Florida Music Director September 2020

A Method for Teaching

Call Response Meeting IEP Goals in Music Education

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

Hinckley Center for Fine Arts Education

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

Contents Volume 74 • Number 2

September 2020

F E AT U R E S

Editor-in-Chief

In Memoriam of Bobbie Smith.. . . . . . . . . 4

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

A Method for Teaching Call and Response. . . . . 10

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

Advertising Sales

Meeting IEP Goals in Music Education . . . . . . 14 D E PA R T M E N T S

Corporate & Academic Partners. . . . . 2 President’s Message. . . . . . . . . . . . . 5 Advocacy Report. . . . . . . . . . . . . . 6-7 2020-21 FMEA Donors. . . . . . . . .

8-9

Component News.. . . . . . . . . . . . . 19 Research Puzzles. . . . . . . . . . . . . . 26 Committee Reports. . . . . . . . . . . . 28

Valeria Anderson (val@fmea.org)

Executive Director’s Notes. . . . . . . . 34

Director of Finance and Client Relations

Officers and Directors.. . . . . . . . . . 35

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

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Art Director & Production Manager

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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.

2020-21 FMEA Membership: You are eligible for membership in the Florida Music Education Association if you are an individual engaged in the teaching, supervision, or administration of music in elementary and secondary schools, colleges, or universities within the state.

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

SUBSCRIPTIONS: Direct correspondence regarding subscriptions to: Hinckley Center for Fine Arts Education, 402 Office Plaza, Tallahassee, FL, 32301-2757. Subscription cost included in FMEA membership dues ($9); libraries, educational institutions, and all others within the United States: $27 plus 7.5% sales tax.

CIRCULATION: 4,500 educators. Published eight times annually by The Florida Music Education Association, Hinckley Center for Fine Arts Education: 402 Office Plaza, Tallahassee, FL 32301-2757. FMEA reserves the right to approve any application for appearance and to edit all materials proposed for distribution. Permission is granted to all FMEA members to reprint articles from the Florida Music Director for non-commercial, educational purposes. Non-members may request permission from the FMEA office.

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

All articles must be provided in digital format (e.g., Microsoft Word). All applicable fonts and images must be provided. Images must be at least 300 dpi resolution at 100% of the size. All submissions must be accompanied by a proof (color, if applicable). Ads may be submitted via email to val@fmea.org.

September 2020

3

In Memoriam of

Bobbie Smith

A Life Well Lived November 30, 1944–August 7, 2020

Barbara J. Smith (Bobbie) was a well-loved member of the

Florida Music Education Association family. She and her husband, Byron, served for many years as exhibit managers of the annual exhibition of music education products and services held in conjunction with the

FMEA Professional Development Conference held in Tampa each January.

A musician herself, Bobbie was a pianist and sang in her church choir.

Music was Bobbie’s life, and she enjoyed seeing others, including her

grandchildren, involved in music. She provided guidance to countless

young musicians and music educators for more than 25 years, offering inspiration and providing direction for the future of music education.

We will miss her smile and her work with our exhibitors to

ensure they are equipped for the FMEA conference. Bobbie’s earthly journey is complete, and she has earned her wings.

Her daughter-in-law recently paid tribute to her, quoting from the Gospel of Matthew.

“Well done, thy good and faithful servant” (Matthew 25:23).

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President’sMessage

SHOW YOUR VALUE:

Celebrating Success and Advocating for Our Future

H

ello, FMEA members. As I write this article

Florida Seal of Fine Arts Program bill in the next leg-

Steven N. Kelly, PhD

many uncertainties, so much anxiety. Yet, I have

ment data that you can use to support your students’

President Florida Music Education Association

at the beginning of August, there are still so

been so impressed with the commitment, dedi-

cation, creativity, and resourcefulness of Florida

islative session, and the next round of cohort enrollmusic participation will be coming out soon.

As you can see, through all of our challenges,

music teachers in confronting the return to school.

music has succeeded. But there is work to be done.

constantly moving target of ever-changing policies,

fession has being an advocate for your program

Still, like so many of you, I am frustrated by the public debate, and mandates. It is often too easy to

get isolated in our classrooms, and this isolation can contribute to a lack of professional self-awareness and impact.

Among all of our challenges, however, we still

have reasons to celebrate. For example, at the sum-

mer NAfME National Assembly meeting, FMEA was awarded the Membership Award for large

associations. This award indicates that FMEA is currently the largest state MEA in the country.

