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Job Application Tips

PLUS: 2021-22 Officers and Directors FOA & FL-ASTA 2021 Fall Conference

Lessons From the Past:

Learning From Historical Instances of Distance Music Learning

September 2021

1


2    F l o r i d a

Music Director


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

Hinckley Center for Fine Arts Education

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

Editor-in-Chief

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

Editorial Committee Terice Allen (850) 245-8700, Tallahassee (tallen1962@hotmail.com) Judy Arthur, PhD Florida State University, KMU 222 (850) 644-3005 (jrarthur@fsu.edu) William Bauer, PhD University of Florida, Gainesville (352) 273-3182; (wbauer@ufl.edu) Alice-Ann Darrow, PhD College of Music, FSU, Tallahassee (850) 645-1438; (aadarrow@fsu.edu) Jeanne Reynolds Pinellas County Schools, Largo (727) 588-6055; (reynoldsj@pcsb.org) John K. Southall, PhD Indian River State College, Fort Pierce (772) 462-7810; (johnsouthall@fmea.org)

Advertising Sales

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

Official FMEA and FMD Photographers

Bob O’Lary Debby Stubing

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

Circulation & Copy Manager

Valeria Anderson, (800) 301-3632

Copy Editor

Susan Trainor

Contents September 2021

Volume 75 • Number 2

F E AT U R E S

Because You Care: Thank You. . . . . . . . . . . . 7 Hotels Contracted for 2022 FMEA Professional Development Conference. . . . . 10-11 Job Application Tips. . . . . . . . . . . . . . . . . . . 12 Lessons From the Past: Learning From Historical Instances of Distance Music Learning . . . . . . . . . . . . . . . 18 D E PA R T M E N T S Advertiser Index. . . . . . . . . . . . 3

Component News.. . . . . . . . . . 24

President’s Message. . . . . . . . . . 5

Research Puzzles. . . . . . . . . . . 28

Academic & Corporate Partners.. 6

Committee Reports. . . . . . . . . 30

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

Executive Director’s Notes. . . . . 32

2020-21 FMEA Donors. . . . . . . 16

Officers and Directors.. . . . . . . 33

Advertiser Index The Florida Music Director is made possible by the participation of the following businesses whose advertisements appear in this issue. They make it possible to provide you with a high-quality publication, and we gratefully acknowledge their support of our mission. We hope you will take special notice of these advertisements and consider the products and services offered. It is another important way you can support your professional association and the enhancement of Florida music education. The publisher does not endorse any particular company, product, or service. The Florida Music Education Association (FMEA) is not responsible for the content of any advertisement and reserves the right to accept or refuse any advertisement submitted for publication. Information for advertisers (rate card, insertion orders, graphics requirements, etc.) can be found at FMEAMediaKit.org. Florida Music Director reserves the right to refuse any ad not prepared to the correct specifications OR to rework the ad as needed with fees applied. ADVERTISER Lung Trainers, LLC.........................................................................................................................................IFC University of Florida.......................................................................................................................................... 4 These advertisers provide additional support to FMEA members through membership in the Corporate and Academic Partners program. These Partners deserves your special recognition and attention.

September 2021

3


AMPLIFY YOUR AMBITION. COMPOSE YOUR CAREER.

INCOMING FRESHMEN AUDITION DAYS

UNIVERSITY OF FLORIDA APPLICATION

January 22, 2022 January 29, 2022 January 30, 2022

DEADLINE: November 1, 2021 admissions.ufl.edu

TRANSFER AUDITION DAY March 19, 2022

arts.ufl.edu/music contact: music@arts.ufl.edu, 352.392.0224

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Music Director

SCHOOL OF MUSIC APPLICATION arts.ufl.edu/music


Shelby R. Chipman, PhD

President’sMessage

President Florida Music Education Association

Let’s Build Our Florida Music Communities

G

et excited! Welcome to the beginning of a new

Music, both inherently and as a component of a bal-

school year and the awesome opportunity to edu-

anced overall curriculum, has easily demonstrated value,

everyone that the Mission of the Florida Music Education

message out can be challenging. Music educators need

cate music students in the great state of Florida. I remind Association is to promote quality, comprehensive music

in all Florida schools. This is certainly the driving principle that should define our passion, commitment, and service in our various districts and communities.

Congratulations to all of our music teachers who are determined to provide students with exceptional expe-

but we need to articulate that message clearly. Getting the to take the seemingly nonexistent time available for yet

another effort at gathering grass-roots support. It is quite true that one must establish personal relationships within the local music community, particularly the community in which we teach.

If you ever doubt the value of your contribution, imag-

riences, particularly following one of the most difficult

ine the month of September without music. Be the light

COVID-19 pandemic. I firmly believe, as research has

We’re thoughtful in knowing communities are groups of

challenges we have had to deal with, the worldwide

shown, that all students can learn, especially when they are motivated. As a product of the inner city, having graduated from Miami Northwestern High School, a

predominately Black school, I am reminded it’s not where you come from, but it is the empowerment of what can become of each student who is inspired by his or her music teachers. Many students attribute their educational

forwardness and motivation from the inspiration they

received from music teachers; therefore, it should be embedded in us to be prepared, encouraged, committed, and enthusiastic as we commence the beginning of this

« Maintain your health/wellness « Develop patience « Welcome professional development opportunities « Be inspiring « Don’t judge a book by its cover « Be great teachers and musicians in the classroom « Know that one size does not fit ALL « Recognize that music is more than festivals « Embrace change in 2021-22 « Know your community’s needs and meet students

school year. Some approaches to consider:

where they are with realistic standards

that guides generations of music supporters to come. people who share common interests. Our job is to assemble a group of people who have a range of shared inter-

ests, of which music is just one. Think about how we must look to highlight and bring to the fore music experiences

that will connect like-minded individuals and make them feel good. Students, music teachers, administrators,

parents, staff, and COMMUNITIES have demonstrated great resilience, particularly during the last year. Let’s take the learning outcomes from virtual as well as in-

person, brick-and-mortar teaching experiences and have

a wonderful opening of schools. Together, we can make a difference.

Remember, FMEA is here to support you and your

schools. Visit our fmea.org website and take a minute to read about all the valuable resources available. Contact

your component president for more information regarding professional development opportunities, webinars,

in-services, and in-person presentations scheduled this

fall. Our FMEA staff in Tallahassee and the Executive Committee look forward to serving you. Together, we will continue to unite and build Florida music programs

for the betterment of our students and ALL who share the love of music. Sincerely, Shelby R. Chipman, PhD, President

Florida Music Education Association

September 2021

5


Please take time to thank and support our 2021-2022 Corporate & Academic Partners.

GOLD PARTNERS

SILVER PARTNERS The Horn Section, Inc.

BRONZE PARTNERS Cardinal Digital Marketing Cathy’s Choir Class Excelcia Music Publishing Head’s House of Music

Music & Arts Romeo Music University of North Texas

Partners as of August 5, 2021.

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

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Music Director


2021-22 FMEA Membership:

You are eligible for membership in the Florida Music Education Association if you are an individual engaged in the teaching, supervision, or administration of music in elementary and secondary schools, colleges, or universities within the state. Visit FMEA.org/membership to learn more about the benefits of active membership.

Because You Care –

Thank You

SUBSCRIPTIONS:

M

y music took a different path on March 12, 2021. I had to have emergency

Direct correspondence regarding subscriptions to:

came to a complete stop. After surgery, I was told my heart had to be stopped

Hinckley Center for Fine Arts Education 402 Office Plaza Tallahassee, FL, 32301-2757

open-heart surgery. I was no longer dancing to a fast-paced rhythm; it

while veins were taken from my left leg to place into my heart. In order to do

this, I was “dead” for a little while. This is very frightening because your heart

Subscription cost included in FMEA membership dues ($9); libraries, educational institutions, and all others within the United States: $27 plus 7.5% sales tax.

doesn’t always restart. I am very thankful for God’s favor to restart my heart because He gave the wisdom and knowledge to my doctors.

I am thankful because life is short and every second, minute, hour, and day

CIRCULATION:

count. I am thankful for the small things in life as well as the large ones. I am thankful for my family and my friends, especially the FMEA staff and compo-

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.

nent members. You never know how you impact someone’s life. I am thankful I have been an inspiration and a friend to so many of our members.

We need to be positive with each other and the future generation we are

responsible for. Let’s be more kind and caring to others. Let’s value everyone’s

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.

opinion whether we agree or not. Life is short, and we are pilgrims passing through on this earth.

I thank all of you for your prayers, cards, text messages, phone calls, flowers,

and other acts of kindness you have shown me and my family during this time. I am progressing daily but still have healing to do. Here is my new motto:

SUBMISSIONS:

We can’t always choose the music life plays for us, but we can choose how we dance to it.

Article and art submissions are always considered and should be submitted on or before the 1st of the month, one month prior to the publication issue to: D. Gregory Springer, PhD, dgspringer@ fsu.edu.

So, let’s choose our steps and dance accordingly, whether it is slow or fast.

Move in the positive and life will be grand.

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.

I love you, and there is nothing you can do about it!

Valeria Anderson

Director of Operations

September 2021

7


AdvocacyReport 2021-22 Advocacy Tools

E

Jeanne W. Reynolds Chairwoman Government Relations Committee

ach summer, in preparation for a new

trict supervisor of elections’ website.

effectively address advocacy issues spe-

with supplies, we attend trainings, and

supervisor of elections.” On the home

members are scrambling for resources

school year, we fill our “toolboxes”

we build up our intellectual property to be at our best when students return to

school. When the year begins, we focus on reviewing and building music fundamen-

tals. We know our students need those strong musical fundamentals to succeed.

