10, 2001,

advocating for music’s transformative

of Southern Winds, the late Dr. Bobby

as a part of the Florida Bandmasters

value and importance in our schools

Adams, as the ensemble’s leader in 2015.

Association Hall of Fame weekend in

and society, and continuing his service

Southern Winds was formed to provide a

Elizabeth Hall on the campus of Stetson

to the music education profession at

performance medium for Central Florida

University. Since that time, Southern

large. For the final 11 years of his career

area band directors, music teachers, and

Winds has performed annually as the

in academia, Dr. Phillips was the direc-

other musicians, including the Stetson

featured ensemble for the FBA Hall of

tor of bands and associate professor of

University wind/brass/percussion facul-

Fame Roll of Distinction Concert, was

music in the School of Music at Stetson

ty, Stetson alumni, professional players,

privileged to perform for the 2008 FMEA

University. In his position at Stetson,

local businesspeople, and other profes-

In-Service Clinic-Conference in Tampa,

Dr. Phillips served as music director

FLORIDA MUSIC DIRECTOR

and conductor of the Stetson University

Dr. Phillips was twice nominated as

of Phi Mu Alpha Sinfonia (2006–2009);

Symphonic Band & Concert Band; over-

an “Outstanding Academic Advisor”

faculty advisor for Stetson University’s

saw and coordinated all aspects of the

at Western Illinois University and was

NAfME Collegiate Chapter (2012–2017)

university’s comprehensive band pro-

awarded a Stetson University Top Hatter

and the Xi Nu Chapter of Phi Mu Alpha

gram—including the founding of the

Award for “Outstanding Organization

Sinfonia (2014–2018); Florida state chair

Hatter Band in the fall of 2013; served as

Advisor.”

for the College Band Directors National

an academic advisor; taught courses in

A passionate, life-long musician, teach-

Association (2018–2022); member of the

music education, wind band literature,

er, scholar, and continued advocate for

Florida Bandmasters Association Clinics

and instrumental conducting; served as

music and music education, Dr. Phillips

Committee (2015–2023); coordinator

a member of several school of music and

maintains memberships in the American

and host for the Florida Bandmasters

university-level committees including

School Band Directors Association,

Association Hall of Fame Weekend at

his service as a member of the steering

College Band Directors National

Stetson University (2012–2025); and Dr.

council for The Nina B. Hollis Institute

Association, the Florida Bandmasters

Phillips continues to serve the FBA as

for Educational Reform (2016–2022); and

Association, the Florida Music Education

a non-voting member of the Florida

he was appointed the Brown Faculty

Association, the National Association

Bandmasters Association Hall of Fame

Fellow for Conferences and Colloquia

for Music Education, the National Band

Board of Directors (2012–present).

(2020–21) for the Stetson University

Association, the World Association of

Brown Center for Faculty Innovation and

Symphonic Bands and Ensembles, and

University of Miami Frost School of

Excellence. For many years during the

Phi Mu Alpha Sinfonia Fraternity of

Music (DMA, instrumental conducting),

summer months, Dr. Phillips served as a

America; is an elected member of Pi

Western Michigan University (MM,

member of the faculty for several Stetson

Kappa Lambda National Music Honor

instrumental conducting), and Stetson

University Summer Music Camps as the

Society; is an Honorary Member of Tau

University (BME).

conductor of the camps’ respective Brass

Beta Sigma National Honorary Band

Ensembles (2013–2019), Saxophone Choirs

Sorority; is a Distinguished Member

than 30 years of love and life together,

(2014–2019), Flute Choirs (2018–2025),

“Friend of the Arts” of Sigma Alpha

including over 25 years of marriage, with

Clarinet Choirs (2007–2019), and Double-

Iota International Music Fraternity; and

Dr. Tammara K. Phillips, a professional

Reed Bands (2001–2019).

is an elected member of the Omega

flutist, music educator, and flute profes-

Dr. Phillips holds degrees from the

Doug Phillips is grateful to share more

Prior to his appointment at Stetson,

Chapter of Phi Beta Mu International

sor at Stetson University. “Mr. & Mrs. Dr.

Dr. Phillips served as associate director

Bandmasters Fraternity. Dr. Phillips has

Phillips,” as their students often affec-

of bands and assistant professor of music

served and continues to serve the pro-

tionately referred to them, met as under-

at Western Illinois University, associ-

fession and many of these organizations

graduate students at Stetson University,

ate director of bands at The University

in various capacities: National Band

were married in Elizabeth Hall on the

of Virginia, and taught public school

Association’s Board of Directors as the

Stetson campus, and are both honored

in the state of Florida, where he was

chair of the NBA Awards Committee

to have succeeded their respective

director of bands at Douglas Anderson

(2006–2014); faculty advisor for Western

undergraduate professors and mentors,

School of the Arts in Jacksonville and

Illinois University’s Student Chapter

Dr. Bobby Adams and Dr. Jean Ohlsson

director of instrumental music at Merritt

of the National Band Association

West, as faculty members in Stetson

Island High School in Merritt Island.

(2007–2009) and the Kappa Psi Chapter

University’s School of Music. OCTOBER 2026

Candidate for FOA President-Elect

Justin Swaim J

ustin Swaim is a music educator with experience in orchestral, wind band, and chamber music settings. He currently serves

as orchestra director at Paul R. Wharton High School in Tampa, Florida, where he oversees the orchestra and guitar programs and serves as chair of the Performing Arts Department. He serves on the Florida Orchestra Association Executive Board as the FOA District 7 chair and as chair of the FOA Ethics Committee. He is also an active adjudicator, clinician, and conductor. He previously served separate terms as chair of the Hillsborough County Public Schools All-County Orchestras and All-County Bands. Prior to his current position, Mr. Swaim served as orchestra director at Freedom High School and as director of bands at Wharton High School. During his tenure, the orchestra and band programs earned top ratings at both Florida Orchestra Association and Florida Bandmasters Association music performance assessments. His students have participated in numerous local, state, regional, and national honors ensembles. He began his career as director of orchestras at Junius H. Rose High School and E. B. Aycock Middle School in Greenville, North Carolina, where his students earned top honors at North Carolina Music Educators Association orchestra division music performance adjudication and were selected for county and state honors ensembles. Mr. Swaim later served as director of orchestras at Vance High School and J. M. Alexander Middle School in Charlotte, North Carolina, where he led both middle and high school programs and prepared students for the Charlotte-Mecklenburg Schools Honors Orchestra. Mr. Swaim holds a BM degree in music education and an MM in instrumental conducting from the University of North Carolina at Greensboro (UNCG). There, he studied orchestral and wind conducting with Dr. Kevin Geraldi and Dr. John Locke. During his time at UNCG, he conducted the University Symphony Orchestra, Sinfonia String Orchestra, Wind Ensemble, Casella Sinfonietta, and Symphonic Band. He also served as assistant conductor of the University Band, a graduate assistant in music education, and a founding member and conductor of the Foothills Chamber Ensemble of Winston-Salem. Following his graduate studies, he conducted internationally in Austria and Italy as part of the UNCG Wind Ensemble European Tour. In 2019 and 2021, he earned second place in the conducting division of The American Prize for his work with the Wharton High School Wind Ensemble and Symphonic Band. Mr. Swaim is an active member of the National Association for Music Education and the Florida Orchestra Association. He is an alumnus of Phi Mu Alpha Sinfonia and has also held professional memberships in the American String Teachers Association, the Conductors Guild, and the Florida Bandmasters Association.

FLORIDA MUSIC DIRECTOR

Candidate for FOA President-Elect

Jennifer Zahn J

ennifer Zahn is in her 24th year as director of instrumental

music at Titusville High School (THS) in Brevard County,

Florida. During her tenure, the orchestra program has more than doubled, expanding from two ensembles to five, including a full symphony orchestra. In addition to directing the orchestra program, Jennifer assists with the Terrier Sound marching and concert bands and conducts the school’s annual spring musical. Under her direction, the Titusville High School orchestras consistently earn superior ratings at their respective music performance assessments. Throughout Jennifer’s tenure, the THS music program has been designated a Music Demonstration School twice and recognized as a Model Arts School by the State of Florida. Titusville High School has earned the FMEA Music Enrollment Awards since 2016 in recognition of its commitment to providing students with meaningful opportunities to participate in music education. Jennifer is currently serving her seventh term as Florida Bandmasters Association District 10 chair and as the FBA Public Relations Committee chair, as well as a member of the FOA Ethics Committee. Closer to home, she serves on the Brevard County Music Leadership Team and Music Advisory Board. Her previous leadership roles include two terms as Florida Orchestra Association District 10 chair, membership on the Titusville High School School Advisory Council, and numerous other leadership positions throughout Brevard County. In 2008, Jennifer was selected as an FMEA Emerging Leader and has also received the National Band Association Citation of Excellence for her work with the Titusville High School Wind Orchestra. She remains active as a music educator and performer through her private lesson studio and as a clinician for orchestras and bands throughout Central Florida. Jennifer also continues to perform professionally on both clarinet and violin. Her professional affiliations include the Florida Music Education Association, Florida Orchestra Association, Florida Bandmasters Association, and American String Teachers Association.

OCTOBER 2026

Please take time to thank and support our 2026-2027 Academic Partners.

GOLD PARTNERS

BRONZE PARTNERS Florida Gulf Coast University Partners as of September 3, 2026. *Please visit FMEA.org/partners for partnership details or call 850-878-6844. 18

FLORIDA MUSIC DIRECTOR

How do I get to the conference? Making your case to attend the 2027 FMEA Professional Learning Conference

Getting approval to attend the Florida Music Education

those goals and strategies and make note of the clinicians

Association Professional Learning Conference may require

and others you will be able to observe and/or with whom

developing a proposal. Due to tight budgets in today’s econo-

you will be able to interact while at the conference. List the

my, school principals and districts scrutinize requests to attend

high-quality performances you will observe and from which

professional learning. That does not mean you should not give

you will learn. You can download the conference app from

it your best effort by showing your administrators how your

the FMEA’s website and bookmark your sessions. Write

attendance will benefit the students in your school. Rather than

down your case for how attending the FMEA Professional

assuming your administrators are aware of the critical impor-

Learning Conference and meeting the people there will

tance of you professionally benefiting from content-specific

help you contribute to your school’s goals and strategies and

sessions, consider submitting a formal proposal.

use this case with your administrators when making your

Through this proposal, you can demonstrate how your par-

request to attend the conference.

ticipation directly relates to the strategies and the objectives of

When you create your proposal, in addition to providing a

your school (including those beyond the classroom). This will

summary of the funding you will need, detail your case for

allow you to articulate the need for your continuing education

attending. List your school’s goals, download the conference

and how it will benefit your students, your school, and you.

schedule, list the sessions and the clinicians and presenters who will be there, and list the specific sessions you plan to attend.

w Write down three of the most important goals and strate- to observe during rehearsals with national clinicians as well as the performances by these well-known conductors (from whom gies being addressed in your school’s plan. w Think about how you personally contribute to those three you can gain programming and conducting ideas). Additionally, Develop Your Case

Also, list the performing groups you will have the opportunity

goals and strategies. How does your work as a music edu-

let your administrators know that this conference has more

cator affect the overall mission of your school? Make a list

than 10,000 teachers, administrators, students, and parents in

of your personal contributions to your school’s goals and

attendance, the second largest music education conference in

strategies.

the nation.

w Review the conference’s professional learning schedule

Finally, ask your administrators to support you to attend the

to better understand how the information provided will

FMEA Professional Learning Conference in Tampa, Florida,

support your school’s goals. Mark meetings that relate to

January 13–16, 2027.

your list of personal contributions to the attainment of OCTOBER 2026

We can’t wait to see you in Tampa this January! The FMEA Professional Learning Conference is one of the largest music education professional development events in the United States. In addition to approximately 250 clinic sessions and concerts, it hosts 25 all-state ensembles featuring Florida’s top band, orchestra, chorus, guitar, Orff, and popular music students conducted by world-class conductors and teachers. It is attended by more than 10,000 people, including secondary music directors, elementary music teachers, music supervisors, college students, college music teachers, school administrators, K–12 students performing in the all-state ensembles, students and professional musicians performing with invited performing ensembles, exhibitors, and parents and family members of performing students.

w An exhibition hall with world-class exhibitors providing products and services for music educators and students w More than 3,000 music teachers and 300 administrators w More than 250 sessions, covering a variety of topics for all music educators, with on-demand access to recordings after the conference w Performances and mini-concerts from some of Florida’s top music programs w Networking opportunities, college fairs, awards ceremony, and other So many reasons to participate:

special events

FLORIDA MUSIC DIRECTOR

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Important Conference Dates & Information (subject to change)

1, 2026 wOctober Presenters’ deadline for editing session details and requesting

A/V equipment

October 22, 2026 Popular Music Collective submission deadline

October 31, 2026 Student Conference Experience nomination deadline

November 6, 2026 Digital Music Showcase submission deadline

November 7, 2025 Hotel room cancellation deadline is 5 pm.

November 10, 2026 Hotels will charge your credit card a nonrefundable deposit for the first night of each room that was not cancelled by the deadline.

December 11, 2026 Early registration closes at 11:59:59 pm Eastern Time (10:59:59 pm Central). Prices increase to the regular registration rates. You may continue to register and pay online until the conference. Postmark deadline for checks mailed to pay for conference registration; after this date, all unpaid conference registrations must be paid by credit card online, or a check must be brought with you to the conference.

w w

December 14, 2026 All school lodging checks are due to hotels, payable to the hotel where reservations were made for you and/or your students. The final deadline for discounted hotel blocks; unsold rooms

in the FMEA blocks are released back to hotels.

OCTOBER 2026

2027 FMEA Pre-Conference Keep Li!ing Every Voice: Amplify YOUR Impact! H O S T E D B Y E M I LY L O P E Z

elcome to Year Two of the “Lift Every

12:50pm-1:20pm

are shifting into high gear

Opening Performance – Blake High School Jazz Combo

to explore how we can more

Director: Carmen Griffin

Voice” series. This year, we

effectively advocate for ourselves, our programs, and our students—making com1:20pm-1:30pm

munity connections, bragging without boasting, and

Welcome & What to Expect

informing stakeholders of

Emily Lopez and Bernie Hendricks

all the things we are doing in music education and how they can partner with us to support and expand what is being done. The 2027 FMEA PreConference builds directly on last year’s foundation of engaging, equipping, and empowering music educators not only to build strong pro-

1:30pm-2:25pm

Session #1: Bragging Without Boasting Presenter: Daniel Rivera This session will focus on building and maintaining an outstanding product. Your musical ensembles will represent all the good that music education has to offer and what the stakeholders will actually see and hear in your public performances.

grams and opportunities for students, but also transform you into an active, informed

2:30pm-3:25pm

community partner and a

Session #2: Community Connections

fearless self-advocate.

Presenter: Josh Velez, Palm Beach Lakes High School

This session will move beyond simply introducing educators to the advocacy resources available through FMEA. Instead, we will pro-

Mr. Velez will speak to us about how he has managed to garner the support of the Palm Beach area community. Community events, school collaborations, financial supporters, etc.—Lakes has done it all. Let’s listen in to what has worked for them and how we can incorporate that into our programs.

vide attendees with a practical framework for determining who they need to reach, what that stakeholder needs to hear, and how available advocacy tools can help them communicate their message effectively.

FLORIDA MUSIC DIRECTOR

3:30pm-4:25pm

Session #3: WHO → WHAT → HOW: Turning Music Educators Into Effective Advocates Presenters: Jon Casañas and Angela Hartvigsen

THE POWER IN 2027 OUR PROFESSION

MUSIC EDUCATION FOR COLLECTIVE IMPACT FMEA 2027 Professional Learning Conference & All-State Concerts

Conference Policies & More To take advantage of early discounted rates, you must register and pay before the early registration deadline. If you are mailing a check to the FMEA office to pay for your registration, it must be postmarked on or before the Early-Registration Deadline and arrive in our office before the holiday break. circumstances preventing the

around the rehearsals and conference

chaperones, and guests—must be

director from attending, and must

areas. Please make babysitting

registered for the conference.

be submitted with registration

arrangements before attending the

materials. The school will be notified

conference.

1. All participants—directors, students,

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

of approval. This does not release

materials if preregistered.

the director from the requirement

Requirements:

3. All participating students must be

that they must be registered for the

— All Florida school music teachers

chaperoned. As required by FSMA,

conference. If approved, the person

must register for the conference

at least one chaperone, other than

designated in the letter will pick up

as FMEA members and be current

a director, is required for every ten

the director’s preregistration packet

members of FMEA and NAfME.