While we are certainly in no competition with our fellow states, this award does signify the importance

Perhaps at no other time in the history of our probeen more important. You MUST speak up about

the value and worth of music in our schools and

your specific program. You MUST be involved and informed. Visit the FMEA and NAfME websites to

learn about the latest resources and techniques for

successfully teaching music in a virtual setting. Be directly involved in decisions being made for your

school, including decisions that may not initially affect your music classes. Talk to your principals,

guidance counselors, and other colleagues. Contact

your superintendents and school board members.

Get your students’ parents involved. Tell every-

that our state music teachers place on being FMEA

one that music is important, and may be the most

row that FMEA has received a major award from

school.

members. This award marks the second year in a NAfME. (We received the Advocacy Award in 2019.)

important class of the day as students return to We MUST keep music in music education.

The announcement of this award could also be con-

Students join music classes to sing and to play their

membership if you have yet to do so!

being sent home or other nonperforming filler activ-

strued to be a passive reminder to renew your FMEA More good news. Forty-seven Florida students

either made an ensemble or were selected as alter-

nates in the NAfME All-National Honors Ensembles.

This is further evidence of the successful music teaching in our state.

Still more good news. In June, Dr. Mary Palmer

hosted an incredible Emerging Leaders workshop

instruments. Reducing music to worksheet packets ities eliminates the very essence of a music class.

Programs that will survive best after COVID-19 will

be those that are visible NOW. Be your best advo-

cate! Show the value of active music making and the many different ways that music education contributes to every student’s complete education.

I hope you will enjoy reading this issue of Florida

that attracted more than 50 participants from around

Music Director. I also hope you will be able to take

tremendous way to begin developing the future of

know that if I can ever be of assistance, I hope you

the state. The energy was amazing! This event is a FMEA leadership.

And yet more good news. I am pleased to report

care of yourself. Thank you for all you do. Please will contact me.

that the Early Childhood Bill, which FMEA supported, survived the governor’s veto and will be imple-

mented. This will be a great boost for our K-3 music teachers. Furthermore, FMEA will re-introduce the

Steven N. Kelly, PhD, President

Florida Music Education Association

September 2020

5

AdvocacyReport Jeanne W. Reynolds Chairwoman Government Relations Committee

Democracy Is Not a Spectator Sport I have written many articles with this same title. The pandemic has

reminded me it’s time for a review.

Do you know that one of the primary responsibilities of state govern-

ment is to educate Florida’s students? The constitutional language follows here:

The education of children is a fundamental value of the people of the State of Florida. It is, therefore, a paramount duty of the

state to make adequate provision for the education of all chil-

dren residing within its borders. Adequate provision shall be made by law for a uniform, efficient, safe, secure, and high-qual-

ity system of free public schools that allows students to obtain a

high-quality education and for the establishment, maintenance, and operation of institutions of higher learning and other public

education programs that the needs of the people may require (Florida Constitution, Article IX, Section 1, emphasis added).

If you are satisfied that your state leaders are fulfilling this constitu-

tional duty successfully, please make sure to thank them and support them in upcoming elections. If you have concerns, please engage vigorously in the democratic process. Express your concerns and make suggestions for improvement and/or support different candidates. Decision

makers cannot be held accountable if you don’t make your concerns

known. Decision makers cannot be held accountable if you are not a knowledgeable voter or, worse yet, if you do not vote.

As I watch friends and colleagues post passionate comments on social

media, I wonder how many of these friends have contacted the governor or their legislators who can actually do something. Your time is better

spent crafting a well-written, respectful tweet or post to a decision maker than hoping public sentiment will magically make it to your decision maker’s desk.

See the sidebar for a list of the people responsible for carrying out the

requirements of the state constitution. Let them know your thoughts.

You are not powerless.

Click here to find 6 F l o r i d a

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YOUR legislators

FLORIDA LIEUTENANT GOVERNOR:

FLORIDA GOVERNOR: Ron DeSantis

Jeanette Nuñez

FLORIDA REPRESENTATIVES

FLORIDA SENATORS Ben Albritton

Ramon Alexander

Jason Fischer

Daniel Perez

Dennis Baxley

Vance Arthur Aloupis, Jr.