The same applies to advocacy. At the

beginning of the school year, we need to refill our advocacy toolboxes and review

Search the phrase “[county name] page there will be a link to find your

precinct. After you enter your address,

typically there is another link that will take you to officeholders. There you

can see every single elected official that represents you, from the president to judges, county commissioners, school board members, etc.

advocacy fundamentals to fulfill FMEA’s

Advocacy Messages and Resources

comprehensive music education in ALL

This always perplexes me a bit. Teachers

mission statement: To promote quality, Florida schools. Notice the verb promote.

Our mission statement quite literally calls on us to be strong, effective advocates.

This month let’s commit to reviewing

advocacy fundamentals and restocking our advocacy toolboxes.

Know Your Decision Makers/Office Holders

In addition to your school’s administra-

tive leadership team, learn the names and

I am often asked for advocacy materials. have the best advocacy tools at their fin-

gertips. These tools are stories and data

about your own program. Be prepared to share that information. Your stories are compelling. Refine your “elevator”

speech. Be prepared on a moment’s notice to tell community members and decision

makers why your music program is so vitally important to the success of your students and the life of your school.

roles of district leaders as well. Commit

Curate Advocacy Resources

members’ names. Get to know them per-

articles, videos, and ideas that most

to knowing more than your school board sonally. It’s not too early to invite them to

« Your state and federal elected officials fall and winter concerts.

can be found here: https://fiscalnote.

« CLICK HERE

com/find-your-legislator.

to link to Florida’s

2021-22 legislative education committee members. If your elected official is one of these committee members,

reach out to them by phone or email or schedule a visit. Share your passion

« A complete list of your own elected for music education.

8

officials can be found on your disFlorida Music Director

Create a designated place to collect

cific to your program. Too often, FMEA

at the last minute before an important

meeting, conference, or concert. There are endless advocacy resources; curate the ones that best meet your needs so they are

always at your fingertips. Here are some

« FMEA advocacy page, fmea.org/advo-

places to begin your search: cacy.

Bookmark this page and visit

often. It has information and profes-

« Americans for the Arts and Arts sionally produced advocacy videos.

Education Partnership – Make sure

you are familiar with these two organizations. Take some time to look

around these websites. Undoubtedly,

you will find some articles and research for your curated advocacy resource file.

• •

americansforthearts.org

« CLICK HERE

aep-arts.org

for Americans for the

Arts “Encourage Creativity” videos

« CLICK HERE

available for your use.

for an example of an

article you may want to keep on file.


Be An Exhibitor! @

« Stay informed and read all updates 2022 Legislative Session

about the upcoming 2022 Legislative Session. This year (an election year)

the session dates are January 11-March

« Be knowledgeable about the Florida 11, 2022.

Seal of Fine Arts proposed legislation. Updated information will be posted

on FMEA’s advocacy page, fmea.org/ advocacy.

The 2021 information can

« If you have a question or a concern be found there now.

anytime throughout the legislative session, please contact Kathy Sanz at kdsanz@fmea.org

« If

or Jeanne Reynolds

at jeannewrey@gmail.com.

you want to be more actively

engaged with the FMEA Government Relations Committee, please email jeannewrey@gmail.com.

Advocacy Doable Deeds

As you build your advocacy toolkit,

review advocacy fundamentals, and build your confidence, the next step will be to

take action! Commit to completing one of

« Set aside 15 minutes a week to research the following “doable deeds”:

music and arts education advocacy

« Practice a one-minute, a two-minute, and build your own advocacy file.

and a five-minute advocacy speech

sharing your passion for music and

« Schedule visits with your state reprearts education.

sentative and state senator to discuss the importance of music education in your community and to ask for their

support for the passage of the Florida

« Enlist two or three other colleagues Seal of Fine Arts.

to work with you on advocacy efforts

(can be from feeder schools or any

« Work with your district supervisor to build better advocacy infrastructure. « Begin building a local arts education advocacy coalition. « Strengthen an existing arts education coalition. « Develop and roll out a simple social other schools in your area).

RESERVE YOUR SPOT TODAY!

media campaign about music educa-

« Volunteer for a local candidate. « Volunteer to sit on a district committion in your school or community.

tee.

The possibilities are endless once you

have the tools you need to be an effec-

CLICK To learn more about Exhibiting at the 2022 Conference

tive advocate. To paraphrase President

OR

advocacy communities one note at a time.

Contact Us: (850) 878-6844 Toll-Free 1-800-301-FMEA exhibits@FMEA.org

Shelby Chipman, let’s unite and build

United, we will effectively promote quality, comprehensive music education in ALL Florida schools.

September 2021

9


Hotels Contracted for 2022 FMEA Professional Development Conference

January 12-15, 2022 Tampa Convention Center, Tampa, Florida

G

reetings! It’s that wonderful time of year when we start planning for our very

special conference event. The Florida Music Education Association has contract-

ed the following Tampa hotels for the January 12-15, 2022, Professional Development Conference. Please telephone your hotel of choice directly from the list below begin-

ning Sept. 25, 2021, at 9 am EDT. Guest rooms at the contracted rates are

available until the room block is full or until the cancellation deadline of Nov. 13, 2021, at 5 pm. If your hotel of choice is sold out, please continue to try

to make a reservation until Nov. 13, 2021, as FMEA attendees will periodically release surplus guest rooms.

A maximum of five (5) guest rooms may be reserved per teacher and/or parent. Each

and all rooms reserved on Nov. 15, 2021, will be charged a non-refundable, onenight fee to the responsible credit cardholder. (Invalid credit cards risk a reservation cancellation.)

We urge any guest holding surplus reservations/rooms to cancel excess reserva-

CLICK

tion(s) as soon as possible and no later than 5 pm on Nov. 13, 2021, and you must

secure a cancellation confirmation number. (This courtesy will make surplus

To learn more about the 2022 Conference

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

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

NOTE: FMEA IS NOT offering a housing bureau service. All participants MUST call

the hotels directly beginning Sept. 25, 2021, at 9 am EDT and request the “Florida Music

Education Association” room block rate and confirm the guest room rate posted below.

10

We look forward to seeing you in Tampa! Florida Music Director


ROOM RATES HOTEL – Cutoff date: 11/13/21

Single

Double

Triple

Quad

Barrymore Hotel Tampa Riverwalk

111 West Fortune Street, Tampa, FL 33602 (813) 223-1351; Group Code: FMEA Comp. internet; comp. self parking

$152

$152

$152

$152

Courtyard by Marriott Downtown Tampa

102 East Cass Street, Tampa, FL 33602 (813) 229-1100, ext. 1; Group Code: FMEA Comp. internet; $20 valet only

$164

$164

$164

$164

DoubleTree by Hilton Tampa Airport Westshore

4500 West Cypress Street, Tampa, FL 33607 (800) 514-3946; Group Code: FMEA Comp. internet; comp. parking

$157

$157

$157

$157

Embassy Suites Downtown

513 South Florida Avenue, Tampa, FL 33602 (813) 769-8300; Group Code: FMEA Comp. internet & breakfast; $24 valet only

$256

$256

$266

$276

Embassy Suites Tampa Airport Westshore

555 North Westshore Blvd., Tampa, FL 33609 (813) 875-1555 #1801; Group Code: FME or FMEA 2022 Comp. internet, self parking, & breakfast

$200

$200

$210 (up to 5 in room)

$220 (up to 6 in room)

Four Points by Sheraton Suites Tampa Airport Westshore

4400 West Cypress Street, Tampa, FL 33607 (800) 368-7764; Group Code: FMEA Comp. internet & self parking; comp. shuttle to TCC and Tampa airport

$146

$146

$146

$146

Hampton Inn Tampa Downtown Channel District

1155 East Kennedy Blvd., Tampa, FL 33602 (813) 525-9900, ext. 2; Group Code: FME Comp. internet & breakfast; $15 self parking

$196

$196

$196

$196

Hilton Downtown

211 North Tampa Street, Tampa, FL 33602 (800) 445-8667, ext. 1; Group Code: FMEA $9.99 internet (comp. for HH); $35 valet

$220

$220

$220

$220

Holiday Inn Tampa Westshore Airport

700 North Westshore Blvd., Tampa, FL 33609 (813) 289-8200; Group Code: FMA Comp. internet & parking

$129

$129

$129

$129

Home 2 Suites Tampa Downtown Channel District

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

$221

$221

$221

$221

200 North Ashley Drive, Tampa, FL 33602 (888) 236-2427; Group Code: FMEA Comp. internet

$225

$225

$245

$245

700 South Florida Avenue, Tampa, FL 33602 (888) 789-3090; Group Code: FMEA Comp. internet for Bonvoy members; $32 overnight valet; $20 daytime valet

$211

$211

$211

$211

725 S. Harbour Island Blvd., Tampa, FL 33602 (888) 236-2427; Group Code: FMEA Comp. internet; $30 valet only

$211

$211

$211

$211

Sheraton Tampa Riverwalk Hotel Tampa Marriott Water Street Hotel (formerly Marriott Waterside) Westin Tampa Waterside

September 2021

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Job Application Tips by Matthew McCutchen, PhD

T

Throughout my years at the University of South Florida, I have been fortunate to serve on several search commit-

tees. While some find this service to be time consuming and tedious, I always enjoy being involved. It is critical that academic institutions hire outstanding people to

teach and guide its students; I consider it a privilege to be a part of that process.

Over the hundreds of resumes, cover letters, curricu-

lum vitaes, and supporting materials I have read, several common themes have emerged that either help or harm

a candidate’s chances for serious consideration. Much of

what I am going to discuss will likely be a review of things you have been taught or have known for quite some time; however, it does us all good to be reminded periodically.