(10) students or a fraction thereof.

and supervise the student at all

This includes session presenters,

However, FMEA policy allows one

times.

all-state conductors, and directors

7. FMEA & NAfME Membership

free chaperone for every six (6) all-

6. Student observers are not allowed

of all-state students, invited

state students or a fraction thereof.

to attend the conference. If any

performing groups, and mini-

4. An additional paid chaperone may be

student observers are brought to the

concerts.

registered for

conference, the offending school’s

— All-state conductors from Florida

— each six (6) students registered, or

participation in the conference may

schools, colleges, or universities

— each all-state rehearsal site

be eliminated the following year.

must also be FMEA members.

where registered students are

Tri-M students or those approved

— No current music teacher may

rehearsing.

for the “Student Experience”

5. If a participating student is not

program who are registered and

accompanied by the director from

participating in sessions or working

collegiate members of FMEA and

that student’s school, then the

for the all-state concerts are exempt

NAfME.

principal from that school must

from this rule. Chaperones or other

furnish a letter designating the

attendees are not allowed to bring

Florida must be current members

person from the school or school

children who are not participating

of NAfME. Attendees living

district who is to be in charge of

in an all-state ensemble or student

outside the United States may

that student. The letter should be

experience. Only registered students,

contact our office for registration

addressed to the FMEA executive

teachers, and chaperones wearing a

instructions.

director, explain the extenuating

conference badge are allowed in and

— Attendees who live outside of

continued on page 24 OCTOBER 2026

Conference Policies & More

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Refund Policies

COVID Protocol

1. If you cannot attend the conference and

*If you test positive for COVID-19 or develop symptoms before

do not have students participating, full registration refunds are available for cancellation requests made through December 15, 2026.

w If you have symptoms of COVID-19, the flu, or anything that may be the conference:

contagious, or if you test positive within five days before your planned arrival at the conference, please follow these procedures:

2. No registration refunds will be made for

— If you have all-state students: You will need to find another teacher

cancellations made after December 15, 2026,

to supervise your students and pick up your badges in accordance

except for emergency situations.* These will

with conference policy #5 on the previous page. Because director

be reviewed on a case-by-case basis.

conference registration is a requirement for all-state student

3. Refunds must be requested in writing, or through our

4. All requests for emergency refunds must be received no later than January 31, 2027. Requests received after that date will be denied.

participation, you are not eligible for a refund. — If you do NOT have all-state students: Send an email using our Contact Us page describing your symptoms or test results to

w If you are not showing symptoms, get re-tested a few days later. If the request a refund in accordance with the policies above.

subsequent test(s) are negative and you still do not have symptoms,

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

research has found that you are most likely not contagious, so you are welcome to attend the conference.

6. There are no refunds for concert tickets or membership dues.

Security Procedures

Code of Conduct

The Florida Music Education Association is

FMEA is dedicated to providing a positive

Allied Security at the Tampa Convention Center

environment of respect and civility for all

(TCC) to enhance the conference experience for

attendees, including members, students, parents,

students and attendees.

working with the Tampa Police Department and

speakers, clinicians, exhibitors, sponsors, staff, volunteers, and guests. All attendees are asked

Great News!

to follow all applicable laws and conference

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

policies and to refrain from physical and verbal

heightened security presence throughout the TCC and at

harassment, bullying, disorderly conduct, or

various hotels. All entrances to the TCC will be patrolled

any actions or behaviors that create unsafe

by uniformed officers of the Tampa Police Department

conditions or interfere with presentations or

and uniformed Allied Security personnel. They will be patrolling the TCC

performances. Harassment, bullying, and sexual

as well. The Tampa Police Department will be at the crosswalks between

language and imagery are not appropriate

Marriott Tampa Water Street and the TCC, at concerts, and patrolling some

for any conference venue, including clinics,

of the downtown hotels during rehearsals.

workshops, concerts, rehearsals, social events,

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

online, and social media. Violations should

participants) must wear their conference badge during the conference once

be reported to convention center security or

the authorized registrant obtains the conference packet.

conference staff in a timely manner. Violators

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

and their registered students may be expelled

encouraged, if at all possible, to use a clear bag, similar to those used at

from the conference without a refund at the

sporting events, for entrance to conference events.

discretion of the FMEA Executive Committee.

FLORIDA MUSIC DIRECTOR

Enjoy the Conference Experience.

Indemnity Clause FMEA reserves the right to change the conference/workshop content, timing, speakers, or venue without notice. The event may be postponed or cancelled due to acts of terrorism, war, extreme weather conditions, industrial action, fewer than expected delegates, pandemic, or any event beyond the control of FMEA. If such a situation arises, FMEA will endeavor to reschedule the event; however, FMEA cannot be held responsible for any cost, damage, or expenses that may be incurred by the registrant as a consequence of the event

Session Attendance Verification Reports Provide proof of the sessions you attended to your administration with Session Attendance Verification Reports! Each of our presenters will be provided with a QR code and asked to display it on the last slide of their presentation. Scan that QR code to confirm your attendance and add the session to your Verification Report.

w Register for the conference, either via preregistration or on expenses for these types of situations. FMEA is not responsible site. for any registrant’s personal injury (i.e., physical, psychological, w Make sure you can log in to the FMEA website using being postponed or cancelled. Some registrants consider travel insurance to cover the cost of the registration, travel, and

or emotional stress) or property damages while attending an FMEA conference or event. Conference registrants assume

all risks inherent in attending an FMEA conference for which the registration covers, whether before, during, or after the conference.

Photographic Release

Requirements

the web browser on your phone. Use the username and

password you chose when you renewed your membership. If you are from outside of Florida, you should have chosen your username and password when you registered for the

w Learn how to scan a QR code with your phone. With conference.

iPhones and newer Androids, you just need to open your

By attending the conference and/or associated

camera, point it at the code, and a box will appear for you to

activities, you grant permission for FMEA to

click.

use any and all photographic imagery and video footage taken of you and your students

FMEA does NOT automatically submit your hours for you.

at this event and activities pertaining to this event, without

It is up to you to follow the process outlined by your school

payment or any other consideration. You understand that such

or school district to apply for the professional learning points

materials may be published electronically or in print or used in

toward your certificate renewal.

presentations or exhibitions. OCTOBER 2026

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All-State Ticket Policies CLICK TO

No tickets will be available for sale at the Marriott. To attend a concert at the Marriott Water Street, you must pre-purchase electronic tickets online using the button at right, or plan to visit the second floor of the Tampa Convention Center to purchase your tickets before walking to the Marriott.

PURCHASE ALL-STATE TICKETS

5. There is no longer a need for directors to pre-purchase any tickets for their students or their families. Instead, they should direct students and their families to the online ticket sales website. Any directors who still wish to purchase tickets should take care to correctly enter the names and

1. Registered (BADGED) attendees do not require tickets

email addresses of the people who will be using the tickets

to attend any all-state concert. This includes directors/

into the online sales portal or transfer the tickets to those

members, directors’ non-teaching spouses, performing

who will be using the tickets using their correct name and

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

email address in the online ticket sales portal. 6. Paper tickets will be on sale at the FMEA registration desk on site at the conference for attendees who would

2. All non-registered (NONBADGED) attendees (parents,

like to pay by cash or who do not want to use electronic

family members, guests, etc.) are required to purchase

tickets. Paper ticket sales for all-state concerts will begin

tickets for any all-state concert they wish to attend.

on Thursday morning and continue Friday and Saturday

3. There are no “free” or “allotted” tickets. All concert

at the FMEA registration desk. There is no requirement

attendees must either wear their conference badge or

that the director or any other registered attendee be the

purchase a ticket.

person purchasing these tickets. If a concert starts after

4. Tickets will be electronic and sold online utilizing a

the registration desk is closed, only electronic tickets will

mobile-friendly website. The link will be available on the

continue to be sold before that concert. No tickets will be

conference website well in advance of the conference, and

available for sale at the Marriott. To attend a concert at

directors are encouraged to share the link with all of their

Marriott Water Street, you must pre-purchase electronic

all-state students and their parents or guardians. On site at

tickets online or plan to visit the Tampa Convention

the conference, the links and QR codes will be posted on

Center’s second floor to purchase your tickets before

signs in the venue so attendees may purchase tickets using their smartphones. Anyone who wishes to attend a concert

walking to the Marriott. 7. All ticket sales are final. There are no refunds for any

can purchase an electronic ticket online anytime up until

concert tickets. Tickets may be transferred or exchanged

30 minutes after the concert’s published start time.

using the online ticket sales portal only. 8. For entrance, ticket, and concert purposes, a concert is defined as the pair or group of ensembles that are performing in the same venue in a common, defined block

All-Ticket Sales Are Final. No Refunds.

of time. An example of a “concert” for purposes of entrance and ticketing would be the 12:30 pm concert on Thursday

Please make sure you know the exact name of the all-state

that features the All-State Middle School and High School

ensemble for which you need tickets before approaching the

Guitar Ensembles or the 6:30 pm concert on Saturday

ticket sales window. Exchanges may only be made through the

that features the All-State Concert, Middle School, and

online portal.

Symphonic Bands.

FLORIDA MUSIC DIRECTOR

Frequently Asked Questions

Do I get free tickets for my students’ family members to attend the concert? No.

Can I get free tickets to any concerts? No. Registered attendees (directors, chaperones, students) are allowed admission to concerts with their name badge, so no ticket is necessary. Attendees that are not registered for the conference (parents, family, etc.) must purchase tickets.

Can I buy extra tickets anytime? Anyone can purchase tickets online. Electronic tickets will go on sale in September, and sales will close 30 minutes after each concert’s scheduled start time. Paper tickets will be sold at the FMEA Registration Desk during its regular hours Thursday through Saturday.

Can I buy tickets on site at the Marriott? No, on-site paper ticket sales are only available at Tampa Convention Center in the second-floor registration area. If your concert is in the Marriott Water Street, you must pre-purchase your tickets online or make plans to first visit the convention center to buy tickets and then walk over to the Marriott.

Does my young child need to buy a ticket?

Chaperone Registration Chaperone registration is based on the following rules: Elementary Students — For each elementary student registered, one free chaperone and one paid chaperone may be registered. — Any additional attendees must purchase a “Guest Pass” at on-site registration for entry into the convention center. Middle School and High School Students — For every six (6) students registered, one free chaperone and one paid chaperone may be registered. No other chaperones may be registered until the seventh student is registered. — Any additional attendees (chaperones or guests) must purchase a “Guest Pass” at on-site registration for entry into the convention center. EXCEPTIONS — If you have students in more than one performing ensemble, you may pay for a chaperone for each performing ensemble in which you have registered students. — If you have students from different schools, you may pay for a chaperone for each school for which you have registered students. — Clarification: these are not additional “free” chaperones; these exceptions only allow

Everyone who will be taking up a seat will need a ticket. Babies

you to register an additional paid chaperone

that are being held by a parent or sitting on a parent’s lap for

in addition to the one free and one paid

the duration of the concert are welcome without a ticket, but

chaperone per six (6) students normally

children who are old enough to sit in their own seat will need a

allowed.

ticket. Chaperones are not allowed to bring other children who are not participating in an all-state ensemble or student conference experience. Only registered students, teachers, and chaperones wearing

Concert Re-Entry Procedure

conference badges are allowed in and around the

Once a ticket’s barcode is scanned to gain entry, that ticket is

rehearsal areas. Directors are asked to make sure

marked as “used” and will no longer be eligible for another

their chaperones are aware of this policy and make

entry into the concert. Attendees who need to exit and

babysitting arrangements for their other children

re-enter the concert should be prepared to show their ticket

before agreeing to serve as chaperones.

and a photo I.D. to confirm they are the ticket owner to gain re-entry. OCTOBER 2026

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Cancellation Deadline We urge any guest holding surplus reservations/rooms to cancel the excess reservation(s) as soon as possible and no later than 5 pm on November 7, 2026, and you must secure a cancellation confirmation number. This courtesy will make surplus rooms available to other FMEA members and conference attendees.

Conference Hotels

FMEA has contracted with several Tampa hotels to provide you with the best rates possible.

Nonrefundable Deposit On November 11, each room reserved and not cancelled by November 7 will be charged a nonrefundable deposit in the amount of the posted rate for one night plus tax. It will be charged to the credit card used to secure the reservation. Invalid credit cards risk reservation cancellation.

Transportation Not Provided Not all hotels are within walking distance of the conven-

Hotel Policies

w A maximum of five (5) guest rooms may be reserved per name/credit card. w Directors should try to reserve rooms for all-state students and chaperones in the hotel where they are

w FMEA is not offering a housing bureau service. All rehearsing.

tion center. FMEA does not provide any transportation. Transportation and

parking are the responsibility of each

attendee. Directors are asked to share this with their chaperones and students.

If Hotels Are Full Every year, the hotel blocks fill up almost immediately upon opening due to teachers overestimating how many rooms

participants MUST reserve online or call the hotel

w Room blocks will open on Saturday, September 26, at

they will need for all-state students and chaperones. They

directly to secure reservations.

cancel the rooms they don’t need after the audition results are

that time, along with the reservation links and phone

results are released and teachers cancel rooms for students

numbers for each hotel.

who don’t need them.

9 am Eastern Time. The hotels will be listed online at

w If calling, be sure to request the “Florida Music

Education Association” room block rate and confirm

w Credit cards are required for online reservations, and the guest room rate posted online.

Try again in late October or early November after all-state

Try again after the cancellation deadline. All cancelled rooms will return to the FMEA blocks by December 14. Please do not reserve a room outside of the FMEA blocks! We must fill most of our allotted room blocks to receive dis-

the credit card name must match the name on the res-

counts for the ballrooms we use for all-state rehearsals. If we

ervation.

do not meet our required minimum number of hotel nights

w If paying by check, reservations must be made over the phone, and a check for the full amount must be mailed

w You do not need to register for the conference before directly to the hotel no later than December 14.

sold, we will need to raise conference registration rates to compensate for the added cost of the rehearsal space. If the price listed on the hotel’s website is not the same as the price listed on the FMEA hotel page, the FMEA block

reserving your hotel rooms, but this is something we

for that hotel may be full, and they are showing you full-price

are considering for future conferences.

rooms instead. Try again in November after all-state results

w Each hotel will have contract terms, such as parking charges, etc., on its reservation link.

released (late October and early November).

FLORIDA MUSIC DIRECTOR

come out.

Frequently Asked Questions

Beware of Room Block Scams The hotels listed on the FMEA Hotel List are the only official housing providers for the FMEA conference. The Florida Music Education Association is not affiliated with any third-party hotel brokers. If

Why are FMEA hotels so expensive?

you are contacted by someone claiming to represent

The prices we contract with the hotels are much lower than their stan-

the FMEA offering discounted housing or alterna-

dard room rates during the same dates. In many cases, it is less than

tive housing arrangements, be aware it is a scam.

half their normal rates.

If you receive such communication, please contact Val Anderson at

Why is it so hard to get a room? When the blocks first open, everyone tries to get as many rooms as they can in case they need them for all-state students, so they fill up very fast. If you wait until after the all-state results come out, many people will have cancelled their rooms, making it much easier for everyone else to get a reservation.

Why don’t you wait and open the hotel block after all-state auditions are released? Our hotel partners are uncomfortable waiting until we are so close to the start of the conference to book room reservations.

val@FMEA.org. The only way to

ensure you have a valid hotel reservation is to book your room with one of the listed hotels and mention group code FMEA, or if you are an exhibitor, please use the Hotel Reservation Form on the

Exhibitor

Information page.

Credit Card Scams at the Hotels Imagine this scenario: You arrive at your hotel and check in at the front desk. When checking in, you give the front desk your credit card information (for all the charges for your room or just incidentals). You

I tried calling, but it was busy or they put me on hold forever.

get to your room and settle in. Someone calls the

We recommend booking online instead. Otherwise, try again in early

answer, and the person on the other end says the

November after the all-state results are released. Many people will cancel rooms they no longer need if their students aren’t accepted.

front desk and asks for room 620 (which happens to be your room). Your phone rings in your room. You following: “This is the front desk. When checking in, we came across a problem with your charge card

Is there a cancellation fee?

information. Please re-read me your credit card num-

No, as long as you cancel all the rooms you no longer need by the

side of your charge card.”

listed cancellation deadline, you will not be charged any type of cancellation fee. After the cancellation deadline, a deposit of one night per room in your reservation will be charged to your credit card, and that deposit is nonrefundable.

ber and verify the three-digit number on the reverse Not thinking anything is unusual, you might give this person your information since the call seems to come from the front desk. But actually, it is a scam. Someone is calling from someplace other than the

Someone at the hotel told me that cancelled rooms don’t go back into the FMEA block, and they are sold at full price instead. Is that true?

hotel’s front desk. They ask for a random room num-

Only after December 15. Before that date, all the cancelled hotel rooms

talking to a hotel employee at the front desk.

in the FMEA blocks will be returned to the FMEA blocks and can be

ber, and then, sounding very professional, they ask you for credit card information and address information. They are so smooth, you will think you are If you ever encounter this problem, tell the caller

reserved by other FMEA conference attendees at the low FMEA rate.

you will come down to the front desk to clear up

The price on the hotel’s booking page doesn’t match the price listed on the FMEA’s hotel page.

any problems. Then, go to the front desk and ask if

If the FMEA block is full at that hotel, they may be showing you

desk employee called to scam you of your credit card

available full-price rooms outside of the FMEA block. Try again in November after all-state results come out to see if anyone cancelled rooms in the FMEA block.

there was a problem. If there was none, inform the manager of the hotel that someone acting like a front information. This type of scam may also happen with room service charges. Be alert! OCTOBER 2026

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All-State Rehearsals

All-State Concert Band

Concert Tampa Convention Center, Ballroom A Saturday, January 16, 2027, 6:30pm Reseating Auditions Hotel Tampa Riverwalk, Bayshore Ballroom Thursday....................................9am-11am Rehearsals Hotel Tampa Riverwalk, Bayshore Ballroom Thursday..................................... 1pm-5pm Thursday............................... 7pm-9:30pm Friday...............................8:30am-11:30am Friday.......................................... 1pm-5pm