Heather Fitzenhagen

Cary Pigman

Lizbeth Benacquisto Lori Berman

Robert Alexander “Alex” Andrade

Joy Goff-Marcil

Rene “Coach P” Plasencia

Randolph Bracy

Loranne Ausley

Michael “Mike” Gottlieb

Tina Scott Polsky

Jeff Brandes

Melony M. Bell

James “J.W.” Grant

Sharon Pritchett

Doug Broxson

Robert Charles “Chuck” Brannan III

Aaron Bean

Lauren Book Rob Bradley

Oscar Braynon II Janet Cruz

Manny Diaz, Jr.

Gary M. Farmer, Jr. Anitere Flores

George B. Gainer Bill Galvano

Audrey Gibson Joe Gruters

Gayle Harrell Ed Hooper

Travis Hutson Tom Lee

Debbie Mayfield Bill Montford

Kathleen Passidomo Keith Perry

Jason W.B. Pizzo Bobby Powell

Kevin J. Rader

Jose Javier Rodriguez Darryl Ervin Rouson David Simmons Wilton Simpson Kelli Stargel

Linda Stewart

Annette Taddeo

Perry E. Thurston, Jr. Victor M. Torres, Jr. Tom A. Wright

Thad Altman

Bruce Antone Bryan Avila

Mike Beltran

Kamia L. Brown

James Buchanan Colleen Burton

Dr. James Bush III Cord Byrd

Michael A. “Mike” Caruso Joseph A. “Joe” Casello

Joseph Geller

Margaret Good Erin Grall

Michael Grant

Tommy Gregory

Michael “Mike” Grieco Brett Thomas Hage

Dianne “Ms Dee” Hart

Scott Plakon Cindy Polo

Mel Ponder

Holly Raschein Paul Renner

Spencer Roach

William Cloud “Will” Robinson, Jr.

Adam Roger Hattersley

Ray Wesley Rodrigues

Delores D. “D” Hogan Johnson

Anthony Rodriguez

Mike Hill

Ana Maria Rodriguez

Blaise Ingoglia

Bob Rommel

Evan Jenne

Anthony Sabatini

Dotie Joseph

Jason Shoaf

Al Jacquet

Rick Roth

Charles Wesley “Chuck” Clemons, Sr.

Shevrin D. “Shev” Jones

David Santiago

W. Travis Cummings

Sam H. Killebrew

David Silvers

Kimberly Daniels

Chip LaMarca

Ben Diamond

Thomas J. “Tom” Leek

John Cortes Dan Daley

Tracie Davis

Nick DiCeglie

Byron Donalds Brad Drake

Fentrice Driskell

Bobby B. DuBose Wyman Duggan

Nicholas X. Duran Dane Eagle

Anna V. Eskamani

Javier E. Fernandez Juan Alfonso Fernandez-Barquin

Elizabeth Anne Fetterhoff Randy Fine

Mike La Rosa

Tyler I. Sirois

Emily Slosberg

Chris Latvala

Carlos Guillermo Smith

MaryLynn “ML” Magar

Jennifer Mae Sullivan

David Smith

Randall Scott “Randy” Maggard

Geraldine F. “Geri” Thompson

Ralph E. Massullo, M.D.

Jay Trumbull

Amber Mariano Stan McClain

Lawrence McClure Kionne L. McGhee

Jackie Toledo

Josie Tomkow Susan L. Valdes

Barbara Watson

Clovis Watson, Jr.

Amy Mercado

Jennifer Necole Webb

Jose R. Oliva

Patricia H. Williams

Tobin Rogers “Toby” Overdorf

Clay Yarborough

Wengay “Newt” Newton Anika Tene Omphroy Bobby Payne

Matt Willhite

Jayer Williamson Ardian Zika

September 2020

7

FLORIDA MUSIC EDUCATION ASSOCIATION 2020-2021 DONORS

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

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

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

The following have graciously donated to FMEA from April 1, 2020, through August 11, 2020.

MAESTRO’S CIRCLE $10,000 and up

No current donors at this time.

ARTIST’S CIRCLE $1,000 – $9,999

No current donors at this time.