Please note that while some of these are specific to high-

er education, I believe most are relevant to any level of employment you seek.

1

Formatting is crucial.

Application materials need to be organized, complete, and professional. It is important to

note that a great-looking resume will not necessarily get you a job, but one that is poorly put together will cause

you to be knocked out of the running almost immediately.

« Academic resumes should begin with your academic Here are some suggestions:

history. List the schools you have attended from most recent to least recent (reverse chronological order). This

« Misspellings and incorrect grammar send the signal

that you lack attention to detail and will likely disqual-

« All dates should be listed chronologically from most ify you from being considered for the position.

recent to least recent and should be easy to find. My

personal preference is for them to be right justified, but if you have a different method of keeping them organized, that is fine. The important thing is to avoid making search committee members jump through

hoops to figure out your history. Along those lines, very rarely do you need to include months. For example, instead of July 2020-August 2021, 2020-2021 will suffice in most cases.

2

Spend a lot of time thinking about

« One can generally assume that everyone on your your references.

reference list is going to say nice things about you.

Therefore, I am often struck more by who is not on the

list than by who is. If I see a person applying for a band job at USF and they do not list their most recent band

director, that sends a red flag. I recognize the fact that

sometimes personalities clash and relationships that should have been positive are not. I also concur that

you are the person who gets to choose your references, not me. However, if the person who is supposed to have been a guiding force in your academic progres-

« Unless you had a truly exceptional GPA, there is no « Everyone on your list should be willing and able to order is also appropriate for any jobs you are listing.

sion is not listed, that does give me pause.

reason to list it. You may have worked extraordinarily

talk directly about your ability to do the job for which

have just put yourself at a disadvantage.

will undoubtedly talk in great detail about your

hard for that 3.4, but if the next person has a 3.6, you

12    F l o r i d a

Music Director

you are applying. Although your manager at Publix


personality, work ethic, friendliness, and customer service, committee members need to talk to someone

who can tell them how you function in front of a class-

3

« I get it, there are lots of people looking for Read the posting thoroughly.

jobs, and some of them will throw their

room. Several years ago, I was on a search committee

hat into the ring of anything that looks even remotely

candidate. It turned out this person had been the can-

is if you don’t meet the minimum requirements, don’t

and was assigned to call a reference of a highly viable

didate’s boss in a completely unrelated field, and while he thought they were “one of the friendliest people

with whom I’ve ever worked,” this discussion was

interesting. This approach is rarely successful. Rule #1 waste your time. If the job has a large marching component and you have no marching experience, I am not

going to be so impressed by your saxophone playing

« Finally—and this should be a given—make sure « Your cover letter should address all of the points of the ultimately unhelpful for our purposes.

that I will be willing to teach you how to glide step.

everyone on your reference list is still alive. Twice now

posting. If there is one that is not a strength of yours,

appear on reference lists. My thought was not “Oh,

instructor, but I have several contacts who are willing

I have seen names of people I knew to be deceased this person would have said wonderful things about

the candidate,” but instead, “this candidate didn’t

even take the time to look at their completed materials before submitting them.”

mention it anyway. “I am not an experienced guard to help me learn …” is preferable to ignoring the com-

ponent that explicitly describes teaching color guard as an expectation of the job.

Continued on page 14 September 2021

13


Job Application Tips Continued from page 13

4

Your cover letter should be a direct window into your personality.

« Whatever you do, do not imply that you are doing the school a favor by

applying for the position, even if that happens to be the case.

I heard Clifford Madsen, the Robert O.

Lawton distinguished professor of music and coordinator of music education,

5

music therapy, and contemporary media

at FSU, on many occasions say something

Find something positive

that makes you stand out from the crowd.

like “Once they have invited you for an

The more competitive the job, the more

you are competent. The primary goal of

apply for a position, you should assume

interview, they have already decided that the interview is to determine if they like

you.” This is especially true when you are being interviewed by a non-music person,

which is often the case in K-12 situations. Since you have a music education degree,

they assume you know what you are doing, and they often do not have the

knowledge to ask content questions. The more prestigious the program, the more likely it will be to have music content

important it is to stand out. Any time you that (a) there will be lots of candidates, (b) they will all be qualified, and (c) some will have better resumes and more experience

than you. Therefore, you need something

in your application to make you stand out from the crowd. Here are some things that

« If the committee requests a sample shifted my interest in a candidate’s favor:

of your drill design, make it special.

process. Either way, your cover letter is

« As mentioned above, the cover letter

the drill, but by the creativity. If the

posting asks for drill and you do not

should be tailored to the job for which

have it, that is fine. Write some. We

you are applying. This does not mean

have had several people send Pyware

you have to start from scratch every

specific position.

thing about the history of the pro-

like you are not keeping up with cur-

stand out—not by the complexity of

committee like you.

« Do your homework. Find out some-

like it was done by the same person.

This is a great place to make yourself

a way to get a jump-start on making the

have information that is geared for the

to have multiple camera angles and

various searches, and most of it looked

specialists participate in the interview

time, but at least one paragraph should

I looked at a lot of drill through our

renderings of drill that they wrote

« If they ask for a conducting video,

gram, the community, and even about

specifically for us for their application. this is a place where you can really shine. You do not have to conduct

Stravinsky’s Les Noces by memory

the people on the committee. We had

(which is impressive), but please do

date spoke at length about how much

the whole time. Far too often, people

an interview once in which the candithey resonated with the mission of

our university. I remember being tremendously impressed, particularly because they knew more about our

« Your enthusiasm for the profession, mission than I did.

job, and students should be blatantly

obvious throughout the letter. It needs to be clear that you want “this” job, not “a” job.

14    F l o r i d a

Music Director

not look boring and stare at the score decide to apply for a job and then

scramble to get their materials together at the last minute. To avoid that,

video every concert you do, and you

will have plenty of material to choose

from. Along those lines, the days of sending in one-camera videos from the back of the ensemble (or worse,

from the audience) are rapidly coming to an end. It is just too easy now

edited videos, and if you don’t, it looks rent trends. By the way, it is 100% pos-

sible to put together a great recording

« Many places, specifically higher ed conducting level II and III music!

jobs, will ask for rehearsal videos. Again, do not wait until the last min-

ute. Record yourself twice per week. Not only will you have plenty of footage to choose from, it will give you

real-life (and sometimes brutal) feed-

back of what is actually happening in

« Rather than sending in lists of orgayour class.

nizations you have joined, I am much more impressed by leadership posi-

tions you have held. This is a personal

bias based on the fact that I believe I learned more about how to teach by

being president of Phi Mu Alpha than

« Another personal bias is that I am I did from any class I ever took.

always impressed by first-year teachers who include a list of programs with which they have volunteered

over the years. I do not mean to open


the discussion of volunteering versus

being paid, but when I see someone

who has spent hours donating their services and expertise to local middle and high school programs, I see some-

one who is willing to do whatever it

takes to learn as much about the job as possible before ever stepping foot

into their own classroom. This shows passion for your craft and your ability

to be a team player—both important traits in education.

6

Just a few more things to keep

« Whatever you do, do not exaggerate in mind.

the significance of anything in your resume. Stretching your experienc-

es does not impress anyone. I was “Bagger of the Week” at Food Lion at

one point in high school. That did not appear on my resume as “Recognized by a Fortune 500 Corporation for

Excellence in Engineering Proclivity.”

Nothing makes me put away a resume faster than when somebody is clearly stretching the truth.

« Do not use a five-dollar word when a

ophy has a greater chance of aligning

« Do not talk too much during the inter-

Getting “the job” you want is consider-

they often provide a glimpse into the

were less than ideal. Wherever you start,

with the school’s philosophy than a

50-cent word will do. This goes for the

specific one.

written and spoken portions of the

On a final note, getting “a job” is easy.

interview process.

ably more difficult. Many great educators

view—make sure to listen. Be certain

started their careers in situations that

to listen carefully to the questions, as

be grateful for the employment and do

type of person they are looking for.

the best job you possibly can. Instead of

For example, if they ask a question

focusing on the problems in that job, take

about your attendance policy, there

« In

steps to create growth for your students

was probably an issue in the past.

and yourself, and always search for ways

the interview, it is effective to

to improve. One day the right opportu-

answer questions with a personal

nity will present itself, and if you have

story/example rather than a generic

worked hard and paid your dues, you will

“idealistic” answer. Instead of saying

be ready.

“I believe recruiting for my middle

school band program is important,”

talk about the time you did an instru-

Dr. Matthew McCutchen

es at an elementary school, and the

University of South Florida,

is the director of bands at the

ment petting zoo for fifth grade class-

where he conducts the wind

students’ reactions when you played

« If the interviewer asks if you have questions, have some ready to go. « Be careful not to be too specific when

ensemble and teaches cours-

all of the instruments for them.

es in conducting, wind band literature, and

music education. He is also the artistic director of the Florida Wind Band and the founder

and conductor of the Bay Area Youth (BAY)

answering a question about your phi-

Winds.

losophy on teaching. A general philos-

September 2021

15


FLORIDA MUSIC EDUCATION ASSOCIATION 2021-2022 DONORS

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

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

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

The following have graciously donated to FMEA from April 1, 2021, through August 4, 2021.

MAESTRO’S CIRCLE $10,000 and up

No current donors at this time.