All-State Concert Chorus

Concert Tampa Convention Center, Ballroom A Saturday, January 16, 2027, 11am Rehearsals Tampa Convention Center, Room 114 Thursday (Registration) ......... 8am-8:30am Thursday..........................8:30am-11:30am Thursday........................... 1:30pm-4:30pm Thursday................................ 6:30pm-9pm Friday...............................8:30am-11:30am Friday................................ 1:30pm-4:30pm

All-State Concert Orchestra

Concert Tampa Convention Center, Ballroom A Saturday, January 16, 2027, 2:30pm Reseating Auditions Marriott Water Street, Florida Ballroom, Salons 5-6 Thursday (Registration) ......... 7:30am-8am Thursday...............................8am-11:30am Rehearsals Marriott Water Street, Florida Ballroom, Salons 5-6 Thursday (Registration) ......... 8:30am-9am Thursday...............................9am-11:30am Thursday..................................... 1pm-5pm Thursday..................................... 7pm-9pm Friday...............................8:30am-11:30am Friday.......................................... 1pm-5pm

FLORIDA MUSIC DIRECTOR

All-State Elementary Chorus

Concert Tampa Convention Center, Ballroom A Thursday, January 14, 2027, 1:30pm Rehearsals Tampa Convention Center, Room 111 Wednesday (Registration) ......12noon-1pm Wednesday................................. 1pm-6pm Thursday..........................7:45am-12:45pm

All-State Elementary Orff Ensemble

Concert Tampa Convention Center, Ballroom A Friday, January 15, 2027, 1pm Rehearsals Tampa Convention Center, West Hall B Thursday (Registration) ........... 10am-11am Thursday................................... 11am-6pm Friday....................................8am-11:30am

All-State High School Guitar Ensemble

Concert Marriott Water Street, Grand Ballroom Thursday, January 14, 2027, 12:30pm Rehearsals Marriott Water Street Tuesday ..........................7pm-9pm, MR 10 Wednesday.............8:30am-12noon, MR 8 Wednesday.......................1pm-5pm, MR 8 Thursday.................. 8:30am-10:30am, GB Thursday............. 10:30am-11:30am, MR 5

All-State High School Jazz Band

Concert Marriott Water Street, Grand Ballroom Friday, January 15, 2027, 8:30pm Rehearsals Tampa Convention Center, Room 407 Wednesday............................ 2pm-5:30pm Wednesday................................. 7pm-9pm Thursday..........................8:30am-11:30am Thursday..................................... 1pm-5pm Friday.................................8:30am-12noon

All-State Intercollegiate Band

Concert Marriott Water Street, Grand Ballroom Friday, January 15, 2027, 4:15pm Rehearsals Barrymore Hotel Tampa Riverwalk, Crown Ballroom Thursday (Registration) .............. 8am-9am Thursday..........................9:30am-11:30am Thursday................................ 1pm-4:30pm Thursday..................................... 6pm-9pm Friday......................................8am-12noon

All-State Middle School Guitar Ensemble

Concert Marriott Water Street, Grand Ballroom Thursday, January 14, 2027, 12:30pm Rehearsals Marriott Water Street Tuesday ............................7pm-9pm, MR 8 Wednesday.............8:30am-12noon, MR 5 Wednesday.......................1pm-5pm, MR 5 Thursday.............. 8:30am-10:30am, MR 5 Thursday................. 10:30am-12noon, GB

All-State Middle School Jazz Band

Concert Marriott Water Street, Grand Ballroom Friday, January 15, 2027, 7:30pm Rehearsals Westin Tampa Waterside, Conch Room Wednesday................................. 2pm-5pm Wednesday................................. 7pm-9pm Thursday..........................8:30am-11:30am Thursday..................................... 1pm-5pm Friday.................................8:30am-12noon

Grand Ballroom = GB; Meeting Room = MR

All-State Middle School Band

Concert Tampa Convention Center, Ballroom A Saturday, January 16, 2027, 6:30pm Reseating Auditions Hilton Tampa Downtown Palma Ceia Ballroom Thursday....................................9am-11am Rehearsals Hilton Tampa Downtown, Palma Ceia Ballroom Thursday..................................... 1pm-5pm Thursday..................................... 7pm-9pm Friday...............................8:30am-11:30am Friday..................................... 2pm-5:30pm

All-State Middle School Mixed Chorus

Concert Tampa Convention Center, Ballroom A Friday, January 15, 2027, 5:30pm Rehearsals Hilton Tampa Downtown, Bayshore Ballroom 1-3 Thursday (Registration) ...... 11am-11:30am Thursday.......................... 11:30am-1:30pm Thursday..................................... 3pm-5pm Thursday........................... 6:30pm-8:30pm Friday............................... 8:30am-11:15am Friday.............................. 12:45pm-2:45pm

All-State Middle School Orchestra

Concert Tampa Convention Center, Ballroom A Saturday, January 16, 2027, 2:30pm Reseating Auditions Marriott Water Street, Meeting Room 8 Thursday (Registration) ......... 7:30am-8am Thursday...............................8am-11:30am Rehearsals Marriott Water Street, Meeting Room 8 Thursday..................................... 1pm-5pm Thursday..................................... 7pm-9pm Friday...............................8:30am-11:30am Friday.......................................... 1pm-5pm

All-State Middle School Treble Chorus

Concert Tampa Convention Center, Ballroom A Friday, January 15, 2027, 5:30pm Rehearsals Hilton Tampa Downtown, Bayshore Ballroom 5-7 Thursday (Registration) ...... 10:30am-11am Thursday.............................. 11am-1:15pm Thursday........................... 2:45pm-4:45pm Thursday............................6:15pm-8:15pm Friday.............................. 8:45am-11:30am Friday.......................................... 1pm-3pm

All-State Popular Music Collective

Concert Marriott Water Street, Grand Ballroom Thursday, January 14, 2027, 6pm Rehearsals Tampa Convention Center, Room 403 Wednesday.............................8am-12noon Wednesday................................. 1pm-5pm

All-State Reading Chorus

Concert Tampa Convention Center, Ballroom A Saturday, January 16, 2027, 8:45am Rehearsals Embassy Suites Downtown, Gandy Meeting Room Thursday (Registration) ......... 8am-8:30am Thursday..........................8:30am-11:30am Thursday........................... 1:30pm-4:30pm Thursday................................ 6:30pm-9pm Friday...............................8:30am-11:30am Friday..................................... 1:30pm-4pm Friday..... 4:15pm-5:15pm, TCC, Room 120

All-State SSAA Chorus

Concert Tampa Convention Center, Ballroom A Friday, January 15, 2027, 7:30pm Rehearsals Westin Tampa Waterside, Oasis Ballroom Thursday (Registration) ......... 8am-8:30am Thursday..........................8:30am-11:30am Thursday........................... 1:30pm-4:30pm Thursday................................ 6:30pm-9pm Friday...............................8:30am-11:30am Friday..................................... 1:30pm-4pm

All-State Symphonic Band

Concert Tampa Convention Center, Ballroom A Saturday, January 16, 2027, 6:30pm Reseating Auditions Tampa Convention Center, Room 122 Thursday, 8:30am-10:30am Rehearsals Tampa Convention Center, Room 122 Thursday......................... 12:30pm-4:30pm Thursday................................ 6:30pm-9pm Friday...............................8:30am-11:30am Friday.......................................... 1pm-5pm

All-State Symphonic Orchestra

Concert Tampa Convention Center, Ballroom A Saturday, January 16, 2027, 2:30pm Reseating Auditions Tampa Convention Center Thursday..........................8:30am-11:30am Woodwinds, Room 403 Brass, Room 404 Percussion, Room 405 Rehearsals Tampa Convention Center, Room 124 Thursday (Registration) ......... 8am-8:30am Thursday..........................8:30am-11:30am Thursday..................................... 1pm-5pm Thursday..................................... 7pm-9pm Friday...............................8:30am-11:30am Friday.......................................... 1pm-5pm continued on page 32 OCTOBER 2026

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All-State Rehearsals Grand Ballroom = GB; Meeting Room = MR

continued from page 31

All-State TTBB Chorus

Concert Tampa Convention Center, Ballroom A Saturday, January 16, 2027, 8:45am Rehearsals Embassy Suites Downtown, Bayside Ballroom Thursday (Registration) ......... 8am-8:30am Thursday..........................8:30am-11:30am Thursday........................... 1:30pm-4:30pm Thursday................................ 6:30pm-9pm Friday...............................8:30am-11:30am Friday................................ 1:30pm-4:30pm

High School Honors Band

Concert Marriott Water Street, Grand Ballroom Saturday, January 16, 2027, 2:30pm Reseating Auditions Four Points Tampa Airport Westshore Pasco/Sarasota Room Thursday....................................9am-11am Rehearsals Four Points Tampa Airport Westshore Pasco/Sarasota Room Thursday..................................... 1pm-5pm Thursday................................ 7pm-9:30pm Friday...............................8:30am-11:30am Friday..................................... 2:30pm-5pm

High School Honors Big Band

Concert Marriott Water Street, Grand Ballroom Friday, January 15, 2027, 8pm Rehearsals Embassy Suites Tampa Airport Westshore, Cypress Room Wednesday............................ 2pm-5:30pm Wednesday................................. 7pm-9pm Thursday..........................8:30am-11:30am Thursday..................................... 1pm-5pm Friday.................................8:30am-12noon

High School Honors Orchestra

Concert Marriott Water Street, Grand Ballroom Saturday, January 16, 2027, 11am Rehearsals Embassy Suites Downtown, Skyway Room Thursday (Registration) ......... 8am-8:30am Thursday..........................8:30am-11:30am Thursday..................................... 1pm-5pm Thursday..................................... 7pm-9pm Friday...............................8:30am-11:30am Friday.......................................... 1pm-5pm

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CLICK HERE

FLORIDA MUSIC DIRECTOR

Middle School Honors Band

Concert Marriott Water Street, Grand Ballroom Saturday, January 16, 2027, 2:30pm Reseating Auditions Hilton Tampa Downtown, Esplanade Suite Thursday, 9am-11am Rehearsals Hilton Tampa Downtown, Esplanade Suite Thursday..................................... 1pm-5pm Thursday................................ 7pm-9:30pm Friday...............................8:30am-11:30am Friday.......................................... 2pm-5pm

Middle School Honors Orchestra

Concert Marriott Water Street, Grand Ballroom Saturday, January 16, 2027, 11am Rehearsals Holiday Inn Tampa Westshore, Royal Palm Ballroom, Section 3 Thursday (Registration) ......... 8am-8:30am Thursday..........................8:30am-11:30am Thursday..................................... 1pm-5pm Thursday..................................... 7pm-9pm Friday...............................8:30am-11:30am Friday....................................... 1pm-5pm

Student Leadership Workshop Wednesday, January 13, 2027

atthew Arau, DMA, will head-

Cyprus,

line the Student Leadership

Michigan and Utah All-State

Workshop for high school and college

Middle School Honor Bands; the

students. Attendees will learn tangi-

Texas Region 26 Honor Band;

ble skills to lead effectively and live a

the South Carolina All-State

life of impact.

Band; and honor bands across

and

Malaysia;

the

Dr. Arau is the chair of the Music

the country. He is published by

Education Department and associate

C. Alan Publications, Bandworld

director of bands at the Lawrence

Magazine,

University Conservatory of Music

Everything Band Podcast, The

in Appleton, Wisconsin, where he

Instrumentalist magazine, and

teaches conducting and instrumental

Hoonuit Online Learning. Dr.

music education courses and is the

Arau draws on a deep reser-

conductor of the Symphonic Band,

voir of 15 years of experience

associate conductor of the Wind

as a successful middle school

Ensemble, and guest conductor of

and high school band director

the Symphony Orchestra. In addition,

in Loveland, Colorado, where

Dr. Arau is on the conducting faculty

he led his bands at Walt Clark

of the American Band College of

Con n-Selmer,

Middle School and Loveland

Central Washington University where he teaches conducting

High School to numerous honor performances and champion-

to graduate students, and he is on the staff for the Western

ships and pioneered the Leadership Symposium.

International Band Clinic in Seattle, Washington. Dr. Arau also

Dr. Arau holds a DMA in conducting and literature from the

serves as a Conn-Selmer Education Clinician and as a member-

University of Colorado Boulder and an MS in music education

at-large on the NAfME Band Council, and he is the founder of

from the American Band College of Southern Oregon University.

Upbeat Global LLC.

He graduated magna cum laude from Lawrence University,

In demand as a music teacher and speaker, Dr. Arau has

where he earned a BM in instrumental music education, music

presented on leadership, growth mindset, rehearsal techniques,

performance (classical), music performance (jazz studies), and a

and creating positive cultures at the following: the International

BA in government. He resides with his wife, Merilee, in Neenah,

Midwest Band and Orchestra Clinic; the Western International

Wisconsin.

Band Clinic; numerous state and regional music education association conferences; the American Choral Directors Association NextDirection Conference; the Conn-Selmer Institute; the International San Diego Mariachi Summit; and universities, music camps, school districts, and schools in 26 states and on four continents. Internationally, Dr. Arau has taught leadership in Singapore, Malaysia, Greece, and Cyprus. In February 2019, Dr. Arau delivered the keynote address at the Northwest NAfME Conference, and he delivered the keynote address at the National NAfME Conference in November 2019 in Orlando to all of the high school national honor ensembles. In addition, Dr. Arau conducts and clinics all-state bands and honor groups across the United States and around the

Music Parent Workshop

Thursday, January 14, 2027 Dr. Matthew Arau will also headline the Music Parent Workshop. Parents will be inspired and learn how to move from exhausted to energized.

world. He has conducted honor bands in Australia, Greece, OCTOBER 2026

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FMEA Student Experiences Schedule Student Conference Experience and Tri-M Experience Thursday–Friday, January 14–15, 2027 This schedule is to be followed by FMEA Student Conference Experience and FMEA Tri-M Experience participants. Activities in bold font are required for participants of the FMEA Student Experiences. Participants are encouraged to attend all activities listed.

THURSDAY, JANUARY 14, 2027 9:05am

FMEA Student Experiences Session #1 (Opening Session)

TCC 301

10:30am

FMEA First General Session

TCC A

12:10pm

Exhibition Hall Opening/Time to Explore Exhibits/Lunch

1pm

FMEA Student Experiences Session #2 (Guest Artist Session)

TCC 411

5pm

College Night

TCC East Hall A

There are multiple recommended concert options on Thursday night: 6:30pm

University of North Florida Orchestra

TCC A

8pm

Florida A & M University Wind Symphony

Marriott Grand Ballroom

9:15pm

The United States Army Band “Pershing’s Own”

TCC A

FRIDAY, JANUARY 15, 2027 9am

FMEA Second General Session

TCC A

10:30am

FMEA Student Experiences Session #3 (Dr. Matthew Arau, Guest Speaker)

TCC 307

11:35am

FMEA SCE/Tri-M Session #4 (Symphony of Voices)

TCC 304

12:30pm

Lunch/Time to Explore Exhibits

3:10pm

FMEA SCE/Tri-M Session #5 (Wrap-Up Session)

FLORIDA MUSIC DIRECTOR

TCC West Hall B

F E AT U R E

A Wardrobe of Warm-Ups

Fashioning Vocal Excellence

BY ROSE HELLMERS

Choral pedagogues and music educators have long

rehearsal, what if we treated the warm-up itself as

emphasized the importance of intentional warm-

rehearsal—a time to develop vocal fundamentals,

ups. Freer describes the choral warm-up as “one of

strengthen ensemble tuning and listening, engage

the greatest tools that teachers can possess” (2009,

the body and mind, and address the specific musi-

p. 58). Apfelstadt similarly notes that “singing is

cal demands of the repertoire?

athletic as well as artistic, and an athlete always

Of course, teachers are busy, and warm-up

engages in physical preparation” (2016, p. 34).

planning is only one of countless demands on a

Robert Shaw (1981), too, considered the warm-up

director’s time. Thus, the following framework

an indispensable part of every rehearsal.

seeks to offer a simple way to maximize the posi-

Yet despite their theoretical importance, in prac-

tive impact of those warm-up minutes for students

tice, warm-ups can often become an afterthought.

without requiring hours of additional preparation

Directors may skip them, give them no advance

for teachers. Think of building a warm-up routine

planning, or repeat the same set of exercises every

like getting dressed: the goal is not simply to put

single day. Consider the cumulative cost of this

something on, but to choose the right pieces for

choice: just five minutes of warm-ups each school

the occasion, make sure they work together, and

day amounts to more than 15 hours over the course

avoid wearing the exact same thing every day. In

of a typical school year. So, rather than wast-

other words, an effective warm-up should be three

ing that time as a disconnected preparation for

things: matching, balanced, and varied. continued on page 36 OCTOBER 2026

Fashioning Vocal Excellence continued from page 35

1. Matching Just as the pieces of a good outfit should complement rather than clash with one another, warm-ups should complement the music you are about to rehearse. Look at the repertoire and ask: What goals, skills, and/or struggles does this repertoire present? Then find warm-ups to match. If the repertoire contains a difficult interval, choose a warm-up that incorporates that interval. If students are struggling with shadow vowel releases, build shadow vowels into a warm-up. As Apfelstadt (2016) notes, “Cover the characteristics of the music you plan to rehearse” (p. 34). Thus, here are some examples of how repertoire challenges or desired skills can be turned into targeted warm-ups:

FLORIDA MUSIC DIRECTOR

Repertoire Challenges

Matching Targeted Warm-Up

Balanced/Coordinated Onsets

Onset Exercise: 5-5-5-5-54321 on [a]. Repeat while ascending/descending by half steps, alternating glottal, aspirate, and balanced/coordinated onsets with each repetition.