SUSTAINERS $100 – $999

Ann Adams-Valle In Dedication of Bobby L. Adams Lucinda Balistreri In Honor of June M. Hinckley Anthony Chiarito Dayna Cole In Memory of Linda Mann Alice-Ann Darrow In Honor of Mr. & Mrs. O. B. Darrow Jason Dobson Patricia Flowers Dennis Holt Marsha Juday Sheila King In Memory of John W. King Jason Locker In Memory of June M. Hinckley

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Natalie Mallis Angel Marchese Ree Nathan John Nista Kimberly Oppermann On Behalf of the Board of Directors of HCEMEC, Inc. Kathleen Sanz In Honor of June M. Hinckley Harry Spyker In Honor of Fred & Marlene Miller Leiland Theriot In Memory of Clayton Krehbiel Robert Todd In Memory of Gary Rivenbark Richard Uhler Kenneth Williams

PATRONS $25 – $99 Karen Bradley In Memory of Harold Bradley Katarzyna (Kasia) Bugaj Audrey Carballo In Memory of Irwin Bernard Greg Carswell Renee Cartee Dale Choate Don Coffman Marc Decker Virginia Densmore In Memory of Jeff Bradford Virginia Dickert

In Memory of Lindsay Keller & Deborah Liles

Marie Radloff In Memory of Charles F. Ulrey C. William Renfroe In Memory of Herbert Beam, past FVA President & my high school choral director Melissa Salek Ted Shistle Valerie Terry Julian White In Dedication of Kenneth Tolbert

Debbie Fahmie Melanie Faulkner Bradley Franks In Memory of Gary W. Rivenbark Michael Johnson Lu Anne Leone Joseph Luechauer Robert McCormick Jeneve Medford Jarvis Katie Grace Miller In Honor of My Aunt Artie Amy Nickerson In Memory of Carola F. Nickerson Mary Palmer

Anonymous (3)

FRIENDS

up to $24

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Walter Halil Jason Jerald Deborah Mar In Memory of Barbara Kingman Kristy Pagan Hank Phillips

Phil Tempkins Michelle Tredway Gary Ulrich Lisa Wilson

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

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

September 2020

9

A Method for Teaching

Call

by Jeff Benatar, DMA

As more Florida music educators seek to include

Black American musical content into their programming, rehearsal techniques like call and response

from the jazz canon can help. Call and response is a

fun and effective pedagogical tool to engage your music

students, and it will also improve the authenticity of your

performances. The following step-by-step process was designed for

high school and collegiate small jazz ensembles, but can be simplified for all ages and musical groups.

Call and response is when a soloist states a musical phrase, and the rhythm

section (or the rest of the ensemble) reacts with a connected rhythm, harmo-

ny, or motive. Encourage your students to think about call and response as a

conversation. A speaker will periodically leave space for a listener to respond; Continued on page 12

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R

Response

September 2020

11

Call & Response Continued from page 10

this response might be “I hear ya” or “gotcha,” and the person speaking is being reassured that he or she is

being heard. Musically, the soloist knows his or her idea is being acknowledged by hearing a related response.

Remind your students that response is not imitation. (See Step 12 below.) In music, as in conversation, imitation is sometimes viewed as a teasing or sarcastic response.

The blues is an ideal vehicle for teaching call and

response. I recommend using a blues piece in your repertoire so your students are improving on music they

will be performing. For the purposes of this article, I am

first example is the drums (Philly Joe Jones) from 0:38 to 0:43. Listen to the high hat on beat 4.

9. Show the transcription. (See Example 1.) Have each

student pick one of the parts and sing along with that

part as you replay the recorded excerpt. If your group is not great at sight singing, have the whole class sing one line at a time. The most important ones to sing are the trumpet call and the drum response.

10. Play or sing along. Now have students play their instruments or sing along. Note that the transcription is in concert pitch, concert B-flat.

using trumpeter Blue Mitchell’s solo from Blue Soul as an

11. Repeat Steps 8-10. Example 2 takes place at 1:45-1:53.

on Blue Mitchell’s recording on the Riverside label. Here

four measures of the AAB blues form (beginning

example. It is accessible on YouTube or as the title track are the steps to teaching call and response:

1. Play the recording until the first solo begins. For Blue Soul, make sure you listen to both iterations of the head (or melody).