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Music Director

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PATRONS $25 – $99 Gordon Brock Shelby Chipman Dayna Cole In Memory of Linda Mann Catherine Dalzell Matthew Davis In Memory of Robert Morrison Nicholas DeCarbo Virginia Dickert In Memory of Lindsay Keller & Debbie Liles

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up to $24

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

September 2021

17


LESSONS F ROM T H E PA ST:

Learning From Historical Instances of Distance Music Learning by David Ramos

The rapidly evolving nature of technology demands a constant awareness and revision of current practice to realize technology’s potential as a learning and teaching resource. Instructional technology should be thoughtfully conceived, creatively employed, and carefully adapted to the particular styles of both teacher and learner. (Moore, 1989, p. 116)

T

These words were first printed in Eunice

across the state are slowly returning to face-

published in 1989 by the Music Educators

distance learning practices for the health and

Boardman’s book Dimensions of Musical Thinking, National

Conference,

now

the

to-face instruction, many are still utilizing safety of students, faculty, and staff.

National

Although the phenomenon of distance music

Association for Music Education (NAfME). In the year 2021, they could not be more relevant.

learning through technology shocked many

Teaching Music During COVID-19

for quite some time. From the advent of the

In today’s reality of education, the use of tech-

educators in 2020, the practice has been around radio to the introduction of the Internet, tech-

nology in the music classroom has become inevitable. The

nology has rapidly evolved in American society, and with

ed the need for online platforms such as Zoom, Microsoft

potential to broaden the music classroom. This article

continuing crisis of the COVID-19 pandemic has cementTeams, and Google Classrooms for large ensemble and private instruction. Stands and sheet music have been

substituted by laptops and USB microphones, and inperson dialogue between teachers and students has been replaced by online chat rooms and surveys. As schools

18    F l o r i d a

Music Director

each new advancement, educators have latched on to their

outlines historical instances of distance music learning

through technologies such as the radio and television, provides the reader with lessons learned from those pursuits, and draws comparisons to today’s distance learning practices.


Learning Through Radio

Since its first broadcasts in the early 20th century, the radio has been a

long-standing friend of music in American society, providing a prime medi-

um for this aural art (Sanders, 1990). As it gained popularity in the 1920s, the radio was quickly noted by teachers as an effective means to disseminate not just music, but also information to urban and rural areas. Music educators

and organizations were quick to seize the opportunity of using the airwaves to provide educational programming to every home that had a radio. One

of the most notable and successful radio programs was distributed by music educator Dr. Joseph Maddy.

Dr. Joseph Maddy’s Radio Music Lessons

Founder of Interlochen Center for the Arts and coauthor of The Universal Teacher and Instrumental Class

Teaching, Joseph Maddy was a pioneer in teaching performance skills by radio. He acknowledged that

“… radio is destined to become the great equalizer of

educational opportunity” (as cited in Sanders, 1990,

p. 41) and quickly seized its potential. Maddy pitched his idea of teaching band instruments over the radio to Waldo Abbot, director of broadcasting at the University

of Michigan, in 1931. After gaining support from school

superintendents in the area, the university allowed him

five half-hour periods to broadcast his lessons over the airwaves (Sanders, 1990).

Maddy went to work organizing the series. He

prepared lesson booklets to provide students with pictures and directions on how to properly hold their instruments and produce a sound on them. Maddy also

coordinated a studio band comprising 12 university players, which acted as an aural model for the radio Continued on page 20

September 2021

19


LESSONS FROM T HE PAST Continued from page 19

and exercises) and simply wanted to play

success at that time. These far-reaching

idea, Maddy ensured the learning pro-

whose administrations simply did not

their favorite tunes. By embracing this cess was fun, which created an impetus for students to tune in every week and

learn how to play their instruments well (Sanders, 1990).

Of course, the general, far-reaching

approach of the program created its own

problems regarding instruction and overstudents during each lesson. From their homes, students learned the sound of

each instrument, fingerings for their specific instrument, and strategies regarding

all content. Considering the programs addressed a variety of students, giving

specific details during instruction proved impossible. According to Maddy,

how to match the tone of what they heard

… it was not possible to dwell long

through the radio.

upon breathing, bowing, touch, or

During the first year of broadcast-

any of the technical phases of partic-

ing, interest in the radio lessons surged

ular instruments. “Playing in tune”

as Maddy received many requests for

had no meaning to piano pupils,

instruction books nationwide. The pro-

while “bowing” had no meaning to

grams were an immediate success

broadcast it on its airwaves for the next

three seasons, changing the name of the

next year. Maddy continued to provide

the program. Although Maddy placed

and expanded his weekly lesson series to include string and vocal lessons. Pros and Cons

The greatest achievement of these les-

sons was that they were able to reach

the time was funding and broadcasting

his priorities on education, the network placed its focus on entertainment, believ-

ing a program that appealed to a minority

of listeners would “reduce the audience

for commercially-sponsored programs that followed it” (Sanders, 1990, p. 200).

national and international audiences.

Comparisons to Teaching Today

District of Columbia, six Canadian prov-

Maddy delivered his music lessons is

Listeners tuned in from 47 states, the inces, England, and Syria (Sanders, 1990).

School districts that lacked the funds for music programs were grateful for the

radio music series, which helped pro-

vide music education to certain towns and rural areas. These programs also

made music fun for students. After the

series was picked up by NBC, Maddy realized students cared little for serious

music instruction (i.e., practicing scales

20    F l o r i d a

It is true that the medium through which quite outdated when compared to the

technology used to teach music today. Current students require more than a radio to stimulate their desire to learn music. That is why teachers will often

incorporate videos, PowerPoints, and pop

culture references into their lessons to

keep students engaged. What teachers can take away from Maddy’s radio lessons,

however, is they were nothing short of a

Music Director

informing students how to hold their

instruments, tune them, and use them to

play their favorite songs. Virtual music

teaching may not be sustainable, but like

the Maddy broadcasts, it fills a need in schools by providing students with music as best it can. Just like the 1930s music

lessons, teachers sought new ways to

reach students and give them a quality

music education. Maddy found a solution via radio music lessons. Current teachers can find similar successes through more

current forms of technology. If Maddy can do it, so can you.

American society was a remarkable phe-

ences between Maddy and NBC, which at

radio instruction for most of the decade

Moreover, these lessons were fun while

There also existed philosophical differ-

series to NBC Band Instrument Lessons the first year, and then Fun in Music the

dents with music education themselves.

string players. (Sanders, 1990, p. 199)

ing” was no concern of pianists or

the program’s popularity and decided to

have the funding to provide their stu-

Learning Through Television

band instrument pupils, and “breath-

(Sanders, 1990). By 1936, NBC recognized

broadcasts filled a need in school districts,

The introduction of the television into nomenon. In 1948, NBC broadcast the first televised classical music concert, paving

the way for yet another popular outlet for

music (Macinnis, 2009). By the 1950s and

60s, television became a staple in nearly every modern American home, providing families across the nation with picture

news broadcasts and daily entertainment. Television networks also provided their younger audience with educational pro-

graming. Children’s shows such as Mister Rogers’ Neighborhood (1968) and Sesame Street (1969) were known for using fun

characters and imaginative circumstances to teach kids how to read, count, and

express their emotions. In 1958, a weekly program, also geared toward young people, began to air, teaching viewers lessons in music appreciation. Although it did

not star a man in a cardigan sweater or an ensemble of colorful puppets, it did

feature the New York Philharmonic (NYP) and a charismatic conductor.


Young People’s Concerts With Leonard Bernstein

Leonard Bernstein is considered one of the most influential American musi-

cians of the 20th century, recognized for

his work as a professional conductor, composer, pianist, and music educator.

Bernstein often lectured and wrote on the topics of music appreciation, awareness,

and listening. He also created recordings of score analysis and wrote on topics such as The Essence of Music (Rozen, 1997). He

is also known for his work in television, providing children growing up with a television in their homes with “signifi-

cant musical pedagogy” (Macinnis, 2009,

as the 1880s, when the NYP started pro-

career by appearing on CBS’s education-

children (Macinnis, 2009). Under Ernest

gramming concerts specifically targeting

p. 15). In 1954, he began his television

Schelling in 1926, the YPCs were estab-

al series Omnibus, delivering a music appreciation lesson on Beethoven’s Fifth

lished as a regular NYP concert series,

Symphony. He appeared in 10 Omnibus

… designed to promote music appre-

recordings, all well regarded by television

ciation in children through the com-

viewers and the press (Rozen, 1997). These

bination of informative lectures, live

appearances segued into his involvement

orchestra performances, pictures dis-

with what he considered to be one of his

played through lantern slides, and

greatest professional achievements as a

notebook assignments which children

music educator.

could create and submit to Schelling

Although popularized by Bernstein,

for prizes. (Macinnis, 2009, p. 6)

the New York Philharmonic’s Young People’s Concerts (YPCs) started as early

Continued on page 22

September 2021

21


LESSONS FROM T HE PAST Continued from page 21

Photo: leonardbernstein.com

With his photogenic personality, grow-

ing popularity, and exceptional knack for teaching, Leonard Bernstein met the

ing Bernstein the title “America’s Music Teacher” (Rozen, 1997, p. 10).

moment to lead the concert series toward

Pros and Cons

the NYP struck a deal with CBS to tele-

Bernstein had a lasting impact on near-

the next logical step. Under his direction,

vise the YPCs during its 1958-59 series (Macinnis, 2009).

The televised Young People’s Concerts

with Leonard Bernstein followed a simi-

lar format from week to week. During

each program, Bernstein greeted the audience—those watching in person at

Carnegie Hall and those watching from home. Then, with the help of the NYP, he presented them with a musical example,

followed by the initial question, theme, or topic for that concert (e.g., What Does

Music Mean?, Folk Music in the Concert

Hall, What Makes Music Symphonic?).