Diction

Tongue Twisters: Any of these can be spoken or set to a simple scalar pattern (e.g., 1-2-3-4-3-2-1): —“Red Leather, Yellow Leather” —“Irish Wristwatch” —“Red Bug, Black Blood” —“Aluminum Linoleum”

—“Toy Boat” —“Minimal Animal” —“Unique New York”

Falsetto Access (TB)

“Looie”: Sing 5-4-3-2-1 on “Looie-Looie-Looie-Looie-Loo,” starting on C5 in F major and descending by half step.

Sustaining Breath Through Long Phrases or Pitches

Measured Breathing: Inhale for 4 beats, then exhale on [∫ ], [t∫ ], or a voiced consonant for 4 beats; repeat with exhalations of 8, 12, 16, etc. Aim to complete each exhalation exactly at the end of the count while maintaining a steady dynamic throughout. To vary this, change the inhalation lengths or add a breath hold between inhalation and exhalation.

Intervals

Nu-a Interval Training: Alternate [nu] and [a] while singing progressively larger intervals from the tonic, beginning with tonic to minor second, then tonic to major second, etc., continuing through the octave. Then reverse the exercise, beginning on the upper tonic and descending through the same intervals. Gradually work toward performing the entire exercise a cappella.

Dynamics Control

Measured Messa di Voce: On a single pitch, crescendo for 5 beats then decrescendo for 5 beats, aiming for an even and gradual change in dynamic in both directions. Try 7 beats in each direction for an additional challenge.

Articulation: Staccato vs. Legato

Kenneth Jennings: Use his “Flexibility” for staccato articulation and “Sing Legato” for legato (1982).

Controlling Diphthongs

“Day Night High Low”: Sing these words on a single pitch, maintaining approximately 95% of the first vowel and 5% of the second vowel. For example, “day” would remain primarily [e], with only a very brief transition to [�].

Correcting Bright/Strident Tone

“Woe is Me”: Sing the phrase on a descending 8-5-3-1 arpeggio.

Correcting Dark/Woofy Tone

“Minnie, Minnie, Minnie, Minnie, Ma”: Sing the phrase on a descending 5-4-3-2-1 scale.

Duples vs. Triples

Consonant War: Have half the choir perform triplets on [t∫ ] while the other half performs duples, then switch. Increase the challenge by mixing formations.

Octave Leaps

“Scooby Doo Can Sing, Too”: Sing on scale degrees 1-2-3-5-8-1.

Vowel Unity

“Apples and Bananas”: Sing this children’s song, changing all vowel sounds with each repetition: [a], [e], [i], [o], [u].

continued on page 38 OCTOBER 2026

Fashioning Vocal Excellence continued from page 37

2. Balanced Just as you need multiple articles of clothing to make a good outfit—shirt, pants, shoes—you need multiple types of warm-ups in a single session. You wouldn’t put on five shirts and absolutely nothing else; similarly, a warmup session devoted entirely to one type of activity—be it stretching, diction, or otherwise—may address an important skill, but it leaves other areas untouched. Freer (2009) notes that warm-up sessions should instead “involve a variety of activities” (p. 59). Thus, as a practical rule of thumb, aim for roughly one-third physical, one-third mental, and one-third vocal warm-ups each day. Here are some ideas; try choosing at least one from each column per day:

FLORIDA MUSIC DIRECTOR

1/3 Physical

1/3 Mental

1/3 Vocal

Guided Stretches: Walk students through the following stretches:

Solfège Ladder: Have students sing Do, Do-Re-Do, DoRe-Mi-Re-Do, etc. Once mastered, have students remain silent and/or add a clap or snap on selected syllables. For an additional challenge, replace solfège with numbers (1, 1-2-1, 1-2-3-2-1, etc.) or even letters (A, A-B-A, A-B-C-B-A, etc.).

Descending SOVT (Semi-Occluded Vocal Tract) Exercises: Sing a descending 5-note scale (5-4-3-2-1) using SOVT exercises such as:

Count to 8: Have students count to 8 in a sing-songy voice on a loop.You call out instructions: 1. Silence on certain numbers (e.g., silence on 2 and 6) 2. Only say odd numbers 3. Only even numbers 4. Only prime numbers 5. Only the number 5 (silence on all other numbers) 6. Say all 8 numbers while following you for different dynamics, tempos, and articulations.

Vowel Tuning: Teach students hand motions for the five basic vowels [u o a e i], then sing each vowel on a unison pitch. Next, divide the choir and sing these same five vowels in parts: sopranos sustain scale degree 5, basses sustain 1, tenors sing 5-4-3-2-1, and altos sing 1-2-3-4-5.

Position 1-2-3: Define the three choir postures (1 = standing singing posture, 2 = seated singing posture, 3 = seated listening posture). Call out the 3 numbers as students quickly move between positions. Increase the challenge by calling the numbers in unpredictable or rapidly changing sequences.

4 Beats Behind: Tap, clap, sing, stomp, and/or snap a 4-beat pattern. Students echo it while you simultaneously perform a new pattern, creating a continuous 4-beat round. Increase the difficulty by dividing the choir into groups and having each group begin the pattern 4 beats after the previous group.

Descending Melismas: Sing [zi] on scale degrees 1-3-5, then [a] on 8-7-8-9-8-7-6-5-4-3-2-1. Have students stop on different scale degrees during the descent (e.g., “stop on 4”) to reinforce accurate pitch throughout the melisma.

Shakeys: Shake the right arm while counting down from 10 to 1. Repeat this countdown with the left arm, right leg, and left leg. Then repeat the entire sequence starting at 9, then 8, etc., until you reach 1.

Focus Claps: Have students clap only when you clap. This is an easy, silent way to begin a rehearsal.

Ascending Arpeggio Exercises: Sing “I Love to Sing” or “I Sigh for Spring” on scale degrees 5-8-5-3-1. Or, sing [zi-i, zi-e, zi-a] on 5-8, 5-8, 5-8-5-3-1.

Scrunch Face, Big Face: Alternate between a tight, scrunched face and a wide, surprised face. Extend this activity to other tension-and-release exercises, such as tensing and releasing the shoulders or legs.

My Bonnie Lies Over the Ocean: On each repetition of this folksong, add a movement for words beginning with specific letters:

Rounds: Try rounds such as:

1. 2. 3. 4. 5. 6. 7.

Lengthen the spine; think of a string pulling upward. Lift and expand the ribs and sternum. Release the shoulders back and down. Let the arms hang at the sides, with hands near the pants seams. Center the pelvis. Keep the knees loose, not locked. Place feet shoulder-width apart, with even weight on each foot.

Toy Story Stretches: Have students say and do the following: 1. 2. 3. 4. 5.

“Reach for the sky!” [stretch arms up] “There’s a snake in my boot!” [reach down to touch toes] “Somebody poisoned the water hole!” [place hands on hips] “You’re my favorite deputy!” [reach behind as if pulling a toy string] “To infinity and beyond!” [extend both arms forward and one leg behind]

1. 2. 3. 4.

M = pat legs B = clap O = wave arms S = bird wings

1. 2. 3. 4. 5. 6. 7.

Lip trills Rolled Rs Tongue trills Hums ([m] or [n]) [ŋ] Straw phonation Voiced consonants like [v] or [z]

1. Ah Poor Bird 2. Jubilate Deo 3. All Things Shall Perish 4. I Love the Mountains 5. Oh, How Lovely 6. Thula Ngoana 7. Funwa Alafia More rounds can be found in the resources below, including DeLanoy (2012) and Brinckmeyer (2015). continued on page 40 OCTOBER 2026

Fashioning Vocal Excellence continued from page 39

3. Varied Unless you are a cartoon character or are required to wear a specific uniform to work or school, you probably don’t wear the same outfit every day. Your warm-ups should be no different. When choirs do the exact same set of warm-ups day in and day out, students can quickly go on autopilot, going through the motions instead of engaging and learning. This is not to say we must completely overhaul all our warm-ups every day. Instead, Robert Shaw advised, “Each warm-up should have some familiar exercises and some new ones” (1981); he was also known to constantly tweak familiar exercises to keep his singers from settling too deeply into a routine. At the end of this article, you will find some great resources for discovering new warm-ups. And here are some ideas for varying the warm-ups you may already use:

Existing Warm-Up

Variation

Singing Solfège Scale

Hocket Scales: Divide the choir into two or more groups and have them alternate singing the pitches of a scale: for example, Group 1 sings “Do,” Group 2 sings “Re,” Group 1 sings “Mi,” Group 2 sings “Fa,” and so on until the entire scale is sung. Once students have mastered a diatonic scale, try a chromatic scale, minor scale, or even different modes.

Singing a Scale in Thirds

Change Interval Patterns: Sing the scale in fourths (Do-Fa, Re-Sol, etc.), fifths (Do-Sol, Re-La, etc.), or triads (Do-Mi-Sol, Re-Fa-La, etc.). Or, have each section begin on a different scale degree: for example, basses on low Do, sopranos on high Do, altos on Mi, and tenors on Sol. Each section then sings upward and downward the scale from its unique starting pitch.

A Familiar Song Warm-Up

Timbre Shifts: Take an exercise, such as Dilworth’s “Soda Pop Cans” (2006), and repeat it 5 times, making the tone progressively brighter or darker. Use a scale of 1 (brightest) to 5 (darkest), with 3 representing a balanced/chiaroscuro tone. Then, hold up a finger during a run to indicate when students should shift brighter or darker.

A Familiar Diction Exercise

Vowel and Consonant Shifts: Take an exercise, such as [vi] repeated on scale degrees 1-2-3-4-5-4-3-2-1, and substitute in a variety of voiced and unvoiced consonants and different vowels. Aim to work with different vowels and consonants each day.

Any Familiar Warm-Up

Musical Element Shifts: Change the articulation, dynamics, or mode (major/minor). For example, perform a typically legato exercise staccato, add a messa di voce to a scalar warm-up (or an inverted messa di voce for an added challenge), or convert a major arpeggio pattern to minor.

FLORIDA MUSIC DIRECTOR

In conclusion, effective warm-ups should match the repertoire; balance physical, mental, and vocal demands; and vary day to day. Five minutes a day adds up quickly—make every moment count. Every rehearsal gives us another chance to fashion vocal excellence, one warm-up at a time. Resources Albrecht, S. K. (Ed.). (2003). The choral warm-up collection: A sourcebook of 167 choral warm-ups contributed by 51 choral directors. Alfred Music. Althouse, J., & Robinson, R. L. (1995). The complete choral warm-up book: A sourcebook for choral directors. Alfred Music. Brinckmeyer, L. M. (2015). Wander the world with warmups: 40 fun warm-ups using songs from 20 countries. Shawnee Press. DeLanoy, C. (2012). Warming up with rounds: Teaching music literacy using rounds in the choral rehearsal. Shawnee Press. Dilworth, R. (2006). Choir builders: Fundamental vocal techniques for classroom and general use. Hal Leonard Corporation. Jennings, K. (1982). Sing legato: A collection of original studies in vocal production and musicianship (Vocal ed.). Neil A. Kjos Music Company. Phillips, K. H. (1994). Teaching kids to sing: Exercise and vocalize cards: A sequence of 90 psychomotor skills for child and adolescent vocal development. Schirmer Books.

References Apfelstadt, H. (2016). Warm-ups: Building strong foundations for ensemble singing. Canadian Music Educator / Musicien Educateur au Canada, 57(4), 33–35. Freer, P. K. (2009). Choral warm-ups for changing adolescent voices. Music Educators Journal, 95(3), 57–62. https://doi.org/10.1177/0027432108330209 Shaw, R. (1981, September 16). The rehearsal warm-up. Robert Shaw Website. https://robertshaw.website/ the-rehearsal-warmup

Rose Hellmers, pursuing a choral conducting PhD at Florida State University, directed high school choir and was assistant conductor of the Nashville Symphony Chorus. Her ensembles doubled enrollment and performed at Carnegie Hall and ACDA/TMEA conferences. Honors include a first place American Prize and the TMEA (Tennessee) Young Music Educator of the Year. She earned her MME/BM from Vanderbilt. OCTOBER 2026

Can Draft the Plan…

But It Cannot

HEAR THE ENSEMBLE 42

FLORIDA MUSIC DIRECTOR

F E AT U R E

Four Checks for Florida Music Educators BY G L E B T S I P U R S K Y, P H D

ble needs another repetition, whether a student’s phrasing

CHECK 1: Start With the Musical or Learning Decision

reflects understanding, how to adapt a lesson for different

Begin with the decision a teacher is trying to improve,

learners, and when a technically correct performance still

not with the tool. In a rehearsal-planning workflow, the

does not communicate the music. Artificial intelligence

real question may be where limited rehearsal minutes

can help with parts of that work, but its value depends

will have the greatest musical payoff. During all-state

less on how impressive the tool looks than on how well

preparation, it may be how to create extra sight-reading

it fits the learning goal, the students, and the teacher’s

practice without teaching students to trust a generated

professional judgment.

exercise that has not been checked for range, notation, or

FMEA members already make hundreds of judgment calls that no software can make for them: when an ensem-

That distinction matters because the Florida Music

difficulty. In an elementary or general-music class, it may

Education Association’s mission is to promote quality,

be how to help students compare stylistic features across

comprehensive music education in all Florida schools

recordings. In a collegiate methods course, it may be how

(Florida Music Education Association, n.d.-a). FMEA now

to give preservice teachers more opportunities to practice

even points members to an AI Arts Strategist among its

sequencing instruction.

advocacy resources, a sign that AI questions are already

AI can generate options quickly: possible rehearsal

part of the professional landscape. The useful question is

priorities, discussion prompts, alternate explanations,

no longer whether music educators will encounter AI. It

sample rubrics, or draft communications. The teacher

is how to use it without weakening musicianship, student

still needs to decide what belongs in the room. A gener-

privacy, authorship, or the human relationships that make

ated rehearsal plan cannot hear the balance problem that

music education work.

emerged yesterday, notice that the altos are fatigued, or

A practical way to start is to run every proposed AI use through four checks.

know that one section needs confidence more than another run-through of the difficult passage. continued on page 44 OCTOBER 2026

continued from page 43

nuance, misstate a source, or invent a fact with fluent con-

CHECK 2: Protect Student Data, Authorship, and Work Students Need to Do

fidence. Use the output as a starting point for professional

Music classrooms produce unusually rich information

inquiry, not as the final authority.

about students. Teachers may handle audition recordings,

The same principle applies to repertoire and contextual information. A chatbot can summarize a composer’s biography or suggest works for a theme, but it can also flatten

The U.S. Department of Education’s 2026 discussion

accommodations, assessment notes, parent communica-

of AI integration emphasizes that leaders should engage

tions, schedules, travel details, individual performance

with the technology, receive training, and clarify how

feedback, and videos that identify students. Convenience

AI will augment rather than replace educators (U.S.

can make it tempting to paste this material into a gener-

Department of Education, 2026). For music educators,

al-purpose AI system.

augmentation is a useful test: if the tool helps a teacher to

Do not treat that as an ordinary shortcut. The U.S.

spend more attention on listening, coaching, modeling,

Department of Education’s Student Privacy Policy Office

questioning, and relationship-building, it may be serving

reminds schools and districts that student-data security

instruction. If it merely produces more material, it may be

and privacy remain core responsibilities when education

adding volume rather than value.

technology is used (Student Privacy Policy Office, n.d.).

Before adopting an AI use, write one sentence that

District rules, approved-tool lists, contracts, and local

starts, “This helps students or teachers by ...” If that sen-

data practices should determine what information can be

tence describes only faster content production, the use

entered into an AI system.

case probably needs more work.

A simple default helps: if a prompt contains information that identifies a student, reveals protected educational information, or would be uncomfortable to see outside the school, stop and check the approved process before entering it. Authorship deserves the same care. Suppose students are composing, arranging, writing program notes, analyzing a score, or explaining interpretive choices. If AI performs the part of the assignment that is supposed to reveal the student’s thinking, the result may look polished while hiding whether learning occurred. That does not mean every use is off limits. A teacher might ask students to critique an AI-generated program note against trusted sources, compare machine-generated and human-generated analyses, or identify what an AI arrangement misunderstands about range, idiom, breath, bowing, or ensemble balance. In these cases, the tool becomes material for musical reasoning rather than a substitute for it. Make the boundary visible. Tell students which parts of the task must be their own,

FLORIDA MUSIC DIRECTOR

what assistance is permitted, what disclosure is expected,

quick human review. A generated explanation of copy-

and what evidence of process they should retain. Clear

right, a recommendation affecting a student’s grade, or

rules reduce both anxiety and improvisation.

advice tied to an accommodation deserves much stronger checking. An AI-produced claim about a culture, tradi-

CHECK 3: Verify Against the Controlling Source

tion, or living community should be treated especially carefully because an error can become more than a factual mistake; it can misrepresent people whose music is being taught.

Generative AI is built to produce plausible language, not

One useful rehearsal-room habit is to ask, “What

to guarantee that every claim, citation, marking, trans-

source would I trust if the AI had never answered?” Then

lation, or recommendation is correct. Music educators

check that source before using the output. This prevents

therefore need a source hierarchy.

fluency from becoming authority.