2. Play the recording of the solo. Step 1 and Step 2 are here to establish context.

3. Guess the form. Blue Soul is in a 12 bar blues form. If

It is during the last chorus (fourth) during the second

with the IV chord). Remind students that this type of interaction happens organically throughout the course

of a solo. I recommend that the students play or sing (Step 10) the pitches in the trumpet (call) and the top

note of the piano voicing (response) as it demonstrates how the caller and the responder are listening to one another.

you have not yet discussed the blues form, an import-

12. Clarify non-imitation. Pianist Wynton Kelly is play-

time before continuing. Remind your students that

out that the rhythm is the same but the note choices

ant tradition of Black American music, spend some

the 12 bar blues form is AAB and often contains call and response in each four-measure section. (Listen to singers like Bessie Smith or Robert Johnson for good examples.)

4. Count to see when the melody repeats. Establish if there are two-, four-, six-, or eight-measure phrases.

5. Listen actively and mark the form with tactile cues.

Blue Mitchell’s solo is the first one and is four choruses

long. I recommend that students raise their hands at the top of the form. If they are more advanced, have

students hold up one finger for the Roman numeral I chords and four fingers for the IV chord and bring

their hands down on the downbeat of each chorus.

This engages both the tactile and aural senses. If students are watching their peers or you, they are potentially learning visually as well.

6. Introduce the concept of call and response. Use any definition. Just make sure you juxtapose it against the “call and imitation” methodology. (See Step 12.)

7. Re-listen to the solo. The solo starts at 0:36. Have students raise their hands each time they hear a paired call and response.

8. Identify the caller and the responder. The caller is often the trumpet (Blue Mitchell). The responder in the

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ing back the same rhythm. Isn’t that imitation? Point and direction of the two pitches are different. This shows the depth of call and response compared to

Example 1

Example 2

imitation. First, the call note choice is two D-flats. The

14. Interact. Perform this or your selected blues piece and

Blue Mitchell hears the ascension response and goes

their abilities to utilize space. Ask them to appreciate

response starts on D-flat but then goes up. Trumpeter up in his second iteration of the call. Second, the

response reiterates that D-flat to keep the theme, but

the pianist chooses to descend. Third, the call repeats

let as many students solo as time allows. Applaud

how space lets the music breathe and creates meaningful dialogue between each soloist and the ensemble responses.

ascending, so the response descends again—they’ve

15. Repeat. Repeat this lesson three to five times for best

note is now a D natural to ensure that the chord

Then you can begin to introduce other types of inter-

definitely heard each other. Note how the top piano

returns to the I chord rather than the IV where this

interaction began. Fourth, the final call ends on B-flat (tonic) and, as a result, so does the response. Then new ideas for both the caller and responder continue.

results. Use examples from your repertoire, if possible.

action such as phrase punctuation, texture change, instigation, and anticipation.

Enjoy the process. This methodology will be fun for

13. Practice solos on 12 bar blues. Have each member of

you, too. Call and response is so much more dynamic

rhythm section or ensemble to interact. Remember to

wonderful by-product of this methodology is that your

the ensemble take a solo—trying to leave space for the

emphasize that responses should not be imitations. If you are doing this activity with an individual student,

I recommend accompanying the student on piano.

In a group setting, you may also prescribe a specific

response for your ensemble members. (Suggest a particular rhythm, measure number, and/or set of pitch options so that ensemble responses are not total

cacophony.) Make sure to clarify who is the soloist

than a “repeat after me” or a “Simon says” rehearsal. A

students will be more willing to take solos, and their

improvisations will be more interesting and successful.

Teaching the call and response interaction technique

reinforces the influence of Black American music, a tra-

dition that has impacted almost every genre of music we perform.

(caller) and who is the responder (individuals or the

Jeff Benatar, DMA, is a jazz pianist with a

space as the caller. It forces clarity of ideas and rhythm

of music, director of jazz studies, and coordina-

ensemble). In short, encourage your students to leave and makes interaction easier. Although this feels contrived at first, it helps students (both as soloists and

ensemble musicians) to really listen to each other. This is the beginning of good interaction.

passion for teaching. He is assistant professor

tor of music management at Florida Southern College. Dr. Benatar directs FSC’s big band

and combos, leads the Jazz Piano Studio, and teaches jazz and music management courses.