This led to an answer or explanation from Bernstein, as well as a dissection of

various musical examples to illustrate his points. These concerts, which ran until

Young People’s Concerts with Leonard

ly anyone who followed the program.

According to Macinnis (2009), “an entire generation of musicians and music schol-

ars credit the YPCs as a major influence in their decision to pursue music as a career” (p. 66). Not only did the programs inspire

viewers to seriously consider careers in

music, but they also exposed viewers to what was deemed serious music. These

concerts featured masterworks such as

is getting them to behave during the

entire concert. Bernstein’s daughter Jamie addressed how viewers at home watch-

ing the televised concerts were unable to

see the many paper airplanes children

would send sailing through the concert hall, a nuisance that concertgoers still

experience today (Macinnis, 2009). One may wonder if this behavior would have

occurred had Bernstein hired a handful of

music teachers to roam the rows of seats,

observing students and confiscating their programs if necessary.

Comparisons to Teaching Today

Bolero, to name a few. It is possible the

with pedagogical content that would ben-

Haydn’s Symphony No. 102, and Ravel’s YPCs had a hand in molding the funda-

mental attitudes toward good music held by those who grew up with television (Macinnis, 2009).

With all credit due, the Young People’s

Concerts were not exempt from one main

cational television category and earn-

agement. The difficult part about hosting

22    F l o r i d a

hundreds of children as the audience

Mussorgsky’s Pictures at an Exhibition,

1972, were met with national acclaim, winning every award given in the edu-

weekly concerts in Carnegie Hall with

flaw—a general lack of classroom man-

Music Director

These concerts provided music teachers efit classrooms—both physical and vir-

tual—today. First, Bernstein’s approach

to most every concert was Socratic. He began the lesson with a question (e.g.,

What is Impressionism?) to engage his audience, providing them a sort of mys-

tery that, by the end of the concert, he and his audience would solve (Macinnis,


2009). Engagement in distance learning is

key, and one of the best ways to ensure

students are paying attention or thinking about the information you teach is by ask-

ing questions frequently. Starting a lesson with a question prepares the students,

letting them know the direction of the les-

son and what they should be pondering along the way.

Additionally, Bernstein’s approach to

teaching was characterized as “middlebrow.” The lessons were not so “hifa-

lutin” that only the educated minority could understand them, nor were they so elementary that anyone could turn

on the television and tune in without a second thought. Bernstein loved sharing with young people, as he considered them to be curious, enthusiastic, and

unprejudiced (Macinnis, 2009). Although his audience was mainly composed of children, Bernstein taught “in a style

scale from the comfort of their own home,

his own level, without stooping, and to

1930s. Teachers should find solace in the

designed to confront the middlebrow on

escort him gently along the path of least

resistance, to increased understanding”

(Macinnis, 2009, p. 48). This approach should be sought after by every educator,

especially in a distance learning setting. Teachers should remind themselves that

most of their students want to learn even

if it is online. They should confront their

a luxury Dr. Maddy did not have in the

technology, they are much more capable of providing students with quality dis-

50, 30, or even 10 years ago. What they often forget, however, is their own capa-

The stories of Joseph Maddy and

learning. They also encourage readers

Closing Thoughts

Returning to the original quote, technol-

ogy is constantly and rapidly evolving, which is a marvelous thing for today’s

teachers. In 2021, computers, tablets, and

smartphones have the capability to house

hundreds of students virtually under one

historical perspective on distance music

Sanders, C. A. (1990). A history of radio in music education in the United States, with emphasis on the activities of music education and on certain radio music series designed for elementary and secondary school use (Publication No. 9108672) [Dissertation, University of Cincinnati]. ProQuest Dissertations and Theses Global.

who struggle with the thought that every

weekday, instead of sitting in a classroom full of students, they will be sitting in

an office facing their computer screens. Distance teaching is not easy. Even with

David Ramos is a graduate of Florida State University with the BME in instrumental music education. He is an active member of the National Association for Music Education and Florida Music Education Association. David is the director of bands at Bradford High School in Starke, Florida.

new technological advancements, today’s teachers still combat the same issues their 20th century counterparts faced decades

ago. Although it is not ideal, distance music teaching is possible. Music educa-

digital roof to learn a single topic. Music

tors are capable of reaching and teaching

theory, and how to play a B-flat major

been for quite some time.

educators can teach aural skills, music

Rozen, B. D. (1997). The contributions of Leonard Bernstein to music education: An analysis of his 53 Young People’s Concerts (Publication No. 9814028) [Doctoral dissertation, Eastman School of Music]. ProQuest Dissertations and Theses Global.

bility to do just that.

easy to comprehend, guiding their stuthey understand the material.

Moore, B. (1989). Musical thinking and technology. In E. Boardman (Ed.), Dimensions of musical thinking (pp. 111-116). Music Educators National Conference.

tance music learning than educators were

Leonard Bernstein not only provide a

dents, without stooping too low, until

Macinnis, J. C. (2009). Leonard Bernstein’s and Roger Englander’s educational mission: Music appreciation and the 1961-62 season of young people’s concerts (Publication No. 1470827) [Master’s thesis, Florida State University]. ProQuest Dissertations and Theses Global.

fact that with the help of modern-day

students with lessons that combine ele-

ments of music that are advanced yet

References

students across vast distances, and have

September 2021

23


ComponentNews I

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

Marc Decker, DMA, President

hope you are finding success in the

ing with the students a musical vision

our innovations and adaptations caused

September is easily the most important

infuse our classrooms with positivity and

will persist long into the future. We are

first few weeks of the school year!

month of the year for teachers. It’s when

we establish a strong foundation in music and classroom procedures while shar-

of the year to come. This is the time to excitement. I hope you are enjoying it.

Today I find myself reflecting on all

that has changed in the last year. Many of

by the pandemic will not linger. But some all different teachers today than we were

two years ago, approaching pedagogical and administrative tasks in innovative

ways. As our profession continues to adapt and evolve, here are two changes

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Joani Slawson, President

Comfort Level With Technology

Two years ago, I never would have

A

s we settle into this new school year, I hope everyone is finding joy in the music-making process with your students. The FEMEA Board of Directors

has been hard at work meeting the needs of elementary music teachers in Florida. First of all, we are excited about the creation of the Culturally Responsive Committee, which is chaired by Ernesta Chicklowski. We look forward to the important work this committee will be doing for teachers and students.

« September 29: Grant Writing for Music Teachers presented by Ashleigh Lore « October 25: Expanding Outreach to Those We Teach – Culturally Responsive Teaching Committee « November 15: Elementary Music Advocacy – It’s Personal – We will be hosting the following webinars:

FEMEA Advocacy Team

Even though we are all music teachers, our needs may differ depending on our

individual circumstances. We have created the following positions to reach out

to private school and early career teachers. If you have questions or concerns in

« PRIVATE SCHOOL TEACHERS REPRESENTATIVE

these areas, please reach out to the following people:

« EARLY CAREER REPRESENTATIVE

Katy Pelletier: PrivateSchoolsRep@femea.flmusiced.org Madison Schafer: EarlyCareerRep@femea.flmusiced.org

24

that are worth keeping.

thought that hosting a virtual meeting with students would be beneficial. Surely

an email would suffice for sending them the information they need, and when the year began we would finally meet for the

first time. But now I host many virtual

events throughout the year. The reason is that students need more than infor-

mation … they need connection! Social media and virtual gathering platforms provide tools to connect. Meeting in person will always be the most efficient

and meaningful method of connecting, but new and emerging technology and social media platforms are remarkable and diverse ways to enhance this.

Although technology has changed the

way we connect, it has also changed the

way we teach. Teachers have learned

how to record and edit music, perform virtual concerts, and fully utilize online educational programs. We’ve adapted

Thank you for your time and effort preparing and submitting all-state audi-

and created exciting new methods for

thank the all-state coordinators, district chairpersons, and our executive director,

we would not have considered before.

work, preparing materials, and ensuring a wonderful musical event.

created as a profession will remain. For

experience. Please speak with your administrators about attending the FMEA

ments and assessments fully virtual.

them about all the amazing professional development opportunities available

fession will improve student learning

board if you have any questions or concerns.

and instill in our students a greater love

tions. I truly appreciate all you do for the students of Florida. I would also like to

student learning and assessment that

Jenn Sullivan, for their tireless efforts answering questions, processing paper-

Much of the educational content we have

Finally, there is no time like the present to begin planning your conference

example, I intend to keep my assign-

Professional Development Conference January 12-15, 2022. Be sure to educate

Whatever we choose to keep as a pro-

to you at the conference. As always, please feel free to reach out to your FEMEA

outcomes, make our ensembles stronger,

Florida Music Director

of music.


FLORIDA NAfME COLLEGIATE

Alexis Hobbs, President

TIPS FOR SUCCESS:

Recruitment and Retention The Florida NAfME Collegiate component would like to provide our members with ideas as we enter this rebuilding season. RECRUITMENT

« Plan chapter social and educational activities. People enjoy groups that are

1. Outreaches

friendly and fun! This can include having guest speakers at your chapter

Perspective

Of all the things that have changed, perspective is the most significant. Music

education is not a profession for those who aren’t willing to go above and beyond.

« Before the fall semester, send information to all music organizations, fraternities, and sororities to build unity among all. « Assign “chapter buddies” between upper/under students so every student meetings or having a pizza party at a local park for your chapter.

has at least one person they have connected with.

Recruitment through outreaches takes more than one event! Chapters should

We want to see our students grow and

strive to make events and meetings consistent for members and future members.

love of music with them. Although all the

2. Inform and publicize

learn throughout the year, sharing our music teachers I know continue to be passionate, priorities have shifted. Family,

friends, and worship are more important than ever. Let’s all maintain our love for

music and teaching while remembering to occasionally turn off our smartphones on the weekends and at night.

