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
2 F l o r i d a
Executive Director Florida Music Education Association Kathleen D. Sanz, PhD
Hinckley Center for Fine Arts Education
402 Office Plaza Tallahassee, FL 32301 (850) 878-6844 or (800) 301-3632 (firstname.lastname@example.org)
D. Gregory Springer, PhD Florida State University College of Music 122 N. Copeland Street Tallahassee, FL 32306 (850) 644-2925 (office) (email@example.com)
Editorial Committee Terice Allen (850) 245-8700, Tallahassee (firstname.lastname@example.org) Judy Arthur, PhD Florida State University, KMU 222 (850) 644-3005 (email@example.com) William Bauer, PhD University of Florida, Gainesville (352) 273-3182; (firstname.lastname@example.org) Alice-Ann Darrow, PhD College of Music, FSU, Tallahassee (850) 645-1438; (email@example.com) Jeanne Reynolds Pinellas County Schools, Largo (727) 588-6055; (firstname.lastname@example.org) John K. Southall, PhD Indian River State College, Fort Pierce (772) 462-7810; (email@example.com)
Valeria Anderson (firstname.lastname@example.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. (email@example.com)
Circulation & Copy Manager
Valeria Anderson, (800) 301-3632
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.
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: firstname.lastname@example.org, 352.392.0224
4 F l o r i d a
SCHOOL OF MUSIC APPLICATION arts.ufl.edu/music
Shelby R. Chipman, PhD
President Florida Music Education Association
Let’s Build Our Florida Music Communities
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
Please take time to thank and support our 2021-2022 Corporate & Academic 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.
6 F l o r i d a
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 –
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
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:
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 email@example.com.
I love you, and there is nothing you can do about it!
Director of Operations
AdvocacyReport 2021-22 Advocacy Tools
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
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.
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.
« CLICK HERE
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 firstname.lastname@example.org
or Jeanne Reynolds
you want to be more actively
engaged with the FMEA Government Relations Committee, please email email@example.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.
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
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.
Hotels Contracted for 2022 FMEA Professional Development Conference
January 12-15, 2022 Tampa Convention Center, Tampa, Florida
reetings! It’s that wonderful time of year when we start planning for our very
special conference event. The Florida Music Education Association has contract-
ed the following Tampa hotels for the January 12-15, 2022, Professional Development Conference. Please telephone your hotel of choice directly from the list below begin-
ning Sept. 25, 2021, at 9 am EDT. Guest rooms at the contracted rates are
available until the room block is full or until the cancellation deadline of Nov. 13, 2021, at 5 pm. If your hotel of choice is sold out, please continue to try
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-
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.
We look forward to seeing you in Tampa! Florida Music Director
ROOM RATES HOTEL – Cutoff date: 11/13/21
Barrymore Hotel Tampa Riverwalk
111 West Fortune Street, Tampa, FL 33602 (813) 223-1351; Group Code: FMEA Comp. internet; comp. self parking
Courtyard by Marriott Downtown Tampa
102 East Cass Street, Tampa, FL 33602 (813) 229-1100, ext. 1; Group Code: FMEA Comp. internet; $20 valet only
DoubleTree by Hilton Tampa Airport Westshore
4500 West Cypress Street, Tampa, FL 33607 (800) 514-3946; Group Code: FMEA Comp. internet; comp. parking
Embassy Suites Downtown
513 South Florida Avenue, Tampa, FL 33602 (813) 769-8300; Group Code: FMEA Comp. internet & breakfast; $24 valet only
Embassy Suites Tampa Airport Westshore
555 North Westshore Blvd., Tampa, FL 33609 (813) 875-1555 #1801; Group Code: FME or FMEA 2022 Comp. internet, self parking, & breakfast
$210 (up to 5 in room)
$220 (up to 6 in room)
Four Points by Sheraton Suites Tampa Airport Westshore
4400 West Cypress Street, Tampa, FL 33607 (800) 368-7764; Group Code: FMEA Comp. internet & self parking; comp. shuttle to TCC and Tampa airport
Hampton Inn Tampa Downtown Channel District
1155 East Kennedy Blvd., Tampa, FL 33602 (813) 525-9900, ext. 2; Group Code: FME Comp. internet & breakfast; $15 self parking
211 North Tampa Street, Tampa, FL 33602 (800) 445-8667, ext. 1; Group Code: FMEA $9.99 internet (comp. for HH); $35 valet
Holiday Inn Tampa Westshore Airport
700 North Westshore Blvd., Tampa, FL 33609 (813) 289-8200; Group Code: FMA Comp. internet & parking
Home 2 Suites Tampa Downtown Channel District
1155 East Kennedy Blvd., Tampa, FL 33602 (813) 525-9900, ext. 1; Group Code: FME Comp. internet & breakfast; $15 self parking
200 North Ashley Drive, Tampa, FL 33602 (888) 236-2427; Group Code: FMEA Comp. internet
700 South Florida Avenue, Tampa, FL 33602 (888) 789-3090; Group Code: FMEA Comp. internet for Bonvoy members; $32 overnight valet; $20 daytime valet
725 S. Harbour Island Blvd., Tampa, FL 33602 (888) 236-2427; Group Code: FMEA Comp. internet; $30 valet only
Sheraton Tampa Riverwalk Hotel Tampa Marriott Water Street Hotel (formerly Marriott Waterside) Westin Tampa Waterside
Job Application Tips by Matthew McCutchen, PhD
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.