September 2020

13

MEETING IEP GOALS in Music Education

A

by Amalia Allan

An individualized education plan (IEP)

according to IDEA, 2004, and the infor-

can take this concern to a member of

educator can use to help students with

rights and responsibilities. Teachers’

(VanWeelden, 2015). Schools must provide

is one of the most helpful tools a music

disabilities in music classes. IEPs are legal

documents outlined in the Individuals with Disabilities Education Act (IDEA,

2004), and they apply to students who fit within one (or more) of 13 disability categories (e.g., visual impairment/blindness,

mation below is an overview of these rights include:

1. receiving a written copy of all

students’ IEPs (Wrightslaw, 2020b);

2. requesting additional music-specific

supports, materials, and/or training; and

deafness, autism, speech or language

3. determining student placements

lists of individualized goals and strat-

without disabilities (IDEA, 2004;

impairment). Within IEPs, you will find

on the same basis as students

egies to help students with disabilities succeed in school (IDEA, 2004). Though

VanWeelden, 2015).

All teachers have a right to see their

IEPs rarely contain music goals and music

students’ IEPs (IDEA, 2004; Wrightslaw,

are ways that music educators can be

ers are responsible for:

teachers are not often on IEP teams, there more involved in IEP processes (Adamek & Darrow, 2018; VanWeelden, 2015). IEPs

2020b). According to IDEA, 2004, all teach-

1. familiarizing themselves with students’ IEPs;

can sometimes be challenging to inter-

2. implementing IEP goals as

music class may seem like a daunting

3. consulting with IEP team members

pret, and applying non-music goals in

task. Fortunately, documents and training opportunities exist to help music teachers

with IEP goals (Adamek & Darrow, 2018; FDOE, 2015; VanWeelden, 2015), and this

applicable;

regarding questions and student feedback; and

4. providing equal opportunities to all students despite their

article suggests ways to incorporate IEP

abilities (Adamek & Darrow, 2018;

information in music instruction.

It is important for educators to under-

stand their rights and responsibilities

14 F l o r i d a

VanWeelden, 2015).

Also, if you think a certain student

requires a specific music support, you

Music Director

the child’s IEP team to submit a request and pay for accommodating materials,

such as assistive technology (AT), for students who need it. AT can include low-tech

items, too, such as pencil grips (FDOE,

2015; Wrightslaw, 2020a). Therefore, a reasonable music support should be supplied.

In a book chapter titled “Understanding

the Individualized Education Program

Model within the United States,” Dr.

Kimberly VanWeelden (2015) presented four IEP segments that music educators can look for in IEPs to facilitate accommodation planning. These included: 1. Present Levels of Academic

Achievement and Functional Performance;

2. Measurable Annual Goals;

3. Supplementary Aids and Services; and

4. Program Modifications/Supports for School Personnel.

In the following sections, I discuss each

of these IEP segments and give examples

of how the information provided in the respective segments can be used in music Continued on page 16

“

… there are ways that music educators can be more involved in IEP processes.

”

September 2020

15

IEP Goals

Table 1

Examples of Present Levels and Student’s Strengths and Challenges

Continued from page 14 lesson planning for students with disabilities. All examples relate to two hypothet-

ical students with IEPs, Jeremiah and Lila.

As you read through the examples, please consider how these IEP-inspired ideas

might also help other students, including

Student’s Strengths and Challenges

Jeremiah is a fourth grader who shows strength in reading and weakness in math. He has difficulty paying attention in class and struggles with following directions.

+ reading

– math, focus

Lila is a seventh grader who is gifted in math. In sixth grade, she completed a senior-level math class at the high school and received an A in the class. She needs accommodations for activities like writing, which make use of fine motor skills, and she has great difficulty with transitions between activities.

those who do not have IEPs.

1. Present Levels of Academic Achievement and Functional Performance

In this segment of the IEP, there are

descriptions of the student’s present levels

Examples of Present Level of Academic Achievement and Functional Performance

+ math – fine motor skills, transitions

of academic and functional accomplish-

(see Table 1). It is best to begin by empha-

Department of Education describes these

child’s performance in academic areas”

deficits. Then, start to brainstorm accom-

student, asking the question, “Where’s

ment. Academic achievement refers to “a

(e.g., math, science, language arts), and functional performance pertains to “skills of

daily living” (e.g., dressing, social skills, behavior skills, mobility skills) (CPIR,

2017a, paras. 3 and 6). Though everything in this segment may not always apply to

what a child does in music, it might still

sizing a student’s strengths rather than modations based on the student’s strengths that are applicable to music. The second IEP segment, Annual Goals, is directly related to the current segment, Student

Levels. Music accommodations are presented in the next table (see Table 2).

be useful for planning accommodations.