For repertoire facts, return to the score, critical edition, publisher information, composer materials, or reputable

rather than a generated answer. For technical pedagogy,

CHECK 4: Measure the Whole Workflow, Not the First Five Minutes

compare the suggestion with established methods, the

AI tools often look productive in a demonstration because

student’s actual needs, and the teacher’s direct observa-

they produce something quickly. But music educators

tion.

work in complete workflows, not isolated prompts.

scholarship. For policy questions, return to district and state guidance. For accommodations, student records, and legal obligations, use the authoritative school process

The National Institute of Standards and Technology’s

Consider student feedback. An AI system might help

Generative AI Profile treats risk management as a contin-

draft comments from a rubric. The first step could be fast-

uous process rather than a one-time approval (National

er, but the whole workflow also includes checking wheth-

Institute of Standards and Technology, 2024). That mind-

er the comment matches the performance, correcting

set translates well to a music program: the level of verifi-

generic language, protecting student information, making

cation should rise with the consequence of the decision.

the feedback developmentally appropriate, and ensuring continued on page 46

A low-stakes draft of a concert reminder may need a

OCTOBER 2026

continued from page 45

that the teacher can defend the evaluation. If review takes

students learn or for the professional choices made in a

as long as writing the feedback directly, the apparent time

classroom, rehearsal hall, studio, or performance setting.

savings may disappear.

The strongest adoption strategy is therefore not “use

Rehearsal planning has the same issue. Generating a

more AI.” It is to give educators enough clarity to know

plan in 30 seconds is not the goal. The goal is a rehearsal

where AI belongs and enough permission to reject it

that improves musical outcomes. Family communication

where it does not.

is not successful because a message was drafted faster; it is

Before AI enters a workflow, ask four questions: What

successful when the message is accurate, clear, culturally

musical or learning decision are we improving? What stu-

appropriate, and reduces confusion. A generated assess-

dent data and student work must remain protected? What

ment is not useful merely because it saves preparation

authoritative source will verify the output? What happens

time; it must actually measure the intended learning.

to quality, time, and trust across the entire workflow?

For that reason, pilot the AI in one bounded workflow

When those answers are clear, AI can become a bound-

and track a few outcomes. Did it save time after verifica-

ed assistant rather than an invisible decision-maker. That

tion? Did the quality of feedback improve? Did students

approach keeps technology in service of what FMEA

ask fewer clarifying questions? Did the teacher catch new

members have always been responsible for: quality, com-

errors or introduce new ones? Did the process increase or

prehensive music education shaped by skilled educators

reduce confidence?

who listen closely and exercise judgment.

Invite skeptical colleagues into the pilot. Florida music programs span elementary, band, orchestra, vocal, jazz,

References

collegiate, and supervisory settings, so a use case that

Florida Music Education Association. (n.d.-a). About the Florida Music Education Association. https://fmea.org/about/

works in one setting may fail in another. Music departments contain people with different levels of enthusiasm about AI, and the skeptics often notice failure modes that early adopters miss. Psychological safety matters here: teachers should be able to say that a tool was unhelpful, produced an error, or created more work without being treated as resistant to innovation. FMEA’s professional-learning mission is well suited to this kind of experimentation. The association already supports educators across levels and specialties, and Florida Music Director explicitly seeks practical articles that iden-

Florida Music Education Association. (n.d.-b). Writing for the Florida Music Director. https://fmea.org/programs/ publications/florida-music-director/submission-information/ National Institute of Standards and Technology. (2024). Artificial intelligence risk management framework: Generative artificial intelligence profile. https://www.nist.gov/publications/artificialintelligence-risk-management-framework-generative-artificialintelligence Student Privacy Policy Office. (n.d.). Data security: K-12 and higher education. U.S. Department of Education. https:// studentprivacy.ed.gov/data-security-k-12-and-higher-education U.S. Department of Education. (2026, January 12). The four stages of AI integration in education. https://www.ed.gov/about/ homeroom-blog/four-stages-of-ai-integration-education

tify problems and offer solutions for practitioners (Florida Music Education Association, n.d.-b). The same practical standard should guide AI adoption: use cases should solve recognizable problems in ways teachers can explain,

Adapted from: The Psychology of AI Adoption at Work: From Resistance to Results (Georgetown University Press, 2026)

verify, and improve.

https://disasteravoidanceexperts.com/aibook

Keep the Human Work at the Center

Gleb Tsipursky, PhD, a behavioral scientist called the “Office

Music education is not simply content delivery. It is a

leaders stop overpaying for AI while boost-

sequence of human judgments about sound, growth,

ing engagement and innovation. He serves

expression, readiness, motivation, belonging, and mean-

as CEO of the AI consultancy Disaster

ing. AI may help organize information, generate alter-

Avoidance Experts and has written eight

natives, reduce repetitive drafting, or surface questions

books, including The Psychology of AI

worth exploring. It cannot assume responsibility for what

Adoption at Work.

FLORIDA MUSIC DIRECTOR

Whisperer” by The New York Times, helps tech-forward

Please take time to thank and support our 2026-2027 Corporate Partners.

GOLD PARTNERS

SILVER PARTNERS Mark Custom Recording Service, Inc.

BRONZE PARTNERS Cathy’s Choir Class Choristers Guild Eastman Music Company GIA Publications, Inc.

Hal Leonard J.W. Pepper & Son, Inc. Sight Reading Factory

Partners as of September 3, 2026. *Please visit FMEA.org/partners for partnership details or call 850-878-6844. OCTOBER 2026

CROSSOVER FESTIVALS S

tudents will perform a 10-minute set of cover and original music, followed by a 30-minute coaching

session with a music teacher-producer from the hosting institution. Students should plan to spend the day hearing other bands perform and experiencing the unique programs of each host institution. There will be perfor-

w All Florida student bands in grades K–12 are eligible

General Guidelines

to participate. Students must, however, be nominated

w Students can enter one of three divisions: elementary (K-5), middle school (6-8), or high school (9-12). w This is a group festival. Groups can consist of two or more individuals. w Each student can only be involved in one submission. w The submission deadline is 5 pm EDT on March 20, by an FMEA member teacher.

2027.

mances from university students, presentations from members of the music industry, and valuable Q&A ses-

Each group must submit a performance of:

sions on how to make better music. All student perfor-

1. A Cover Song. Cover songs are songs written and/

mances will be professionally multitrack recorded. Two

or performed by an artist who is not the student(s)

bands at each festival will be honored with the release of one of their original songs on a special album following the festival.

performing. 2. An Original Song. Original songs are songs written and/or performed by the songwriter(s) at the festival.

w Submissions can include original compositions, mash-

Submission Guidelines

ups, partner songs, re-mixes, covers, etc. Live perfor-

mance pieces must be no longer than four minutes in

w Submissions must include both a cover song and an length.

original song. Performances can involve any single

FLORIDA MUSIC DIRECTOR

musical style or combination of musical styles. While

Deadline

live performance compositions can include any com-

The submission deadline is 5 pm EDT on March 19,

bination of instruments and vocalists, they must

2027. Only applications completed by this time will

prominently feature at least one digital instrument

be considered. Students whose work is selected for

(computers, electric guitars, phones, electronic toys,

performance will be notified by March 27 and will be

tablets, synthesizers, midi controllers, microphones,

expected to attend the event.

w The inclusion of other performing arts, such as moveelectronic drums, loopers, etc.).

Payment

ment, dance, theater, poetry, and visual art, is encour-

No up-front payment is required to apply, but entry fees

aged.

for the groups selected to participate will be $20 per student, which must be paid to FMEA before the festival

Submission Process

date.

FMEA member teachers may nominate as many students and/or student groups as they wish. Each nomination must include the following: 1. A video recording of a live performance of the two full pieces. — The video should be uploaded to a video-sharing site such as YouTube, Vimeo, TeacherTube, or the composer’s or school’s/teacher’s website. Make sure it’s set so that anyone with the link can view the video. For example, in YouTube, this would be “Unlisted” but not private, and in Google Drive the sharing settings should be “anyone with the link” can view. The online application will ask for the link/URL. — If submitting an audio recording, it should be an mp3 file. The application will ask you to upload it. 2. The online application will ask for: composer name(s) and email(s), school name(s), year(s) in school, composition title, duration, listing of instrumentation and equipment used, an analysis of the piece’s form, one or two paragraphs describing the compositional/ creative process, a listing of student performers that includes name, email, school name, year in school, and type of participation in the composition for each student, and links to uploaded video/audio files. OCTOBER 2026

FLORIDA MUSIC EDUCATION ASSOCIATION 2026-2027 DONORS

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

Donors may direct their contributions to the FMEA funds that align with the specific causes they wish to support from the following. Learn more about these scholarships and funds at: FMEA.org/Donate

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FMEA Scholarship Fund

Music Education Advocacy

General Fund

June M. Hinckley Scholarship

Professional Learning for Members

Mel & Sally Schiff Music Education Relief Fund

The following have graciously donated to FMEA from April 1, 2026, to September 5, 2026. MAESTRO’S CIRCLE ($10,000 and up) No current donors at this time.

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DONATE TODAY FOR A STRONGER TOMORROW. With your support, FMEA will continue to grow its programs for teachers and students, strengthen united advocacy efforts, and improve your professional learning opportunities. Visit FMEA.org/Donate to learn more information about each fund and to make a donation. 50

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Steven Salo In Honor of Dr. Bill Prince and in memory of John Aiello & John “Buck” Jamison

Steven & Beth Kelly

Sandra Adorno In Memory of Carlos R. Abril Lucinda Balistreri In Honor of Sarasota County Music & Arts Educators Keitha Bledsoe In Memory of Phyllis J. Merritt

Sheila King In Memory of John King Jason Locker In Memory of June M. Hinckley Joseph Luechauer

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D. Gregory Springer Jeannine Stemmer In Memory of Barbara Kingman, Lauren Alonso, & Doug McCall

Arthur Pranno

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Kyle Prescott

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Kenneth Williams

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PATRONS $25 – $99

Meghan Alfaro

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Bradley Franks In Memory of Gary W. Rivenbark

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Kevin Lusk

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Teresa Cameron In Honor of Columbia County Music Educators

Angela Hartvigsen

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Diana Rollo Ian Schwindt

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FLORIDA MUSIC EDUCATION ASSOCIATION continued 2026-2027 DONORS PATRONS $25 – $99

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FLORIDA MUSIC DIRECTOR

Research Puzzles

FMEA RESEARCH COMMITTEE

D. Gregory Springer, PhD, Chair Florida State University

FOR MUSIC TEACHERS

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

The Mental Wellness of Music Educators

ome have stated that we currently have

depression. Those with higher stress levels, less

a “mental health crisis” in the United

extroversion, less conscientiousness, and

States that is characterized by a rise in

more openness to experience were more

anxiety and depression among youth and

likely to have elevated depression scores.

adults (Schnittker, 2025). Music educa-

Similarly, those with higher stress levels,

tors are not shielded from these negative

lower extraversion, and higher neuroticism

effects. Dr. Phillip Payne and Dr. Natalie

were more likely to have elevated anxiety

Steele Royston (2026) recently conducted

scores (Payne & Royston, 2026).

PAYNE

The results of Payne and Royston’s (2026)

a study examining the mental wellness of music educators in the United States, which

study offer many important implications. First,

was published in the journal Psychology of

they provide a descriptive profile of music

Music. According to the authors, “our pri-

educators in the United States, showing the

mary focus in this study was to examine

extent to which they experience anxiety and

current music educators and provide a

depression. Also, these results highlight

more holistic view of their mental wellness

the role of certain personality types on music educators’ mental wellness. As such,

as it related to anxiety, depression, stress, and personality” (Payne & Royston, 2026, p. 306).

ROYSTON

For this purpose, Payne and Royston (2026)

this study is a strong contribution to the literature that will undoubtedly lead to future studies on

administered an online questionnaire to a large sample

music educators’ mental wellness. There are many more

of 695 music educators dispersed around the United

compelling results reported in the study that cannot

States via NAfME’s research survey assistance tool.

be summarized in this brief column, so I encourage all

The questionnaire included questions about anxiety

music educators to read the entire article for complete

and depression from the Diagnostic and Statistical

results.

Manual for Mental Disorders, Fifth Edition (American Psychiatric Association, 2013), in addition to measures

References

of stress (Perceived Stress Scale; Cohen et al., 1983) and

American Psychiatric Association. (2013). Diagnostic and statistical manual of mental disorders (5th ed.). https://doi.org/10.1176/ appi.books.9780890425596

personality (Saucier, 1994). They received responses from music educators in all 50 states. The music educators who responded to the questionnaire indicated higher than normal stress levels, with an average score of 19.09 for the overall sample (Payne & Royston, 2026). To contextualize that number, normed stress ranges are between 12 and 14.7, so the fact that the average music educator in the study reported a stress level of 19.09 is concerning. Furthermore, only 27.69% of participants were at or below the normed stress ranges. Additionally, notable proportions of the participants reported mild, moderate, and severe cases of anxiety and depression. Furthermore, the authors found that stress

Cohen, S., Kamarck, T., & Mermelstein, R. (1983). A global measure of perceived stress. Journal of Health and Social Behavior, 24(4), 386–396. https://doi.org/10.2307/2136404 Payne, P. D., & Royston, N. S. (2026). Checking in: Mental wellness and the music educator. Psychology of Music, 54(2), 303–316. https://doi.org/10.1177/03057356251319213 Saucier, G. (1994). Mini-Markers: A brief version of Goldberg’s unipolar Big-Five markers. Journal of Personality Assessment, 63(3), 506–516. https://doi.org/10.1207/s15327752jpa6303_8 Schnittker, J. (2025). The sociology of mental health and the twenty-first-century mental health crisis. Society and Mental Health, 15(1), 1–16. https://doi.org/10.1177/21568693241303685

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

and certain personality types predicted anxiety and

OCTOBER 2026

FLORIDA BANDMASTERS ASSOCIATION

Michael Antmann, EdD President

It’s hard to know what our

great start. For many of us,

students need without an

marching band is beginning

accurate picture of where

to wind down, and we are

they are starting. Informal

preparing for our fall and/

assessments can be as easy

or winter concerts. Things

as going “down the line” and

are going to start happening

hearing each student play a

fast; the FMEA conference is

one-measure exercise. What is

right around the corner, fol-

being assessed is also critical;

lowed by solo and ensemble,

in my own experience,

jazz, and concert MPAs. It

I’ve learned that regular

hope your year is off to a

can be a little overwhelming; advance planning can cer-

w Directors now have the

assessments of fundamental selected from the required

skills maximize student

flexibility to select music

music list.

growth. This, combined with

Perhaps the greatest resource

based on their program’s

Details and specifics can be

formal assessments or the

in the Florida Bandmasters

circumstances and the

found in the handbook. If you

application of these skills, can

Association is our member-

needs of their students.

have questions or need more

give a comprehensive picture

ship! Consider reaching out to

Minimum requirements

information, please check

of a student’s abilities.

colleagues to share ideas and

can be found in the hand-

with your district chair or feel

book.

free to reach out to me.

tainly make it less stressful.

strategies. So much of what I do myself was learned from peers and mentors. Concert MPA Changes Our concert MPA process has changed significantly. We are no longer classifying

w Directors can request an

This change presents us all

Select music that can help facilitate “achievable growth.” Think of literature

exception to the minimum

with the opportunity to select

selection as building a

requirement if needed.

music that is best for our

staircase. Each concert is

This is sent directly to the

students. The question is, how

a step; if the steps are too

executive director.

do we know or decide what

small, you’ll never reach

is best? Here are some ideas

the top. If they are too

worth considering:

big, students may not be

w Sight-reading levels/

requirements are based on

bands and setting music

your “Composite Music

Regular assessment,

able to reach the next step.

requirements based on school

Score,” which is deter-

whether formal or informal,

Consider selecting music that

size. Here are some important

mined by combining the

helps set a baseline for

helps you refine skills and

points of information:

grade levels of the music

programming decisions.

concepts, while developing technical ability and musical instincts. Every performance is an opportunity for your students to grow. As a middle school director, I planned four major performances with four separate sets of literature. I believe the more music they play, the more they will learn. This also helps promote music literacy. Speaking of literacy … Make music literacy a focus in your literature

FLORIDA MUSIC DIRECTOR

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Meghan Alfaro President

help grow music literacy

new rhythms? Does it place

ing experience for students, teachers, and families.

students and sections? These

our southern regional coordinator, Madison Kerr, at

considering. All instructional

your jam, contact the northern regional coordinator, Joani Slawson, at

selection and preparation. Does your music selection skills? Does it introduce

appropriate demands on all

are all important things worth

ctober is here, and it’s time for all-state and regionals! We are so excited to learn

who will make up the 2027 All-State Elementary Chorus and All-State Elementary

Orff Ensemble. We are also excited to prepare and execute our 2026 Southern Regional at

Southeastern University in Lakeland on October 24, 2026. This event is sure to be an amazIf you have not participated in regionals before and want to check it out, please email madison@femea.flmusiced.org.

If Northern Regionals on November 14 at Gulf Coast State College in Panama City is more joani@femea.

time spent is either an

flmusiced.org. We would welcome your attendance to observe or volunteer!

Any time spent teaching

meeting, Real Talk with Jess and Christine? The

fluently will pay dividends.

engagement chairs, Jess Gronberg and Christine

investment or a transaction. students to read music

Time spent teaching students how to play their part is

transactional; they may be

able to play the part, but will it help them later?