Perspective on teaching and student

learning has changed as well. I’ve noticed that students tend to arrive much earlier to rehearsals and linger afterward.

Typically they want to talk because they

miss each other. But I’ve also seen them on many occasions get together to jam on their instruments without any prompt-

ing. They have changed, and so have we. I teach differently, with more empathy and

awareness of the students’ mental health, and am more confident in pointing students in the right direction to get the

assistance they need. Everyone’s perspective has changed, and it’s for the better.

I wish you all the best this year as

you implement what we’ve learned and

look forward to how the profession will evolve next.

Stay safe and teach well!

« Social media can be a great avenue for your chapter to recruit new

members. Platforms such as Facebook, Instagram, and more can help

« Use your college of music bulletin board. « Set up an NAfME registration table. « Ask music faculty to advocate for collegiate membership. Every professor spread the news about NAfME Collegiate at your university.

wants to see their students succeed. Reach out to your professors to help

advocate for your NAfME Collegiate chapter, which will in turn help their

« Have older students tell why they joined and why they support NAfME Collegiate. « Invite non-music majors. NAfME Collegiate is not just for music education students succeed.

majors; reach out to all majors.

RETENTION

To retain chapter members there are two main actions chapters can take: be proac-

« Follow up with former members who have not returned. « Start committees to get chapter members involved. Committees such as fundtive and make personal connections with future members.

raising, advocacy, and community service are a few ways to grow participation

« Create a mission statement. Creating a mission statement can help focus your and retention.

chapter’s goals and events for each year.

In the words of Walt Disney, “Do what you do so well that they will want to see

it again and bring their friends!”

As always, if you or your chapter has any questions or concerns, please contact us

at flnafmecollegiate@gmail.com

or visit our website, flnafmecollegiate.com. September 2021

25


ComponentNews T

he 2021-22 school year has finally

FLORIDA ORCHESTRA ASSOCIATION

Our 2021 Fall Conference will take

Don’t forget to bring your instrument

Orlando. Registration is now open and

session to assist you with your music

arrived! In the midst of fine-tuning

place September 23-24 at the Hilton

planning has already taken place with

available on our FOA website (myfoa.

your beginning-of-the-year agenda, much

your FOA Executive Board during our district chairperson training. I would like

to welcome our new district chairpersons: District 1.................................Meanna Naffe District 6.......................... Shawna Batchelor

District 9..................................Steven Harris

District 11................................ Daniel Shafer

District 13...............................David Heroux

District 15..................................Tosha Knibb

Laurie Bitters, President

org). We are excited to have Soon Hee

Newbold and Brenda Brenner as our keynote speakers. Be sure to view the

and music stand for the music reading selections for the year. There is sure to

be something for everyone. We look forward to seeing you there!

Please stay involved in your district

full schedule on the FOA website for

and do not hesitate to share your sug-

ing sessions. The conference is a great

is here to help. While we navigate the

additional information about our excit-

way to reconnect with colleagues and friends, to meet other educators, and to gain ideas for your classroom. We also

have some amazing vendors attending.

gestions or ask for assistance. Your FOA challenges and changes that will happen,

remember to take care of yourself and your family. I wish you all the best in this new school year!

District 17.................................. Mara Eichin

Thank you to all of our district chair-

persons for setting the stage for a successful year for your districts! Remember

FLORIDA VOCAL ASSOCIATION

support you with any FOA questions or

Jeannine Stemmer, President

that your district chairperson is there to suggestions you may have throughout the year.

The all-state audition window is

quickly approaching, September 27-

I

f you read my last article, you know I didn’t join choir until the eighth grade,

which means seventh grade was a rough year. I remember two of my friends

October 2. Please check your district cal-

were dating the same boy. Instead of fighting with him, they turned on each

teer to assist with this event. Volunteers

one of the girls threw the ring the boy had given her at the other girl, which I

endar for your audition date and volunare also needed to help with all-state judging on October 23 at the Hilton Orlando.

Please contact your district chairperson

other. I wasn’t involved in the fight, but I sure did have a front seat. Eventually

swiftly picked up and stuck in my pocket. Ha ha. Don’t worry, I didn’t keep it. Ultimately I gave it back. I just can’t remember which girl I gave it to.

Fighting is not always a bad thing. I am proud when I stand up for my pro-

if you are interested. FOA would like to

gram. I am proud when I stand up for my kids. I’ve decided that fighting for

will assist with this process.

you earn your stripes as a music teacher. The real problem is having to fight to

thank Brian Hellhake and all those who

As you make your plans for the year

ahead, you don’t want to miss the FOA/

funding, fighting for facilities, and fighting for a spot on the calendar is how get kids in your class.

The bigger picture is that ALL students need music, and to fulfill our mis-

FLASTA Fall Conference or the FMEA

sion we need students. Start by advocating for the underprivileged and excep-

Hotel registration for the FMEA confer-

your fight count and remember you are not alone. We’ve got you!

Professional Development Conference. ence begins September 25 at 9 am. When

tional students. I challenge our membership to think outside the box. Make To that end, the Florida Vocal Association has a new challenge: implement

registering, reserve only the rooms need-

rather than change. I am proud of our team. As a team, we are finding new

to release any rooms you don’t need so

choral initiative letter we can share with administrators all over the state. Every

ed for your students. Please remember others can reserve them. The hotel room

cancellation deadline is November 13 at 5 pm.

26

Florida Music Director

ways to fight together. Our Strategic Planning Committee inspired us to write a student needs the chance to have a comprehensive secondary music education experience.


FLORIDA NAfME COLLEGIATE

Mark A. Belfast, Jr., PhD, Advisor

What should music education look like today? by John A. Lychner, PhD FLORIDA MUSIC SUPERVISION ASSOCIATION

Lindsey R. Williams, President

W

asn’t life supposed to be “normal”

large-ensemble approach to teaching

we all are asking; however, maybe the

mary curricular way to teach music. It

again by now?! It is a question

better question is this: Are we really happy with the “normal” we knew prepandemic? The answer is likely to vary

from person to person, and I believe sin-

cerely that whatever answer anyone gives is appropriate as long as it is a carefully considered answer and not just a knee-

jerk reaction. As I tell my students, I don’t care what you think; I care that you think! It is the act of thinking that is important, being open to considering, analyzing, and trying out new information

and ideas. Our minds can serve us well

music was adopted and became the pri-

semester, with challenging reading and

is interesting that in physical education,

of field experiences, I encourage all of us

scaffold. In music, the performance-based

world today. In short, let’s find meaning

in every aspect of our work and develop

time, it is interesting and even a little odd

our vision for the future! Let’s make sure

that they don’t look the same in schools.

we are preparing for a “normal” that we

No judgment here, just something to

choose rather than a “normal” that choos-

think about!

es us!

So, with those examples to start us

mal” and realizing that some of those

Dr. John A. Lychner

I ask an honest question. What should

education in the School

is director of music

music education look like today?

of Music at Stetson

Many of you are working on philoso-

reflect only what you have known/expe-

ate curricula were designed for a K-12

education can and/or should be in our

both approaches developed at the same

innovation. We have simply grown and example, in general terms, age-appropri-

schools. Finally, think about what music

the other wrong, but rather, given that

phy of music education statements in your

perfected what was chosen then. For

are doing to what is happening in the

I’m not suggesting that one is right and

become our “normal,” and since then there has been very little, if any, true

relationship of the preparatory work we

ties provided as extracurricular offerings.

choices are approximately 70 years old,

made decisions about education that have

ment or experience. Think also about the

offering with large-group sports activi-

moment about what “normal” means and In the middle of the 1900s, people

to think about the reason for each assign-

activity was the choice for the curricular

thinking about what we accepted as “nor-

what you like and dislike about it.

writing assignments and the excitement

a more generalized approach to healthy

if we are thinkers and not reactors or, worse, closed to new ideas. So, think for a

As we are getting into the heart of the

University and is an active

classes. Do the ideals of your philosophy

clinician/con-

ductor. Previously, Dr.

Lychner was professor of music in the School

rienced? Are they broader? Narrower? Do

of Music at Western Michigan University,

they reflect current times or the 1960s? …

Kalamazoo. Dr. Lychner taught band, choir,

70s? … 80s? Again, this is not about judg-

and general music in St. Louis, Missouri, and

ing but rather about thinking.

Tallahassee, Florida.

September 2021

27


ResearchPuzzles FOR MUSIC TEACHERS

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

What Are Randomized Controlled Trials (RCTs)?

Why Do We Need Them in Music Education? by Jennifer A. Bugos, University of South Florida

T

he news is full of reports of randomized controlled trials

(RCTs) for medical treatments, especially for COVID-19

vaccines. RCTs are an approach to research that helps to make

will the experience with the research population generalize to the population of students I teach?

Maybe. Other differences between the experimental and

sure the results obtained in a research study reflect what will

control groups, besides the different programs, can also cause

on a large scale. RCTs, the “gold standard” for educational and

settings (e.g., in school or after-school programs, time of year),

happen when a treatment is applied to a new group of people

social policy research, enable researchers to answer a ques-

tion definitively and unambiguously. RCTs with a sufficient

sample size can solve the problem of causation by including a true randomized sample with one or more control groups

(Styles & Torgerson, 2018). Through randomization, the con-

clusion of the study can be shielded from confounding vari-

ables related to how the study was conducted so the results reflect only the impact of the music program or teaching

method. Randomization ensures baseline characteristics are

similar across groups. RCTs in an educational setting contain ecological validity and produce information that can be used

to evaluate whether a music program or approach should be

differences in performance between the two groups. Different

Hawthorne effects (i.e., differing levels of motivation), attrition, and contextual factors (e.g., differences in socioeconomic

status) can influence research findings (Sullivan, 2011). A first step to making sure research results are caused by the

program under study is to consider all variables that could influence performance outcomes and to match the research participants in the experimental and control groups by those

factors. For example, controlling for previous musical experience, music aptitude, socioeconomic status, intelligence, and

age are common factors researchers use as criteria for enrollment or for matched samples.