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.
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
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-
« 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
Job Application Tips Continued from page 13
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,
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
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
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.
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
written and spoken portions of the
On a final note, getting “a job” is easy.
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
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
“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-
losophy on teaching. A general philos-
FLORIDA MUSIC EDUCATION ASSOCIATION 2021-2022 DONORS
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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.
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)
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
to-face instruction, many are still utilizing safety of students, faculty, and staff.
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
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
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
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
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
LESSONS FROM T HE PAST Continued from page 21
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-
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
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
students across vast distances, and have
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
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
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
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
friendly and fun! This can include having guest speakers at your chapter
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.
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
or visit our website, flnafmecollegiate.com. September 2021
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-
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.
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
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-
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
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.
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
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
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.
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 firstname.lastname@example.org 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
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 email@example.com or 800-336-3768.
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
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-
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.
details about the awards and nomination
only you walk long enough.”
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!
Who knew? (Part 2) FMEA Executive Director Kathleen D. Sanz, PhD
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
be discussing the same issues while preparing
education in all
have been vaccinated, we are still having the
to go back to school in 2021? While some people
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
under “Back to School Guidance” as
well as on the NAfME website
and the NFHS
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!
learning (SEL), teacher well being, elementary and
Kathleen D. Sanz, PhD
Phase II focuses on student social emotional
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 firstname.lastname@example.org Past President
Steven N. Kelly, PhD
Florida State University; College of Music, KMU 330 Tallahassee, FL 32306 (850) 644-4069; email@example.com President-Elect
Orange County Public Schools 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; firstname.lastname@example.org FBA President
Titusville High School 150 Terrier Trail S.; Titusville, FL 32780-4735 (321) 264-3108; email@example.com FCMEA President
Marc Decker, DMA
Florida Atlantic University 777 Glades Rd.; Boca Raton, FL 33431 (561) 297-3883; firstname.lastname@example.org FEMEA President
Holy Trinity Episcopal Academy 1720 Peachtree St.; Melbourne, FL 32901 email@example.com Florida NAfME Collegiate President
Southeastern University (352) 220-2791; firstname.lastname@example.org
FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION
Historian/Parliamentarian & Executive Director....................................................Kathleen D. Sanz, PhD Hinckley Center for Fine Arts Education 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793; email@example.com
President......................................................................... Marc Decker, DMA Florida Atlantic University; 777 Glades Rd.; Boca Raton, FL 33431 firstname.lastname@example.org
Editor-in-Chief.....................................................D. Gregory Springer, PhD FSU College of Music; 122 N. Copeland St.; Tallahassee, FL 32306 (850) 644-2925; email@example.com
President...................................................................................Alexis Hobbs Southeastern University; (352) 220-2791; firstname.lastname@example.org
President.................................................................................Joani Slawson Holy Trinity Episcopal Academy; 1720 Peachtree St.; Melbourne, FL 32901 email@example.com
Budget/Finance, Development................................ Shelby Chipman, PhD Florida A&M University, Department of Music, Foster-Tanner Music Bldg., Room 318 Tallahassee, FL 32307; (850) 599-8165; firstname.lastname@example.org
Past President............................................................ Ernesta Chicklowski Roosevelt Elementary School; 3205 S. Ferdinand Ave.; Tampa, FL 33629 (813) 272-3090; email@example.com
Committee Council............................................................... Debbie Fahmie firstname.lastname@example.org
Executive Director............................................................. Jennifer Sullivan 1750 Common Way Rd., Orlando, FL 32814 (321) 624-5433; email@example.com
Conference Planning Committee.............................John K. Southall, PhD Indian River State College; 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810; firstname.lastname@example.org