Lean on your colleagues

for help. Our state is full

of incredible teachers with

a wealth of experience and knowledge. Some of the

best professional learning I’ve experienced is the

conversations I’ve had with

Have you heard about our new monthly Zoom

first Tuesday of every month, our membership Marr, host a Zoom call. Each month has a

featured topic and guest, and every month offers

an opportunity for general Q&A at the end of the

meeting. We know that teaching elementary music can be rewarding, challenging, inspiring, and

GRONBERG MARR

disheartening all at once! Come enjoy some “real

talk” with other elementary music teachers who really know what

you are experiencing and walk away with some fresh ideas and perspectives. Look for the Zoom link on social media and from your county council representative.

I mentioned this in the August Florida Music Director, but I want to mention it again. As

Florida school districts face budget cuts, it is up to us to remind our communities of the importance of elementary music education.

The very best advocate for elementary music education is a phenomenal elementary

other directors at conferences

music program at your school. FEMEA exists to provide you with professional learning

events, our annual Hall of

elementary music doesn’t just have to fall on you, the teacher. Parents can be your biggest

and events. Speaking of

Fame Weekend is coming

up in November. This is an

excellent opportunity to come together to have meaningful conversations while

opportunities and community to help you be the best teacher you can be. But advocating for supporters. Thank them for their support of their child’s music education and include

advocacy flyers in your concert programs. Invite local decision makers to your performances and thank them for their support, as well. Visit FMEA’s Advocacy page for helpful documents and information.

Finally, the most important thing you can do is VOTE. The deadline to register for the

celebrating our rich history.

November election is October 5, 2026. There are some items on the ballot this November

Kelly Dorsey (Union County

support of music education, and make your voice heard in your local election by showing up

This year we are celebrating High School), Jody Dunn

(Crestview High School), and

that can greatly impact your school district. Know where your representatives stand in their to the ballot box. Your voice matters, and it matters most for your students.

Since we all love to have some fun spooky lessons this month, make sure you check out

femeamember.org. You can come back every

Dr. Douglas Phillips (Southern

our Sunday Scaries on the FEMEA website,

remarkable impact on the

archive for lesson ideas you may have missed.

Winds), all who have had a

Florida band community. I hope to see you there!

week for a fun and engaging lesson to use with your students, and don’t forget to view our Wishing you a fun and fabulous October!

OCTOBER 2026

FLORIDA VOCAL ASSOCIATION

Jeannine Stemmer President

Imposter D

uring COVID, a new

smell was slowly killing me.

app called Among Us

One day, I was complaining

exploded in popularity. I

to my high school friend, and

remember playing it quite

he calmly said, “Well, you can

often just to connect once

come apply at my job.” He

again with students and

sold computer parts and built

friends while we were all

PCs. I was desperate. Sure! I

separated. The game would

can sell computer parts and build

secretly choose an imposter

PCs. Ha ha. Apparently, they

in each round. The imposter

were desperate, too, because

would pretend to be like

they hired me.

everyone else, while only they

I remember walking

knew that it was all an act.

around the room on my first

Sometimes I think imposter

day thinking, I will never

syndrome feels a lot like that

be able to do this. Then my

yourself grace for where you

1. Show Up.

game. You walk into a room,

boss gave me a customer.

are on your journey. If you

No matter what yesterday

look around at everyone else,

And I had to figure it out.

are a new teacher in your first

looked like or how you

and think, Surely they are

AHHHHH! So, I asked a

five years of teaching, you

feel this morning, get up,

going to figure out that I have no

lot of questions. And guess

should be performing like

get ready, and show up. If

idea what I am doing.

what? I figured it out. I ended

a teacher in their first five

you want to be valued as

I remember feeling that

up working there for two

years. You are learning. You

a professional, show up.

way in college. I needed a

years, selling and building

are figuring things out. You

Be present. Be on time. Be

job, so I started working at

computers. The next job I got

are going to make mistakes.

ready to go. You don’t have

the school gym. I hated it.

after that was at the school

Learning and growing isn’t

to have everything figured

All I did was clean the sweat

where I currently teach, 28

always as pretty as it sounds.

out to show up. You just

off the gym equipment after

years later.

Sometimes it involves falling

have to show up. Sometimes

someone was finished using

But here is the thing:

flat on your face in front of

confidence doesn’t come

it. It was horrible, and my

I didn’t just arrive. And

everyone. But if it didn’t kill

before we take the step.

highly sensitive sense of

honestly, the day I feel like I

you, keep going.

Sometimes confidence comes

have “arrived” will probably

This article isn’t just about

because we took the step.

be the day I retire. Growth

gaining confidence through

and learning should never

inspiration, although I wish

2. Shut Up.

stop. There will always be

I had all the power in the

Stop telling yourself that you

something new to learn,

world to simply speak words

are not good enough. Stop

someone who knows more

and make people feel better.

listening to that little voice

than you, or an area where

Instead, I hope it reminds you

that says everyone else knows

you need to grow. That is part

that the bumps and bruises

more than you, everyone

of the journey. What should

are actually part of the reason

else is doing it better, and

not control your journey is a

we learn and grow. So, here

eventually someone is going

lack of confidence or imposter

are a few steps to guide us

to discover that you don’t

syndrome.

through those moments of

belong. Start telling yourself

The first step in battling

imposter syndrome, whether

that you are supposed to be

imposter syndrome is to give

you are in year one or year 30.

here. You are supposed to be

FLORIDA MUSIC DIRECTOR

I will never want to live

necessarily a numbers or data

thing, and battling it is

Even if it is just for today.

kind of person. I need to be

important. But it is equally

that life. I want people

Tomorrow isn’t promised, so

better at organizing, and if

important to recognize that

around me. I want people

at least for today, tell yourself

you ask me to track the data

we were never meant to do

who are smarter than me in

that you were ordained for

for a budget analysis, I will

everything alone. When you

the areas where I am weak.

where you are right now.

probably have to do some

find yourself exhausted,

I want people who challenge

You don’t have to know how

studying. But I love people. I

worn out, and frustrated, do

me, encourage me, laugh

the entire journey is going

love talking to people. I love

you tell yourself, It’s just hard

with me, and sometimes tell

to unfold. You just have to

inspiring people. And

doing what you are doing.

to do this alone?

me when I am completely wrong. And I want to celebrate with them.

be faithful to where you are

I love watching

Maybe the better

standing today.

people grow.

question is: Have

That’s where I

you searched for

shine.

people who will

succeeded at everything you

come alongside

ever worked hard for, what

you and make you

would it mean if you had no

3. Shine. Stop worrying so much about what you don’t do well

So what do I do when I find

and start showing off what

myself in an area

you do well. Grow in grace

where I don’t

and glow in glory. Spend

shine? I surround

time developing the areas

myself with

VERDONI

better? Find your

Because even if you

one to share it with? Maybe true success isn’t

people. Use your community. Use your friends. Ask

arriving at a place where you no longer feel like an imposter. Maybe true success

where you need to grow. Ask

brilliant people

for help. Celebrate

questions. Study. Find people

who do.

their strengths

is realizing that you never

and let them

had to know everything in

David Verdoni

celebrate yours.

the first place.

But don’t be so focused on

and Richard

Share the successes.

You just needed to show

what you need to fix that you

Brown?

Because on the flip

up. Shut up the voice that

side of imposter

tells you that you don’t

who know more than you. Work on your weaknesses.

forget to celebrate what you

Have you met

BROWN

David Verdoni is the executive director of

syndrome is something else

belong. Shine in the places

gifts. You have strengths.

the Florida Vocal Association,

I have seen far too often:

where you are gifted. And

You have something to offer.

and Richard Brown is our

the martyr. The person who

share the journey with the

Don’t be afraid to flex in the

business manager. We work

insists on doing everything

people who help you become

areas that come naturally to

well together because I shine

alone. The person who

better.

where I shine, and they shine

believes that if they want

You haven’t arrived.

where they shine.

something done right, they

Neither have I. And that’s

have to do it themselves.

OK.

already do well. You have

you. 4. Share Your Success. This one has taken me a while to understand. In my leadership journey, I have realized that I am not

And here’s another important lesson I’ve learned:

Keep showing up. Keep

The person who carries every burden, solves every

growing. Keep shining. And

our successes. Imposter

problem, and never lets

don’t forget to bring your

syndrome is a very real

anyone else help.

people with you.

I am not afraid to share

Click to advertise with FMEA in print and online OCTOBER 2026

FLORIDA ORCHESTRA ASSOCIATION

Andrea Szarowicz President

The Conference Is Here— But Our Work Together Continues

f you are reading this while we are together at the FOA/

One Audition Does Not Define a Musician

FLASTA Fall Conference in Orlando, welcome! I hope you

All-state and honors results are tentatively scheduled to be

have had an opportunity to attend a session, play in a reading

available in MPA Online on November 1. There will be a lot of

session, visit our exhibitors, reconnect with an old friend, and

excitement that day. There may also be disappointment. One of the most important things we can do as teachers is

maybe meet someone new.

help our students understand that an audition result is one

So much work goes into putting our Fall Conference together. Thank you to

moment in a much larger musical journey. For the students who

our presenters, clinicians, exhibitors,

are selected—celebrate them! Their preparation, discipline, and

volunteers, Executive Board, FLASTA

commitment deserve recognition.

colleagues, and everyone who

But please also take time with the student who practiced for

has given their time to make this

months, walked into that audition room, gave everything they

weekend possible. A special thank you

had, and did not see their name on the list. That student grew,

to our keynote speaker, Bruce Walker, and to everyone involved in our inaugural

WALKER

Pre-Conference Conducting Symposium. While Fall Conference is one of the highlights of our year,

too. They learned excerpts they might never have encountered otherwise. They developed scales, shifting, bow control, rhythm, intonation, sight-reading, and perhaps most

October is certainly not the finish line. In many ways, we are

importantly, the courage to put themselves in a situation where

just getting started.

they could be evaluated.

For orchestra teachers, the next several months can feel

Sometimes the best conversation after an audition is simply:

like one continuous run from one event to the next—fall

What did you learn? What improved? What is our next goal?

concerts, all-county, solo & ensemble, winter concerts, all-state

Our students need to understand that one audition does not

preparation, FMEA, and everything happening in our own

determine whether they are a good musician. What matters is

schools and families in between.

what they do next.

So, as we look toward November and December, I want

For students who are selected, remember that FOA’s goal

to share a few reminders—but I also want to remind you to

is to have string music mailed by December 1. Encourage

take care of the musicians and teachers behind all of those

your students to begin preparing as soon as the music arrives.

deadlines.

January comes very quickly! And once results are posted, please remember to release any FMEA hotel rooms that you no longer need. The hotel cancellation deadline is November 7. Releasing unused rooms helps another teacher, student, or family who may still be searching. Who Helped You Become the Teacher You Are? November 1 is also the deadline for several important FOA recognitions: the Hall of Fame, Rising Star Award, and Roll of Distinction. I would encourage every member to stop for a

w Who answered your questions when you were a first-year teacher? w Who sent you music, helped you prepare for your first MPA, moment and think of someone.

listened to your orchestra, explained something you did not

FLORIDA MUSIC DIRECTOR

booster issue, teach a beginning bass player, and answer emails before lunch. You do not have to know everything. And asking another orchestra teacher for help is not a sign that you are struggling. It is what good educators and musicians do. FOA’s Mentoring Committee is continuing to build resources and opportunities to connect our members. If you are a newer teacher, reach out. If you are an experienced teacher, consider becoming the person another director knows they can call. And mentoring does not have to be formal. Sometimes it is listening to another director’s ensemble recording and offering a few ideas. Sometimes it is sharing a rehearsal strategy. Sometimes it is recommending literature. Sometimes it is sitting together at Fall Conference and saying, “I had that exact same problem. Here is what worked for me.” We have an incredible amount of knowledge within this association. We become stronger when we share it. A December Reminder From One Orchestra Teacher

w December concerts will arrive faster than any of us think they will. w As that pressure builds, remember that your concert does

to Another understand, or simply told you that you were going to make

w Who built an orchestra program in your community before not have to include every piece you hoped to teach when you arrived? planned your year in August. w Who has quietly served students and orchestra education w you It is OK to adjust. for years without asking for recognition? w A shorter program performed beautifully can be far more it through a difficult year?

Someone probably came to mind while you were reading

that list. Nominate them.

We are very good at celebrating our students, but sometimes we forget to celebrate the adults who have spent their careers making those opportunities possible. You Do Not Have to Teach Orchestra Alone One area I am particularly excited to see continue developing within FOA is mentoring.

meaningful than a longer program everyone is simply trying

w Do not abandon the fundamentals because a concert is to survive.

approaching. Tone, posture, bow placement, rhythm, listening, intonation, balance, and musicality still matter. Our stu-

w And please give yourself some grace during this time of dents remember what we consistently reinforce.

year. We expect a great deal from ourselves because we care deeply about our students and programs. There will always

Teaching orchestra can sometimes feel surprisingly isolated.

be another email to answer, another bowing to mark, anoth-

You may be the only string teacher at your school—or even one

er form to complete, and another piece that could use one

of only a few in your district. There are days when you may be trying to solve a cello setup problem, figure out a bowing, choose appropriate literature, prepare for MPA, manage a

w Sometimes, enough really is enough. more rehearsal.

continued on page 60

OCTOBER 2026

FLORIDA ORCHESTRA ASSOCIATION

continued from page 59 We Are FOA As we head toward November, December, and eventually our all-state performances and the FMEA Professional Learning Conference in January, I hope we remember that FOA is more than auditions, MPAs, forms, ratings, and deadlines.

It is people. It is the teacher who shares a piece of music with you.

JUSTIN SWAIM Paul R. Wharton High School, Tampa

JENNIFER ZAHN Titusville High School

It is the colleague who answers the phone when you need advice.

Looking Ahead: FOA Leadership

It is the veteran director who welcomes the first-year teacher.

as we prepare for our next FOA election. I am pleased to

It is the student who discovers that orchestra is the place where they belong. And it is thousands of young musicians across Florida

Our members will also have an important decision ahead announce our two candidates for FOA President-Elect. Both candidates have stepped forward with a willingness to serve our association and Florida’s orchestra educators. More information about each candidate and the election process will be shared with our membership

making music every day because an orchestra teacher showed

before voting. Please see pages 16 and 17 for their

up, opened a classroom, tuned an instrument, raised a baton,

biographies.

and believed that what happens in that room matters. Thank you for continuing to support one another and for everything you do for orchestra education in Florida. Have wonderful fall and winter concerts, enjoy the music

I encourage every eligible FOA member to learn about our candidates and, most importantly, vote when the election opens. FOA belongs to its members. Participating in our

your students are making, and remember to celebrate the

elections is one of the ways each of us helps determine the

progress along the way.

future direction of our association.

Go, Florida Orchestra Association!

FLORIDA MUSIC DIRECTOR

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

Kyle Prescott, DMA, President

ave an idea? FCMEA

grants are open to any active

and FCMEA

may be able to help

FCMEA member, regardless

members together

opening for

make it happen. Two grant

of institution size or type,

to strengthen

the 2027–2029

programs offer members up

and we especially encourage

connections

president-elect.

to $1,500 to turn good ideas

first-time applicants. Imagine

between our

The agenda and

into meaningful projects. The

what $1,500 could help you

collegiate chapters

Zoom credentials

Creative Explorations Grant

accomplish, and send us your

and the profession.

will be emailed to

supports research, creative

idea. Applications are due

Dr. Margaret

activity, and innovative proj-

November 20, 2026.

Flood’s “Pictures of

ects that advance collegiate

with nominations

FLOOD

advance.

International Collaboration:

Collaboration will also

FCMEA members in Finally, we look forward to

music teaching and programs,

be a theme of FCMEA’s

Building Partnerships

seeing one another in person

address issues in higher edu-

programming at the FMEA

and Curriculum With

at the FMEA Professional

cation, or strengthen connec-

Professional Learning

Educational Institutions

Learning Conference in

tions among Florida’s colleges

Conference in January.

Abroad” looks outward,

Tampa. Please join us for the

and universities. The possibil-

“Navigating Change:

exploring how partnerships

FCMEA business meeting at

ities are intentionally broad:

Legislative and Financial

across institutions and

1 pm on Thursday, January

if you have been thinking, “I

Challenges Facing Florida

borders can enrich our

14, 2027, and for our sessions

wish we had the resources to

Music Programs,” led

students and programs.

and conversations throughout

try this,” this grant may be

by Dr. Stacie Lee

the opportunity to move that

Rossow with

sessions reflect

through a grant-supported

idea forward.

participation

an important

project, professional

Together, these

the conference. Whether

from the FMEA

direction for

learning, service to FCMEA,

Program offers another

Government

FCMEA: fewer

or simply a conversation with

possibility: bring an expert

Relations

silos, stronger

a colleague, there are more

to your campus. FCMEA

Committee, will

partnerships, and

ways than ever to become

Our Visiting Scholar

ROSSOW

more opportunities to

involved. Our strength comes

learn from one another.

from the ideas, experiences,

can provide up to $1,500 to

consider the changing

support a guest scholar who

environment facing

shares their expertise through

higher education music

presentations or workshops,

programs. “Connecting

business meeting of the year

members. I look forward

benefiting your campus

Collegiate Communities:

will be held virtually on

to seeing many of you in

while creating recorded

NAfME Collegiate and

Tuesday, October 27, 2026.

Tampa—and to hearing what

resources for FCMEA

FCMEA” will bring student

The meeting will begin

you would like FCMEA to

members statewide. Both

leaders, chapter advisors,

our next leadership cycle,

undertake next.