Through conducting controlled experiments, we gain expe-

introduced in the classroom and under which contexts or for

rience, refine our methods and research questions, and gain

great for music education research? What problems do RCTs

into their classrooms with a reasonable expectation of success.

which students it might be most effective. Wouldn’t that be solve, and how do they solve them?

To know if an education practice is good or improved,

one must ask, “Good or improved compared to what?” In a

research study, we compare the results obtained with one group of learners with the new program (the experimental

group) to the results obtained with an alternative or traditional program with another group of learners (the control group). If the difference between the performance of the two groups is greater than the variation in the performance of individu-

als within a group, we say there is a significant effect of the experimental treatment. If this method or approach worked for the researcher, will it work in my classroom, too? That is,

28    F l o r i d a

Music Director

new insights. Engaged early adopters can bring such results In order for research findings to be deployed widely across

districts and states, legislatures, boards, and administrators demand substantial proof that expenditures of tax dollars will

bring proportionate benefits. This is where RCTs really shine. Carefully designed RCTs can provide data essential to understanding how music programs contribute to student achieve-

ment and can help us understand how well a particular program works in specific contexts or for various subgroups.

RCTs offer the opportunity to develop a cumulative body of knowledge structured around evidence-based findings

for music programs and music teaching practices (Connolly et al., 2017).


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

NAfME

COVID-19 RESOURCES

Randomized controlled trials come in many forms in educa-

tion. Assignment can take place at the individual level or at the

school or class level, also referred to as a cluster RCT. For some

RCTs, whether single or clustered, factor designs are relevant to measure the effects of variables and the interaction with

each other. For instance, one may want to examine the effects of an intensive after-school music program on sight-reading skills as compared to other types of programs. Intensity may

serve as an additional factor for consideration. Evidence-based

teaching practices evaluated through RCTs can strengthen music programs and enhance student achievement. To learn

more about RCTs in education, please see Connolly et al., 2018 for a systematic review; for a list of current RCTs, visit clinicaltrials.gov.

Jennifer A. Bugos, PhD, has taught at the University of South Florida since 2011. She is an associate professor of music education and teaches

undergraduate courses in general music methods, internship, and senior seminar, as well as graduate coursework in music cognition. In addition,

she serves as the music education internship coordinator. References Connolly, P., Biggart, A., Miller, S., O’Hare, L., & Thurston, A. (2017). Using randomized controlled trials in education. Los Angeles, CA: Sage Publishing. Connolly, P., Keenan, C., Urbanska, K. (2018). The trials of evidencebased practice in education: A systematic review of randomized controlled trials in education research 1980-2016. Education Research, 60 (3), 276-291. https://doi.org/10.1080/00131881.2018.1493353 Sullivan, G. (2011). Getting off the “gold standard”: Randomized controlled trials and educational research. Graduate Medical Education, 285-289. https://doi.org/10.4300/JGME-D-11-00147.1 Styles, B., & Torgerson, C. (2018). Randomized controlled trials (RCTs) in education research–methodological debates, questions, challenges. Educational Research, 60 (3), 255-264. https://doi.org/ 10.1080/00131881.2018.1500194

Email your questions and feedback to wbauer@ufl.edu Research Puzzles.

with a subject heading

NAfME and our partners are committed to supporting our music educators with resources for virtual instruction, professional development, and critical information during this pandemic. Resources include webinars, articles, guidance, links, and more. Click to learn how NAfME is working to protect music programs and provide guidance for going back to school this fall:

« International Coalition Performing Arts Aerosol Study updated guidelines for music education classrooms (7-19-21)

« Plan your return to the physical « Research study on the effects of classroom

COVID-19 on the return to the rehearsal hall

« Guidance for teaching general music

« Guidance for teaching early childhood during COVID-19

« Guidance for singing in our schools music during COVID-19 during COVID-19

CLICK HERE

for additional resources available. Thank you for supporting each other and our students during these challenging times. Please contact your professional association for assistance and information at memberservices@nafme.org or 800-336-3768.

September 2021

29


CommitteeReports I

AWARDS COMMITTEE

Sondra A. W. Collins Chairwoman

n my first article as awards chairwom-

wished they were back in my music room.

ness partners, music education leaders,

the wonderful Amanda Gorman quote

who were beaming to be back “home” at

music projects that have made outstand-

an (see the August edition), I offered

about being brave enough to see and be

the light. Congratulations, colleagues, on already being the light in this new school

year! As school has started and we have started to rebuild and reinvent our music

programs in all education settings, we already have so much light. Whether you realize it or not, you have already seen the

light. And whether you realize it or not, you have already been the light.

And all the current elementary students our school to start creating music with me again this new school year, even if things

are still a little different. And even parents who were cheering to be allowed back on

campus and so happy to come find the “music teacher” to tell me just how much

mask and welcoming back students (and for the first time in a year and a half,

parents) on our campus, I found myself feeling a large array of emotions and

questioning exactly how much of a differ-

ence I make (or light I really am to my students, if you will). And then they started

to come—those middle and high school

former students who were there with their younger siblings and just “had to come see me” and tell me how much they

sphere who has embraced opportunity in a changed world.

Your FMEA Awards Committee des-

past year. Let’s all shine a light on those

my school, smiling through my optional

and consider nominating anyone in your

be clear. There is ALWAYS light.

music education during a pandemic, I the light. As I stood in the courtyard of

Please check over the award categories

Friends, allow me (and Ms. Gorman) to

perately wants to recognize the heroes

was having a hard time seeing and being

ing contributions to music education.

music means to their child.

I will be the very first to admit to you

all that after the past year and a half of

music advocates, music programs, and

among us who have been “the light” this

who have demonstrated visionary thinking, resiliency, positivity, innovation, and

a collaborative spirit. We want to hold up and empower those who persevered through a constantly changing year of

music education and continued to turn on

FMEA Awards Categories

“the light” for their students and others.

Leadership Award for Music Education

eral awards in recognition of the efforts

Music Educator of the Year

tors (elementary, secondary, and colle-

College Music Educator of the Year

and secondary), superintendents, school

Administrator of the Year

Your FMEA Awards Program offers sevand accomplishments of music educagiate), school administrators (elementary

board members, school boards, busi-

Superintendent of the Year District School Board/School Board Member of the Year Distinguished Service Award Exemplary Model Program/Project Award Hall of Fame Middle/High School Music Enrollment Award Music Education Service Award (Includes 50-Year Membership Award)

30    F l o r i d a

Music Director


EMERGING LEADERS COMMITTEE

Mary Palmer, EdD, Chairwoman We are days away from the application

deadline for many of the FMEA award

nominations. The deadline for all catego-

ries (except the Music Education Service

and the Music Enrollment Awards) is September 11, 2021. All applications are

completed and turned in online. I know

you have some outstanding potential awardees in your component, district, and

sphere of influence. Please take the oppor-

A

s I write this, the world is still in a time of confusion and uncertainty

… a kind of altered reality. I’m reminded of the children’s story Alice in

Wonderland written by Englishman Lewis Carroll in 1865. In Alice’s conversation

with the Cheshire Cat, she asks: “Would you tell me, please, which way I ought to go from here?”

The Cat responds: “That depends a good deal

on where you want to get to.”

Alice: “… I don’t much care where.”

Cat: “Then is doesn’t much matter

tunity to recognize them. They have been

which way you go.”

light, in recognizing them.

where.”

details about the awards and nomination

only you walk long enough.”

programs/awards/.

approach is probably not the best ave-

the light, and now it’s your turn to be their Please check the FMEA website for

process here: http://fmea.flmusiced.org/

As the Awards Committee embarks

on the task of selecting the 2022 FMEA award winners in the coming weeks, “the

light” of innovation, creativity, and resiliency will surely shine through on the

applications of our potential awardees. It

will be such an honor to recognize music educators, administrators, leaders, programs, projects, and businesses that have

led the way for our state through this historic time. There is no better time than

now to hold high these amazing music educators, music leaders, and music advo-

cates and what they have done to create

new and innovative music education for all students in all Florida schools.

If you have any questions about the

FMEA Awards Program or the nomina-

tions process, please do not hesitate to contact me. I cannot wait to receive your amazing award applications!

Alice: “… So long as I get someCat: “Oh, you’re sure to do that, if For busy music educators, Alice’s

nue for success! As part of their future-

planning at our Summer Conference, 2022 FMEA

Emerging Leaders created personal goals for this year.

Past “emerging” leader and now leader par excellence Malissa Baker will send these messages to the writers in late fall as a reminder of summer dreams and

« Build online strength for my music program; « Focus on recruiting students—starting in elementary school; « Get involved and take on more responsibility in my new school; « Get to know elected officials and influencers in my community; « Contribute to building the strength of FMEA; « Protect some “me time” to soothe my soul; « Visit concerts and community-based events to continue to ignite my passion goals. The goals are far ranging and comprehensive; here are just a few:

for teaching and music-making and use these opportunities to make connec-

« Empower and embrace a diverse music populous. tions in my community;

How about you? Set some stretch goals to build stronger connections in your

school and community and beyond. In spite of the crazy times in which we live, as music educators we are harbingers of a better future. Working together, we can make it happen!