2. Measurable Annual Goals

strengths and challenges, which I like to

demic and functional goals, which stem

Begin by taking note of the student’s mark on a separate document with a “+”

for strengths and a “-” for challenges, even if they are not directly related to music

This segment addresses important acafrom the student’s present levels of aca-

demic achievement and functional perfor-

mance listed above (CPIR, 2017b). The U.S.

goals as being a type of road map for the the child heading this year [academically

and functionally]?” (CPIR, 2017b, para. 1).

Though IEPs do not usually include music

goals, federal law requires that all teachers, including music teachers, help stu-

dents meet their annual IEP goals where applicable (IDEA, 2004; VanWeelden,

2015). Many of these annual goals can

be connected to music, either directly or through thoughtful transfers (see Table 2).

3. Supplementary Aids and Services

In this segment, there is a list of necessary aids and services for helping a student meet his or her annual goals. The

U.S. Department of Education defines supplementary aids and services as “aids, services, and other supports that are

provided in regular education classes, other education-related settings, and in extracurricular and nonacademic settings, to enable children with disabilities

to be educated with nondisabled children

to the maximum extent appropriate” (CPIR, 2017c, para. 6). This definition

clearly encompasses music activities, and this section of the IEP is one of the most

useful

to

music

educators

(VanWeelden, 2015). Supplementary aids and services include environmental needs

16 F l o r i d a

(e.g., preferential seating), staff support Music Director

Table 2

Examples of Annual Goals and Ideas for a Music Education Setting Examples of Annual Goals

Activity Ideas for a Music Education Setting

Jeremiah will complete math word

problems that involve multiplication

+ Compliment Jeremiah on any good work and take note of specific musical strengths.

classroom worksheets.

– Incorporate meter activities to improve math skills and use strategic “buddy breakouts” while monitoring student progress.

and division with 85% accuracy on 8/10 Jeremiah will complete actions in response to 3-step verbal requests with 90% accuracy.

Lila will pick up small objects using an inferior pincer grasp with thumb and fingers with her right hand with 80% accuracy in 4/5 trials.

Lila will increase ability to transition from one activity to another to 90% of the time.

– Help Jeremiah with following directions. Start with 2-step instructions, and then increase to 3-step instructions. + Compliment Lila on any good work and take note of specific musical strengths.

– Incorporate activities and exercises to encourage rehearsing of motor skills, particularly through instrument playing. Create instrument modifications as needed (Adamek & Darrow, 2018).

– Help with transitions through an established music routine and music activity schedule.

(e.g., one-on-one assistance), equipment

the aid or service be added to the docu-

include attending a conference or training

needs (e.g., frequent breaks, more time on

must provide and pay for any assistive

from another staff member or admin-

needs (e.g., assistive technology), pacing

tests), alternative presentation of material (e.g., video lectures, sign language), mate-

rial needs (e.g., large print or Braille), and testing adaptations (e.g., modified formats, extended time). With this information, music teachers can provide accommodations and modifications while also

ment and provided to the child. Schools

related to the child’s needs, getting help

technology (AT) that a student needs to

istrative person, having an aide in the

make progress, and this includes music

classroom, or getting special equipment

class (IDEA, 2014; Wrightslaw, 2020a). A

or teaching materials (CPIR, 2017d). Music

device as simple as a pencil grip is con-

educators can use this section of the IEP to

sidered a low-tech type of AT (FDOE,

make special requests regarding training

2015; Wrightslaw, 2020a).

(VanWeelden, 2015) (see Table 4).

finding ways to present and evaluate

4. Program Modifications/Supports

Organizing and Using IEP

VanWeelden, 2015) (see Table 3). Also, it

This segment includes specific supports

After finding the information you need

lesson material (Adamek & Darrow, 2018;

is important to remember that if there is a specific music aid or service that you think might be beneficial to a child

with an IEP, you can speak with one of the IEP team members to request that

for School Personnel

Information

that are provided to any school faculty

in the above IEP segments, you can

or staff member who works with the stu-

begin to plan and create accommoda-

dent. Again, this is all intended to help the

tions and modifications for individual

individual student meet his or her annu-

students. Though IDEA does not define

al goals. Supports for personnel might

Continued on page 18

Table 3

Examples of Supplementary Aids and Services as Applied to a Music Education Setting Examples of Supplementary Aids and Services Jeremiah needs preferential seating near the front of the

classroom. Also, provide visual cues and prompts, extended time on tests, and use of a calculator on math tests.