FMEA

Our third FCMEA

and participation of our

Championing Music Education for Every Student …the unified voice for music educators throughout Florida, providing professional learning, advocacy, and community to ensure every student has access to quality music instruction. LEARN MORE

FMEA.org/about/about-fmea OCTOBER 2026

FLORIDA NAfME COLLEGIATE

Mark A. Belfast, Jr., PhD Advisor

Recognizing the Value of Teachers … Worldwide!

ctober 5, 2026, marks

ing as a profession with

commemorate the anniversa-

the 60 anniversa-

significant responsibilities

ry of the 1966 Recommendation

ry of the international

to students and society. The

but to raise awareness, assess

agreement that established

Recommendation also called

the progress of the interna-

the foundation for World

for teachers to be properly

tional standards, and cele-

Teachers’ Day. In 1966, the

prepared, supported, and

brate educators worldwide.

United Nations Educational,

continually developed by

This October, take a

Scientific, and Cultural

establishing internation-

moment and consider the

Organization (UNESCO)

al standards for teachers’

teachers who have influenced

and the International Labour

rights, training, and work-

your life. There’s a good

Organization adopted

ing conditions. Nearly

chance you can name at

the

30 years later, in 1994,

least one teacher who saw

Concerning the Status of

UNESCO established World

something in you that you

Teachers, recognizing teach-

Teachers’ Day not only to

hadn’t yet seen in yourself.

Recommendation

FLORIDA NAfME COLLEGIATE

Grace E. Wieckowski President

e’re finally in October, which means our fall confer-

2. Come to the conference prepared. Make sure you have

ence is this month! I personally could not be more

everything you need for the conference. Bring your

excited for this event, and since it’s fast approaching I want-

instrument, note-taking materials, a positive attitude,

ed to take the time to share with you some things to keep

and anything else you may need to have a successful

in mind to have a fantastic fall con.

conference.

1. Be prepared to make connections. One of the most won-

3. Come with a willingness to learn. We have five sessions

derful parts of fall conference is that it brings together

led by our incredibly talented presenters. We have ses-

collegiate students from across the state. These people

sions ranging from the financial aspects of running a

will be your colleagues in the very near future; it’s

music program to conducting master classes. I promise

important to start building your professional network.

there will be something new for you to learn at the con-

In addition to making connections with your peers, you

ference.

will also have the incredible opportunity to network

This year’s fall conference will be hosted at Stetson

with the Florida music supervisors. The music super-

University on October 24 and 25. Our theme is Florida

visors will very likely be a part of your hiring process

NAfME Collegiate: Impacting music education today and

once you’re ready to get into the classroom. While it’s

tomorrow. My hope is that this theme will inspire more

amazing to get to connect with them in the conference

collegiates to get involved in making an impact on music

setting, it’s also important to carry yourself in a profes-

education today instead of waiting to get into the classroom.

sional manner—you never know if your future employer

This conference has been in the works for months, and I’m

is watching.

so excited for you all to get the chance to experience it!

FLORIDA MUSIC DIRECTOR

MULTICULTURAL NETWORK COMMITTEE

Arnekua Jackson, PhD Chair

Access Matters: Maybe there was a music

and challenges. Your teaching

teacher who made you believe

will influence not only what

you didn’t just fit in but that

they learn about music

you belonged and no other

but how they experience

student could take your place.

belonging, conflict, creativity,

Maybe a teacher challenged

collaboration, and their sense

you when you needed it most.

of identity.

Maybe your experience with

That is why professional

that teacher is the reason

growth and relationships

you’re pursuing a life and

matter. On October 24–25,

career in education today!

2026, join music education

Teachers have an

students from across Florida,

extraordinary opportunity

expert music educators, and

to shape the lives of young

school district music and

people, and that opportunity

arts supervisors at beautiful

comes with responsibility.

Stetson University for our

This is especially true for

fall conference. Come to

music teachers because we

exchange ideas. Learn from

not only cultivate the mind,

teachers who have been

but we deal directly with

where you are and from

the heart. Parents bring us

leaders who see where

their most precious gifts,

the profession is headed.

their children, and trust we

Continue building the

will return them wiser, more

professional relationships

tender hearted, conscientious,

that can support you now and

and increasingly more

throughout your career!

capable of not only surviving

Becoming an impactful

Who Gets the Opportunity to Participate?

very student deserves access to meaningful musical opportunities. Yet for some students, earning the

opportunity is only the first step. Financial barriers can determine whether they are able to participate. Multicultural education is not only about the repertoire we teach or the cultures represented in our programs. It is also about recognizing barriers that may prevent students from fully participating. For some families, the expenses associated with all-state can make an exciting achievement difficult to pursue. That is why the FMEA Multicultural Network All-State Student Scholarship is so important. This scholarship helps support students who may face financial barriers to participating in an all-state ensemble. As all-state results are announced, I encourage educators to identify students who may need additional support and make sure they are aware of this opportunity. Our work as educators includes helping students reach opportunities they have earned. This October, let’s continue looking for the students who may need an extra resource, an advocate, or simply someone to make them aware that

but thriving in a future

teacher doesn’t happen when

support is available.

unknown.

you receive your diploma.

Talent exists everywhere. Let’s make sure opportunity does, too.

As a preservice educator,

It’s something you’ll need

your goal should not be

to continue working toward

simply to graduate, get a job,

throughout your career.

and run a successful music

Perhaps that’s the most

program. Instead, strive to

fitting way to celebrate World

become the best teacher, and

Teachers’ Day: not simply by

best version of yourself, you

appreciating the teachers who

can be because your future

made a difference in our lives

students will depend on you.

but by honoring them with

They will walk into your

an investment in our own

classroom carrying their own

development so we might

strengths, insecurities, hopes,

better sustain their legacy.

INTERESTED IN TEACHING MUSIC IN FLORIDA?

We can help! Learn more at: TeachMusic.org OCTOBER 2026

FLORIDA GUITAR EDUCATION ASSOCIATION

Christopher Perez President

ello again! I trust all are

accompanying videos geared

doing well and work-

toward teachers to help

ing to support our students,

support proper teaching in

2027 FGEA Solo & Ensemble Guitar Festival

keeping them fully engaged

your classroom. More videos

We currently have five sites for the 2027 FGEA Solo &

and creating pathways to

will be added this school

Ensemble Guitar Festival. FGEA hopes to add a few more

share our love of music with

year, so check this

dates and sites around the state. Please see future editions

everyone.

often.

resource

of Florida Music Director and FMEA/FGEA Guitar online for

Continue to focus on

more info. This will include registration for your students

Performance

performance fundamentals

and ensembles and the music you will program. Current

Fundamentals &

in your instruction. I hope

2027 dates and site hosts include:

Curriculum

sharing this list will help

If you are going to do it,

focus on what you teach and

College of Central Florida, Ocala

it’s worth doing right! I’m

enhance the goals you wish

constantly collaborating

to achieve this year. Looking

Host: Jeremy Shepard

and supporting colleagues

forward, we have over a

Leon High School, Tallahassee

from around the state in

dozen sessions planned for

Host: Ed Prasse

their personal journey to

our 2027 FMEA Professional

be better, more rounded

Learning Conference & All-

teachers. A consistent topic

State Concerts. All of this is to

revolves around performance

improve music instruction in

Durant High School, Plant City

fundamentals and

Florida and beyond. Speaking

Host: Jason Emory

curriculum.

of All-State …

While there are dozens

Sat., Feb. 20, 2027

Thurs., Feb. 25, 2027

Edgewater High School, Orlando Host: Oscar Vinson

Sat., Feb. 27, 2027

Sat., March 13, 2027

St. Augustine High School, St. Augustine

of publishing houses and

2027 All-State Guitar

countless method books, I’m

We had a record number

Host: Dr. Jonathan Dotson

sharing a resource I think is

of high school and middle

More dates and sites TBA soon …

valuable and may help guide

school guitar students

your day-to-day instruction.

auditioning for All-State.

In 2019, the NAfME Guitar

I’m very excited to see many

FGEA Development

Council published Guitar Best Practices, Years 1, 2, 3

different schools encouraging

This month we will have our

their students to audition.

online fall meeting. Please

Workshop

and 4. Think of it as a “check

This is a testament to the

check the FMEA/FGEA

We will have further

off” list to aid and guide your

higher quality of teaching in

website for more information

discussions during our FGEA

instruction. Most method

our state. Auditions are being

on the date and time. We

General Business Meeting

books cover items listed in

evaluated, and FGEA plans to

will continue discussion,

at the FMEA Professional

the Best Practices for Guitar.

release results and mail music

share our concerns, forward

Learning Conference in

Aside from the four-year

packets to accepted students

ideas, gain input, and

January.

by mid-to-late October.

seek assistance from our

Continue amazing

membership to develop:

teaching and help create

best practices list, there are

Join our newest FMEA council, the Florida Guitar Education Association. 64

JOIN NOW!

FLORIDA MUSIC DIRECTOR

w Our FGEA Handbook w FGEA district chair nominations w FGEA Guitar Ensemble

Spring 2027 (date TBA)

w FGEA Professional

Development Conference/

a fantastic year of musicmaking with your students! I look forward to working with our membership on future

Music List committee/

collaborations as we continue

editors

to grow the FGEA.

FLORIDA STEELBAND EDUCATION ASSOCIATION

William Sahely President

Learning From the Community BY SHAUN BENNE T T ccording to data from the National Society of

near you, you might consider attending professional

Steelband Educators, Florida

learning workshops. FSEA

has more steelband programs

council members usually

than any other state. In

present workshop sessions

Florida, steelband is growing

during the FMEA conference.

in demand among public

Some of our members also

school music programs,

present at Orff chapters to

and our state continues to

help educate elementary

move in the right direction.

music educators on how to

The formation of our FSEA

use steelpan. You might also

council is a huge step

consider attending and/

forward.

or bringing students to the

We often hear about

FMEA Steelband Festival.

educators who walk into a

The Miami Carnival used

new teaching position and

to host Panorama, a steelband

feel lost or confused about

competition. Steel orchestras

how to teach students to

would compete in performing

play the steelpans they have

fast, energetic arrangements

at their schools. It’s not

of the latest Soca tunes from

their fault, as many music

the Caribbean. In recent

education programs center

years, the pan community

on band, chorus, orchestra,

in Florida has moved away

and elementary music. One

from competitions and has

Memorial Day weekend.

a profound impact on my

way I have developed my

changed the format to a

These Jamborees have also

teaching career:

skill for teaching steelband

Steel Pan Jamboree. Instead

welcomed public school steel

is to immerse myself in

of each band performing

bands, university groups,

man who keeps what he

the art form. If you have

only one eight-minute song

and special guest bands from

knows to himself … nothing.”

a local community steel

in a competition, the bands

Trinidad and Tobago.

– Ellie Mannette

orchestra, that is a great way

now perform a concert

to develop skills in hands-

with a wide range of music.

Shaun Bennett “What is the profit of a

The FSEA council has a Facebook group, which is

Shaun Bennett teaches music

on learning. I have learned

Each band puts on a full

helpful for posing everyday

and steelband at Callahan

so much from playing with

concert, so there is much

questions to our hive mind

Intermediate School. In 2023,

the Orlando-based New

more live music. On October

of members. Please reach out

FMEA recognized his steelband

Generation Branches Steel

3, the Miami Steelpan Pan

to our board members if you

program as an Exemplary

Orchestra for the last nine

Jamboree will be held in

need support. In the world of

Model Program. He has taught

years. I live in Northeast

Tamarac, Florida, from 4 pm

steelpan, we are here to share

workshops at FMEA, Orff

Florida and have put many

to 8 pm. If you live in Central

and to help keep the art form

workshops, and a summer camp

miles on my car to play with

Florida, the Orlando Carnival

alive. You don’t have to feel

in the Bahamas. He freelances

the steel orchestra. If you

hosts a Steelpan Jamboree,

alone. I will leave with this

and plays with New Generation

don’t have a steel orchestra

which usually occurs near

quote from a man who had

Branches Steel Orchestra. OCTOBER 2026

AWARDS COMMITTEE

Sondra A. W. Collins Chair

our FMEA Awards Committee wants to recognize and 2026 F M EA

empower the heroes among us who have been the light this

past year, as well as continue to be the light, for their students

SU PER I N T EN DEN T OF T H E Y EA R

Kevin Hendrick

and others. Your FMEA Awards Program offers several awards in recognition of the efforts and accomplishments of those who have made outstanding contributions to music education. And it’s your turn to be their light, in recognizing them. Are you part of a middle or high school music program that offers dynamic music instruction with high recruitment and retention numbers? If so, you can be a part of this year’s awards program by applying for the FMEA Music Education Enrollment Award. To qualify, 30% at the high school level and 45% at the middle school level of the entire school’s population must be involved in a music program taught by an FMEA member. Have you been teaching music for 25 or more years? If so, you qualify for the Music Education Service Award, and the application process is very simple. If this is you, submit your application so you can be part of the exciting awards ceremony in

“I am honored to accept the 2026 FMEA Superintendent

January. FMEA also has a very special award that honors those

of the Year award. A heartfelt thank you for honoring

reaching the mark of 50 years

our district’s commitment to nurturing vibrant music

of service in music education.

education programs. Music education is a critical part

The school enrollment

of public schools, and I am passionate to advocate due to

awards and service

its incredible benefits. It sharpens minds, fosters discipline,

awards are typically

cultivates teamwork, and offers students unique avenues

self-nominated and take

for self-expression. Music isn’t just an ‘add-on,’ it’s an

only minutes to complete

essential part of a well-rounded education.

online. The deadline for

2026. Please check the

What makes this award truly special to me is that it

the Music Education

symbolizes the collective effort of every music educator,

Service Award and Music

band director, chorus teacher, as well as every student

Education Middle/High

in Pinellas County who approaches their craft with

School Enrollment Award

enthusiasm and dedication. This recognition spotlights

categories is October 31,

their hard work and reinforces the belief that music truly

FMEA website for details about the

matters in our lives. The positive impact is clear. Music

nomination process. And now, here’s your monthly dose of inspiration, from

education nurtures confident learners, inspires creative thinkers, and shapes future leaders. Music should remain

a decisionmaker who truly understands the power of music

a cornerstone of our public schools. It connects us,

education, ensuring that his schools regularly are awarded the

teaches life-long skills, and empowers students to grow, not

FMEA Enrollment Award, that their music educators are not just

just academically, but holistically. This award generates

highly qualified but continue passionately to educate well beyond

excitement and momentum garnering both local and

25-plus years, and that they truly are promoting our FMEA

statewide attention.

mission of quality, comprehensive music education in all Florida

I am immensely proud to accept this award on behalf of our district, our dedicated educators, and our passionate

schools. Kevin Hendrick, superintendent of Pinellas County Public

students. Thank you, FMEA, for your leadership in

Schools and our 2026 FMEA Superintendent of the Year, inspires

championing music education throughout Florida.

through testimony of a vibrant music education community:

It’s a true honor to partner with you in this vital mission.”

FLORIDA MUSIC DIRECTOR

PROFESSIONAL LEARNING COMMITTEE

Ajori B. Spencer Chair

The Power of Student Reflection

esearch shows that students are most engaged

in their learning when they are given a voice in the classroom. One approach to empowering that voice is teaching students to reflect on their performances and their learning. Consider the following points when creating a reflective atmosphere. Reflection does not happen by accident. It requires intentional planning, purposeful questioning, and a classroom culture where students understand that their observations and ideas have value. When we create that environment, students begin to move from simply doing music to thinking like musicians.

students will immediately

Students bring to our

what we ask students to

begin making connections.

secondary classrooms

process. When we remove

Create Room for

They recognize the notation,

a wealth of knowledge

unnecessary barriers, we give

Reflection

understand the vocabulary,

and musical experiences

students room to use what

One of the first steps in

and can transfer knowledge

already. They have listened,

they already know, to make

developing reflective

from previous musical

performed, created, analyzed,

connections, and to begin

musicians is creating space

experiences. For many other

read, moved, sung, and

taking ownership of their

for students to think. As

students, however, we could

experienced music in

learning.

music educators, we often

replace the method book with

ways that may not always

feel pressure to maximize

a slide filled with unfamiliar

be immediately visible

Set the Expectation Early

every minute of rehearsal. We

symbols and instructions,

to us. Why not engage

Students should learn

add instructions, activities,

and the result would be the

that knowledge from day

from the beginning that

corrections, and variables in

same: discomfort.

one? The question, then,

their existing knowledge

an effort to make the most

We are asking students

becomes: What extraneous

matters. Every student

of our limited time. But if

to juggle several musical

steps can we strip away to

enters the music classroom

we give students too much

literacy demands while

create immediate success

with experiences, ideas,

too soon, we may leave them

simultaneously navigating

and independence for our

and knowledge that can

with neither the time nor the

the new and complex

students?

contribute to the learning

mental energy to reflect.

physical nature of a musical

Creating room for

process. Our job is to

instrument. We could,

reflection does not mean

empower those resources

hand a beginning student

instead, empower their

doing less. It means being

rather than assuming

a method book. Some

previous music education.

more intentional about

Consider the first time we

continued on page 68 OCTOBER 2026

PROFESSIONAL LEARNING COMMITTEE

continued from page 67 that meaningful musical

Consider a simple rhythm

own performance, and

Just as we devote time

thinking begins only after

activity in which students

providing feedback about

to score study, we must

we have provided the “right”

echo rhythmic patterns. On

the performance of those

devote time to planning our

information.