September 2021

31


ExecutiveDirector’sNotes

Who knew? (Part 2) FMEA Executive Director Kathleen D. Sanz, PhD

T

he title of my September 2020 article, just one

secondary school emergency relief fund (ESSER)

Who knew we would still be struggling with

fall, learning acceleration, curriculum adjustments,

year ago, was “Who knew?”

COVID-19 and the question of how we will continue The mission

of the Florida

Music Education Association is to

music education in our schools? We have learned to be flexible in how we deliver content, whether we are teaching face to face, blended, or virtual.

Well, here we are again! Who knew we would

promote quality,

be discussing the same issues while preparing

education in all

have been vaccinated, we are still having the

comprehensive music

to go back to school in 2021? While some people

Florida schools.

conversation and the controversy over wearing a mask when attending school.

Return to Music Project – Latest Guidance

summer opportunities, general music education, secondary ensemble considerations, student teach-

ers, school owned equipment and uniforms, cleaning guidelines, student eligibility, state association changes, and reporting differences.

The guidance and resources were carefully devel-

oped based on recommendations from the CDC and the results of the COVID aerosol study.

All of the links to the project are on the FMEA

homepage

under “Back to School Guidance” as

well as on the NAfME website

website.

and the NFHS

and Resources

Music Educator Shortages

research on aerosol disbursement conducted by the

teacher shortages for music programs in our schools.

As many of you may recall, FMEA supported the University of Colorado, Boulder and the University

of Maryland. This study has been published and has been used to assist in the mitigation of the COVID19 virus in music classrooms throughout the nation.

In my 2020 article, I also mentioned the issue of This, too, continues to be a challenge, and even though school has begun, we still have many music openings within our school programs. FMEA has a Job Bank

on the website for posting positions.

As the 2021-22 school year begins, NAfME and the

We need to do our best to recruit teachers and to talk

(NFHS) have collaborated on new resources to help

college. It does not appear that we will correct the

National Federation of State High School Associations music educators, stakeholders, and decision makers ensure that music education is available to all stu-

dents and provided safely. The project included three

with students about majoring in music education in

shortage soon, so we need to place an emphasis on recruitment.

There are certainly many “what ifs” for which

phases to assist us in the return to school. The Return

we don’t know the answers. What we do know is

rebuild, rejuvenate, and reimagine more inclusive

your ideas with your administrators, and be a part

to Music project is intended to assist music educators music programs during the 2021-22 school year. The Return to Music: Phase III Guidance and Resources was disseminated on August 11, 2021.

Phase III focuses on Beginning the School Year,

with resources for advocacy, recruitment, talking to administrators, different types of returns, and more.

Prior to Phase III, Phase I and Phase II were dis-

seminated with the following foci.

Phase I focuses on scheduling, recruitment, reten-

tion, advocacy, performances, and evaluating your

that each of us must have a plan. Be proactive! Share

of making the decisions and finding the solutions to the challenges we face. Let your administrators

know you have a plan for the return of students with

systems in place to maintain safety in your music classrooms.

Stay in touch with FMEA. Check the website often

as we continue to provide updates, and follow us on Facebook, Instagram, and Twitter.

Stay safe, stay well, and make music!

students.

Musically,

learning (SEL), teacher well being, elementary and

Kathleen D. Sanz, PhD

Phase II focuses on student social emotional

32    

opportunities for music education this summer and


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

Officers and Directors

EXECUTIVE BOARD President

Shelby Chipman, PhD

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

Steven N. Kelly, PhD

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

Jason Locker

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

Ian Schwindt

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

Marc Decker, DMA

Florida Atlantic University 777 Glades Rd.; Boca Raton, FL 33431 (561) 297-3883; deckerm@fau.edu FEMEA President

Joani Slawson

Holy Trinity Episcopal Academy 1720 Peachtree St.; Melbourne, FL 32901 joanislawson@gmail.com Florida NAfME Collegiate President

Alexis Hobbs

Southeastern University (352) 220-2791; aphobbs@seu.edu

EX-OFFICIO MEMBERS

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

Historian/Parliamentarian & Executive Director....................................................Kathleen D. Sanz, PhD Hinckley Center for Fine Arts Education 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793; kdsanz@fmea.org

President......................................................................... Marc Decker, DMA Florida Atlantic University; 777 Glades Rd.; Boca Raton, FL 33431 deckerm@fau.edu

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

President...................................................................................Alexis Hobbs Southeastern University; (352) 220-2791; aphobbs@seu.edu

President.................................................................................Joani Slawson Holy Trinity Episcopal Academy; 1720 Peachtree St.; Melbourne, FL 32901 joanislawson@gmail.com

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

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

Committee Council............................................................... Debbie Fahmie fahmied@yahoo.com

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

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

FLORIDA MUSIC SUPERVISION ASSOCIATION

FOA President

Laurie Bitters

Winter Park High School 2100 Summerfield Rd.; Winter Park, FL 32792 (407) 622-3200; laurie.bitters@gmail.com

FLORIDA ORCHESTRA ASSOCIATION

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

President.................................................................................Laurie Bitters Winter Park High School; 2100 Summerfield Rd.; Winter Park, FL 32792 (407) 622-3200; laurie.bitters@gmail.com

Multicultural Network...........................................................Bruce J. Green (407) 927-3141; bruce.green@ocps.net

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

Professional Development........................................................Scott Evans Orange County Public Schools; 445 S. Amelia St.; Orlando, FL 32801 (407) 317-3200; scott.evans@ocps.net Reclamation......................................................................... William Reaney Buffalo Creek Middle School; 7320 69 St. E.; Palmetto, FL 34221 (239) 826-8077; reaneyw@manateeschools.net

Executive Director............................................................. Donald Langland 220 Parsons Woods Dr.; Seffner, FL 33594 (813) 502-5233; Fax: (813) 502-6832; exdirfoa@yahoo.com

Research......................................................................William I. Bauer, PhD University of Florida; wbauer@ufl.edu

FLORIDA VOCAL ASSOCIATION President........................................................................ Jeannine Stemmer Florida Christian School, 4200 SW 9th Ave.; Miami, FL 33165 j9stemmer@floridachristian.org Past President......................................................................... Jason Locker jason@fva.net

Student Development.............................................. Michael Antmann, EdD Freedom High School; 2500 W. Taft-Vineland Rd.; Orlando, FL 32837 (407) 816-5600; michael.antmann@ocps.net

Executive Director.....................................................................Michael Dye 231 S. Bayshore Dr.; Valparaiso, FL 32580 (850) 217-7419; mike@fva.net Business Manager..................................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; business@fva.net

PROFESSIONAL DEVELOPMENT CONFERENCE Exhibits Manager fmeaexhibits@fmea.org

CENTER FOR FINE ARTS EDUCATION

Local Chairman Ted Hope—(813) 272-4861; ted.hope@sdhc.k12.fl.us

402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 President..................................... Kathleen D. Sanz, PhD (kdsanz@fmea.org)

FLORIDA BANDMASTERS ASSOCIATION

Director of Operations........................Valeria Anderson, IOM (val@fmea.org)

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

Florida Christian School 4200 SW 9th Ave.; Miami, FL 33165 j9stemmer@floridachristian.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

Member-at-Large

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

Miami Northwestern Senior High School cnorton@dadeschools.net

Treasurer......................................................................................... Ted Hope Hillsborough County Public Schools, School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4861; ted.hope@sdhc.k12.fl.us

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

FVA President

Chad Norton

Past President............................................................Harry “Skip” Pardee pardeh@collierschools.com

Emerging Leaders............................................................ Mary Palmer, EdD 11410 Swift Water Cir.; Orlando, FL 32817 (407) 382-1661; mpalmerassoc@aol.com

Past President..................................................................... Cathi Leibinger Ransom Everglades School; 2045 Bayshore Dr.; Miami, FL 33133 (305) 250-6868; pastpresident@fba.flmusiced.org

Jeannine Stemmer

President...................................................................Lindsey Williams, PhD Seminole County Public Schools (407) 320-0434; willialz2@scps.k12.fl.us

Contemporary Media................................................... David Williams, PhD University of South Florida; 4202 E. Fowler Ave., MUS 101 Tampa, FL 33620; (813) 974-9166; davidw@usf.edu

Social Justice & Diverse Learners..................................Bernie Hendricks Ocoee High School; bernard.hendricks@ocps.net

Seminole County Public Schools (407) 320-0434; willialz2@scps.k12.fl.us

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Awards............................................................................Sondra A. W. Collins sondra.collins@marion.k12.fl.us

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

Lindsey Williams, PhD

Past President...........................................................................Julian Grubb Florida Gulf Coast University, grubb.julians@outlook.com

FMEA COMMITTEE CHAIRPERSONS

Florida NAfME Collegiate Advisor

FMSA President

Florida NAfME Collegiate

FSMA President ........................................................................Valerie Terry vterrymusic@gmail.com

Secondary General Music.............................................................Ed Prasse Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net

Mark A. Belfast, Jr., PhD

Technology Director......................................Josh Bula, PhD (josh@fmea.org) Public Affairs & Communications Coordinator..................................... Jenny Abdelnour, CAE (jenny@fmea.org) Marketing & Membership Coordinator................................. Jasmine Van Weelden (jasmine@fmea.org) Business Manager..................................Carolyn Gentry (carolyn@fmea.org)

AFFILIATIONS

September 2021

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Florida Music Director

Profile for Center for Fine Arts Education, Inc

Florida Music Director September 2021  

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