FLORIDA MUSIC SUPERVISION ASSOCIATION
Winter Park High School 2100 Summerfield Rd.; Winter Park, FL 32792 (407) 622-3200; email@example.com
FLORIDA ORCHESTRA ASSOCIATION
Government Relations..................................................Jeanne W. Reynolds (727) 744-7252; firstname.lastname@example.org
President.................................................................................Laurie Bitters Winter Park High School; 2100 Summerfield Rd.; Winter Park, FL 32792 (407) 622-3200; email@example.com
Multicultural Network...........................................................Bruce J. Green (407) 927-3141; firstname.lastname@example.org
Past President.......................................................................Matthew Davis Harrison School for the Arts; 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 499-2855; email@example.com
Professional Development........................................................Scott Evans Orange County Public Schools; 445 S. Amelia St.; Orlando, FL 32801 (407) 317-3200; firstname.lastname@example.org Reclamation......................................................................... William Reaney Buffalo Creek Middle School; 7320 69 St. E.; Palmetto, FL 34221 (239) 826-8077; email@example.com
Executive Director............................................................. Donald Langland 220 Parsons Woods Dr.; Seffner, FL 33594 (813) 502-5233; Fax: (813) 502-6832; firstname.lastname@example.org
Research......................................................................William I. Bauer, PhD University of Florida; email@example.com
FLORIDA VOCAL ASSOCIATION President........................................................................ Jeannine Stemmer Florida Christian School, 4200 SW 9th Ave.; Miami, FL 33165 firstname.lastname@example.org Past President......................................................................... Jason Locker email@example.com
Student Development.............................................. Michael Antmann, EdD Freedom High School; 2500 W. Taft-Vineland Rd.; Orlando, FL 32837 (407) 816-5600; firstname.lastname@example.org
Executive Director.....................................................................Michael Dye 231 S. Bayshore Dr.; Valparaiso, FL 32580 (850) 217-7419; email@example.com Business Manager..................................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; firstname.lastname@example.org
PROFESSIONAL DEVELOPMENT CONFERENCE Exhibits Manager email@example.com
CENTER FOR FINE ARTS EDUCATION
Local Chairman Ted Hope—(813) 272-4861; firstname.lastname@example.org
402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 President..................................... Kathleen D. Sanz, PhD (email@example.com)
FLORIDA BANDMASTERS ASSOCIATION
Director of Operations........................Valeria Anderson, IOM (firstname.lastname@example.org)
President...................................................................................Ian Schwindt Titusville High School; 150 Terrier Trail S.; Titusville, FL 32780-4735 (321) 264-3108; email@example.com
Florida Christian School 4200 SW 9th Ave.; Miami, FL 33165 firstname.lastname@example.org
Executive Director......................................................................Neil Jenkins Florida Bandmasters Association P.O. Box 840135; Pembroke Pines, FL 33084 (954) 432-4111; Fax: (954) 432-4909; email@example.com
Business Manager..................................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; firstname.lastname@example.org
Miami Northwestern Senior High School email@example.com
Treasurer......................................................................................... Ted Hope Hillsborough County Public Schools, School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4861; firstname.lastname@example.org
FMEA Corporate & Academic Partners.....................................Fred Schiff All County Music; 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; email@example.com
Past President............................................................Harry “Skip” Pardee firstname.lastname@example.org
Emerging Leaders............................................................ Mary Palmer, EdD 11410 Swift Water Cir.; Orlando, FL 32817 (407) 382-1661; email@example.com
Past President..................................................................... Cathi Leibinger Ransom Everglades School; 2045 Bayshore Dr.; Miami, FL 33133 (305) 250-6868; firstname.lastname@example.org
President...................................................................Lindsey Williams, PhD Seminole County Public Schools (407) 320-0434; email@example.com
Contemporary Media................................................... David Williams, PhD University of South Florida; 4202 E. Fowler Ave., MUS 101 Tampa, FL 33620; (813) 974-9166; firstname.lastname@example.org
Social Justice & Diverse Learners..................................Bernie Hendricks Ocoee High School; email@example.com
Seminole County Public Schools (407) 320-0434; firstname.lastname@example.org
FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION
Awards............................................................................Sondra A. W. Collins email@example.com
Southeastern University 1000 Longfellow Blvd.; Lakeland, FL 33801 (863) 667-5104; firstname.lastname@example.org
Lindsey Williams, PhD
Past President...........................................................................Julian Grubb Florida Gulf Coast University, email@example.com
FMEA COMMITTEE CHAIRPERSONS
Florida NAfME Collegiate Advisor
Florida NAfME Collegiate
FSMA President ........................................................................Valerie Terry firstname.lastname@example.org
Secondary General Music.............................................................Ed Prasse Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; email@example.com
Mark A. Belfast, Jr., PhD
Technology Director......................................Josh Bula, PhD (firstname.lastname@example.org) Public Affairs & Communications Coordinator..................................... Jenny Abdelnour, CAE (email@example.com) Marketing & Membership Coordinator................................. Jasmine Van Weelden (firstname.lastname@example.org) Business Manager..................................Carolyn Gentry (email@example.com)
Florida Music Director