the surface, there may not

around them. The activity

questioning if we expect

Students learn best when

seem to be much to reflect

may seem insignificant, but

students to stay on track. A

they are given opportunities

upon. But even on the first

the musical vocabulary and

question can open the door

to solve their own problems,

day of school, we can begin

habits of mind students are

to meaningful reflection,

musical or otherwise. With

asking students questions

developing are anything but

but it can also open the door

that in mind, almost any

such as:

insignificant. In just a few

to almost anything if we

simple first-day activity

Did we start together? Did we

questions, students have

have not established a clear

can be transformed from

end together? Did everyone clap

discussed precision and

purpose.

a passive process, in

at the same volume? Did anyone

vertical alignment. They have

which students sit and

stick out?

commented on individual

“What did you hear in the

Consider the question,

receive information, into

Suddenly, students are

and group dynamics and

section we just played?” It

an interactive experience

no longer simply echoing a

evaluated the blend and

is broad and teeming with

that requires higher-order

rhythm. They are listening

balance of the ensemble. They

opportunities for discussion.

thinking.

critically, evaluating their

have begun using the same

But those of us who teach

language and listening skills

middle school know that

they will need throughout

students can get quite creative

their musical careers. In fact,

with their responses when we

on the first day of school,

have not been purposeful and

students have already tackled

specific. The solution is not

several components of the

necessarily to ask narrower

MPA rubric.

questions. Instead, we can

That is the power of setting

create context that gives

the expectation for reflection

students the tools they need

early. We are not simply

to respond thoughtfully.

teaching students to complete

Imagine, for example, that

an activity correctly. We are

the musical focus for the day

teaching them how to listen,

is legato style. Perhaps all

how to evaluate, how to

of our warm-ups have been

articulate what they hear,

connected to that concept.

and how to make decisions

Throughout the rehearsal,

about what comes next.

we have intentionally

Those skills will serve them

drawn students’ attention

long after the first rhythm

to individuals or sections

exercise is forgotten.

demonstrating excellent legato playing. We have

FLORIDA MUSIC DIRECTOR

Ask Purposeful Questions

compared those examples

Questioning students is one

to nonexamples. Perhaps we

of the fastest ways to guide

have even used imagery to

them through reflection.

help students imagine what

As we increasingly engage

legato might look like.

students in these kinds of

For the past several

activities, however, it becomes

minutes, we have continually

even more important that we

directed students’ ears

plan our questions carefully.

toward style and articulation.

classroom is the teacher’s example. Students need to see that reflection is not something we ask of them while exempting ourselves. Let them see you learning, adjusting, questioning, and seeking feedback. Take notes when you listen to recordings. Share recordings with colleagues and consider their feedback. Then, when appropriate, share that process with your students. Where might students take

capturing large ensembles

Students should see

“What did you hear in that

the conversation? What

with remarkable quality. A

that you are prepared and

section?” it is no longer an

misconceptions might

recording does something

intentional, not “winging

entirely open-ended question.

emerge? What follow-up

that teacher feedback alone

it.” But they should also see

The question has carefully

question could move their

cannot: it gives students

that expertise does not mean

planned context behind it.

thinking forward? Have we

the opportunity to hear

having every answer. Expert

Students have been given

provided enough information

their own performance

musicians and educators

repeated opportunities

and experience for students

from the perspective of an

continue to listen, evaluate,

to listen for a particular

to arrive at a meaningful

audience member. Instead of

adjust, and grow. When we

characteristic, language to

conclusion independently?

immediately telling students

model that behavior, we send

describe it, and examples

A well-planned chain of

what went wrong, play the

students a powerful message:

against which they can

questions can lead students

recording and ask them what

being a musician means being

compare what they hear. The

from observation to analysis,

they hear.

a lifelong learner.

result is a much more focused

from analysis to evaluation,

conversation.

and ultimately to a decision

Now, when we ask,

w What worked? w What did not? w Where did the ensemble lose clarity? w What should we change in

This is an important

about what should happen

distinction in reflective

next. That is the real goal.

teaching: students cannot

We are not asking questions

reflect deeply on what

simply to make rehearsal

they have not been taught

more interactive. We are

to notice. Purposeful

teaching students how to

identify and solve problems

questioning begins long

listen, think, articulate what

themselves, they develop

before the question itself

they hear, and use that

a sense of ownership over

is asked. It begins with

information to make musical

the learning process. The

the musical experiences

decisions.

recording becomes more

we design, the things we

the next attempt?

When students can

than documentation of a

choose to emphasize, and the

Record Often

performance. It becomes a

connections we intentionally

One of the simplest ways

teaching tool.

draw throughout the

to encourage reflection

rehearsal.

is to let students hear

Model Reflective

themselves. Today’s portable

Behavior

also means thinking

recording devices often have

Perhaps the most important

beyond the first response.

microphones capable of

piece of a reflective

Planning our questions

Resources Brown, J. K. (2008). Studentcentered instruction: Involving students in their own education. Music Educators Journal, 94(5), 30–35. Burrack, F. (2002). Enhanced assessment in instrumental programs. Music Educators Journal, 88(6), 27–32. Coulson, D., & Harvey, M. (2013). Scaffolding student reflection for experience-based learning: A framework. Teaching in Higher Education, 18(4), 401–413. Gruenhagen, L. M. (2017). Developing musical creativity through reflective and collaborative practices. Music Educators Journal, 103(3), 40–45. Morrison, S. J. (2002). The use of recorded models in the instrumental rehearsal: Effects on ensemble achievement. Update: Applications of Research in Music Education, 20(2), 21–26. OCTOBER 2026

DIVERSE LEARNERS COMMITTEE

Christine Lapka, EdD Chair

Stop Grading and Start Growing

How Assessment for Learning Supports Diverse Learners

AfL W

hen music teachers

expected, so you offer a more

to modify teaching and

strengths, support needs,

hear the word assess-

challenging part. Maybe

learning. Their research

and experiences, they all

ment, many immediately

a student demonstrates

found that these practices

benefit from instruction that

think of playing tests, con-

understanding of form by

can produce substantial

responds to what they know,

cert ratings, or grades in the

using picture cards rather

gains in student achievement

what they can do, and what

gradebook. But assessment

than speaking. In all three

(Black & Wiliam, 1998).

they need next.

is much more than that. In

situations, assessment

For music teachers, AfL is

AfL can help us meet the

fact, many music educators

happened, but more

especially valuable because

needs of diverse learners in a

are already using one of the

importantly, the information

our classrooms include

variety of ways:

most powerful assessment

was used to guide

students with a wide range

approaches available: assess-

instruction. These examples

of strengths, abilities, and

learning in different

ment for learning (AfL).

Students who demonstrate

illustrate an important

experiences. On any given

ways may show musical

Imagine an elementary

principle of AfL: assessment

day, we may teach students

understanding through

student struggling to keep

has the greatest impact when

who learn, communicate,

performance, movement,

a steady beat. You notice it

it informs what happens next.

process information, and

visuals, technology,

during a movement activity,

Black and Wiliam’s

demonstrate understanding

improvisation, or verbal

provide additional modeling,

landmark review defines

in different ways, as well

responses.

and adjust your next

assessment for learning as the

as students who are ready

teaching step. Or perhaps

process of gathering evidence

for accelerated learning and

communication, sensory,

a trumpet player masters a

of student understanding

enrichment. While these

or social barriers benefit

passage more quickly than

and using that information

learners have different

when teachers identify

FLORIDA MUSIC DIRECTOR

Students who experience

FL Music Ed

successful supports and

feedback tells students what

intentionally reduce barriers

is working and what to do

to participation.

next (Black & Wiliam, 1998).

Students who need

Perhaps the most exciting

additional structure,

part of AfL is that it changes

feedback, or processing

how we think about mistakes.

time benefit from

A missed rhythm, cracked

timely information that

note, or incorrect answer is

supports growth before

not a failure. It is information.

misconceptions become

It tells us something about

ingrained.

the learner and helps us

Students who bring

decide what to teach next.

diverse linguistic and

For students who struggle,

cultural backgrounds

mistakes help identify needed

can demonstrate musical

supports. For students who

understanding through

excel, their lack of mistakes

multiple means of

signals readiness for greater

engagement and expression.

challenges and deeper

Students who are ready

learning.

for additional challenge

The good news is

benefit from enrichment,

that music teachers do

leadership opportunities,

this all the time. Every

advanced repertoire, creative

rehearsal adjustment, every

tasks, and opportunities for

observational note, every

deeper musical exploration.

strategic question, and every

When we use AfL, we

piece of targeted feedback is

move from asking, “Can

an opportunity to support

this student pass the test?”

learning. AfL is not another

to asking, “What does this

initiative to add to your

student understand, and what

teaching. It is a way of

should happen next?”

thinking about the teaching

Another key feature of

you already do.

AfL is feedback. Black and

In a future column, we’ll

Wiliam found that feedback

explore practical strategies for

is most effective when it

bringing AfL into elementary

focuses on improvement

music, ensemble rehearsals,

rather than comparison with

and inclusive classrooms.

Tales from the Heart of Florida’s Music Education Community Tune in as we delve into the heart of music education, exploring topics that resonate with our members and beyond. Whether you are a seasoned educator or a passionate student, this podcast is for you. With six insightful episodes already available for streaming, there’s no better time to join in the conversation.

KEY CONVERSATIONS

Podcast

Follow “Key Conversations” on Spotify or Apple Podcasts to receive instant updates whenever a new episode drops.

others. Instead of saying, “You got an A,” we might

Reference

say, “Your rhythm accuracy is

Black, P., & Wiliam, D. (1998). Assessment and classroom learning. Assessment in Education: Principles, Policy & Practice, 5(1), 7–74.

excellent. Now let’s work on maintaining a steady tempo throughout the phrase.” Good

OCTOBER 2026

Executive Director’s

Scott Evans Executive Director Florida Music Education Association

NOTES

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

Celebrating Our Vibrant Music Education Community

am so excited for the 2027 Florida Music Education Association (FMEA) Professional Learning Conference & All-State Concerts! After two years away, I can’t wait to

return to this incredible gathering, January 13–16, 2027, at the Tampa Convention Center. This conference is a celebration of our vibrant music education community.

w Extensive Professional Learning: With more than 250 clinic sessions and concerts,

What to Expect

this is a fantastic opportunity to learn from peers and experts alike. I’m particularly excited about the diverse topics that will be covered, which are essential for our

w All-State Ensembles: We’ll have the chance to hear 24 all-state ensembles, showgrowth as educators.

casing Florida’s top student musicians in band, orchestra, chorus, guitar, Orff, and popular music. These performances, led by world-class conductors, will surely

w Networking Opportunities: With 10,000-plus attendees expected, including K–12 inspire us all.

music teachers, school district music supervisors, and college students—this

is a unique chance to reconnect with friends and colleagues. I look forward to

w Exhibitor Showcase: Don’t miss the trade show featuring more than 220 exhibitors

exchanging ideas and building lasting connections that strengthen our community. showcasing the latest in music education products and services. It’s a great way to discover new resources for our classrooms.

w October 22, 2026 – Popular Music Collective submission deadline w October 31, 2026 – Student Conference Experience nomination deadline w November 6, 2026 – Digital Music Showcase submission deadline w December 11, 2026 – Early registration deadline; prices increase after this date w December 14, 2026 – Final deadline for discount hotel rates

Key Dates to Remember

I’m counting the days until we can come together to celebrate music education in Florida. For more details and to register, please visit the official page. See you all soon!

Scott Evans

FLORIDA MUSIC DIRECTOR

FMEA conference

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

Harry “Skip” Pardee, EdD

Collier County Public Schools 5775 Osceola Trail; Naples, FL 34109-0919 (239) 377-0087; pardeh@collierschools.com

EX-OFFICIO MEMBERS

FMEA COMMITTEES & COUNCILS

Conference Planning Committee Chair ................. John K. Southall, PhD Indian River State College; 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 418-9133; johnsouthall@me.com

COUNCILS

DOE Arts Education Consultant .......................................David Pletincks Florida Department of Education (850) 245-0423; david.pletincks@fldoe.org

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

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

Past President

Editor-in-Chief ...............................................................Kelly Miller, DMA University of Central Florida; 12488 Centaurus Blvd.; Orlando, FL 32816-8009; (407) 823-4545; kelly.miller@ucf.edu

Orange County Public Schools 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jasonlocker@FMEA.org

Executive Director .................................................................Scott Evans Hinckley Center for Fine Arts Education 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793; scottevans@flmusiced.org

President-Elect

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

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

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

FSMA President .....................................................................Keith Griffis keithallengriffis@gmail.com

FLORIDA MUSIC SUPERVISION ASSOCIATION

Jason P. Locker

Bernard (Bernie) Hendricks, Jr.

FBA President ...... Michael Antmann, EdD FCMEA President ........ Kyle Prescott, DMA FCMMA President ......... Clint Randles, PhD FEMEA President................... Meghan Alfaro FGEA President .............. Christopher Perez FMSA President..................... John J. Dupuis Florida NAfME Collegiate President ................. Grace E. Wieckowski FOA President ................ Andrea Szarowicz FSEA President ..................... William Sahely FVA President ...............Jeannine Stemmer Multicultural Network Chair ..................... Arnekua Jackson, PhD

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

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

FLORIDA GUITAR EDUCATION ASSOCIATION

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

FLORIDA NAFME COLLEGIATE

FMEA COMPONENTS FLORIDA BANDMASTERS ASSOCIATION President.............................................................. Michael Antmann, EdD president@fba.flmusiced.org Past President...................................................................Jeff Cayer, EdD pastpresident@fba.flmusiced.org President-Elect ............................................................. Hannah Jennings presidentelect@fba.flmusiced.org Executive Director ................................................................ Neil Jenkins Florida Bandmasters Association; P.O. Box 840135; Pembroke Pines, FL 33084 (954) 432-4111; Fax: (954) 432-4909; exec@fba.flmusiced.org Business Manager ..............................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; jo@barefootaccounting.com

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Member-at-Large

President........................................................................... Meghan Alfaro Pinellas District Office; 301 4th St. SW; Largo, FL 33770-3536 (727) 588-6055; meghan@femea.flmusiced.org

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

Past President....................................................................... Ashley Peek Holley-Navarre Intermediate; 1936 Navarre School Rd.; Navarre, FL 32566-7504; ashley@femea.flmusiced.org

Steven N. Kelly, PhD

FLORIDA CONTEMPORARY MUSIC & MEDIA ASSOCIATION

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

FLORIDA STEELBAND EDUCATION ASSOCIATION

President........................................................................... William Sahely Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308-4938 (850) 617-5700; william.sahely@gmail.com

MULTICULTURAL NETWORK

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

COMMITTEES All-State Eligibility ...........................................Harry “Skip” Pardee, EdD Collier County Public Schools; 5775 Osceola Trail; Naples, FL 34109-0919; (239) 377-0087; pardeh@collierschools.com Awards.......................................................................Sondra A. W. Collins sondra.collins@marion.k12.fl.us Budget/Finance, Development ........................Harry “Skip” Pardee, EdD Collier County Public Schools; 5775 Osceola Trail; Naples, FL 34109-0919; (239) 377-0087; pardeh@collierschools.com Diverse Learners ..................................................... Christine Lapka, EdD University of Central Florida; 12488 Centaurus Blvd.; Orlando, FL 32816-2372; christine.lapka@ucf.edu Emerging Leaders ........ Jason P. Locker/Bernard (Bernie) Hendricks, Jr. jasonlocker@FMEA.org; berniehendricks@FMEA.org

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

Florida Corporate & Academic Partners..................................Fred Schiff All County Music; 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fred@allcountymusic.com

FLORIDA ORCHESTRA ASSOCIATION

Government Relations ..............................Jeanne W. Reynolds, Co-Chair (727) 744-7252; jeannewrey@gmail.com

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

President...................................................................... Andrea Szarowicz Steinbrenner High School; 5575 W. Lutz Lake Fern Rd.; Lutz, FL 33558-9234; (813) 792-5131; aszarowicz@myfoa.org

Government Relations ................................Angela Hartvigsen, Co-Chair School Board of Sarasota County; 1960 Landings Blvd.; Sarasota, FL 34231; (941) 927-9000; angela.hartvigsen@sarasotacountyschools.net

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

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

Professional Learning ......................................................... Ajori Spencer Pinellas District Office; 301 4th St. SW; Largo, FL 33770-3536 (727) 588-6055; spencera@pcsb.org

Executive Director .......................................................... Cheri A. Sleeper 1915 S. 47th St.; Tampa, FL 33619; (813) 363-4139; exdirfoa@myfoa.org

Research ...........................................................D. Gregory Springer, PhD FSU College of Music; 122 N. Copeland St.; Tallahassee, FL 32306 (850) 644-2925; dgspringer@fsu.edu

CENTER FOR FINE ARTS EDUCATION

Director of Operations ...................Valeria Anderson, IOM, QAS (val@FMEA.org) Technology Director...................................Josh Bula, PhD, CAE (josh@FMEA.org) Marketing & Membership Coordinator .... Jasmine VanWeelden (jasmine@FMEA.org) Administrative Assistant ...................................... Siena Deaton (siena@FMEA.org)

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

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

Student Engagement .................................................... Charlene Cannon 1107 Bobcat Chase Blvd.; Oakland, Fl 34787 (407) 388-4185; charlene.cannon@ocps.net

Past President..................................................................David Pletincks david@fva.net Executive Director ..............................................................David Verdoni verdoni@fva.net Business Manager ..............................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; business@fva.net

OCTOBER 2026

FLORIDA MUSIC DIRECTOR