Lila needs preferential seating, adapted writing utensils,

assistive technology, a visual daily schedule, and visual and verbal cues regarding transitions.

Applications to a Music Education Setting Provide preferential seating, visual cues and prompts, and allow extended time on tests.

Provide preferential seating, adapt musical instruments

and manipulatives (Adamek & Darrow, 2018), incorporate a

visual music schedule, and implement visual and verbal cues between activities.

September 2020

17

IEP Goals

Continued from page 17 Table 4

Examples of Supports for School Personnel as Applied to a Music Education Setting Examples of Supports for School Personnel Any school personnel who work with Jeremiah can

receive curriculum modification assistance and behavioral consultation with the school psychologist.

Any school personnel who work with Lila can attend the

(name of conference) to learn more about Lila’s disability and implement accommodation strategies.

Applications to a Music Education Setting Take your school up on this offer and get assistance when and if needed.

Take your school up on this offer and attend the conference if you can.

accommodations and modifications, there

music, supplementary aids and services,

children with special needs and at an autism

distinct meanings. With an accommoda-

ideas and students’ progress. This sug-

Methodist University and the BME from

is general agreement in education on their

tion, the particular student is still expected to know the same material and answer

questions fully like other students; however, the student is offered flexibility with things such as formatting, setting, or the

amount of time needed for a response

(Adamek & Darrow, 2018). A modification,

on the other hand, allows a change in what the student is expected to learn as compared to other students, and modifi-

and any additional notes to track your

gestion is just an example of something that has worked for me. Feel free to try it

or use another system that works better

for you. Keeping record of your inclusion

strategies is helpful not only for the sake of recording your ideas (that you might

reuse in the future), but also for tracking students’ progress and helping to meet their IEP goals.

the students’ IEP teams.

It can be extremely helpful for teachers

to organize students’ IEP notes while

keeping a record of accommodations, modifications, and students’ progress.

This can be done in a variety of ways, from an index card filing system to digital

documents. I have always used an Excel spreadsheet for my students with disabilities where I create a single document for

IEPs who may experience more obsta-

cles to learning than other students. One

of the wonderful things about music is its multisensory nature and how it can

encompass aspects of the core subjects.

Therefore, it is important to consider how

a music accommodation designed for a particular student might also be helpful

to other students, including those without

IEPs. Everyone learns differently, and we

are all deserving of success, so let’s help every child find their joy in music.

all my music classes. With my general

Amalia Allan is a PhD

listed on a separate tab (at the bottom),

ing assistant at Florida State

music classes, each classroom teacher is but tabs might also be organized by grade

level. Within each spreadsheet, columns can include students’ names, current

strengths, current goals as applicable to

18 F l o r i d a

IDEA, Individuals with Disabilities Education Improvement Act of 2004, Pub. L. No. 108446, 118 Stat. 2647. https://www.parentcenterhub.org/wp-content/uploads/repo_items/ PL108-446.pdf

Center for Parent Information & Resources (CPIR) (2017b). Annual goals. https://www. parentcenterhub.org/iepgoals/

ing experiences, especially those with

their details are defined and reviewed by

Adamek, M. S., & Darrow, A.-A. (2018). Music in special education (3rd ed.). American Music Therapy Association.

bility to provide all students with reward-

partially in a music activity (Adamek &

modifications are included in IEPs, and

References

Center for Parent Information & Resources (CPIR) (2017a). Present levels. https://www. parentcenterhub.org/present-levels/

education possible, and it is our responsi-

Darrow, 2018). Both accommodations and

SUNY Fredonia.

All of our students deserve the best

cations might include completing only a portion of an assignment or participating

center. Amalia holds the MM from Southern

student and graduate teachUniversity. She taught elementary music and directed choirs in Texas for seven years,

and later taught music at a private school for

Music Director

Center for Parent Information & Resources (CPIR) (2017c). Supplementary aids and services. https://www.parentcenterhub.org/iep-supplementary/ Center for Parent Information & Resources (CPIR) (2017d). Program modifications for school personnel. https://www.parentcenterhub.org/ modifications-personnel/ Florida Department of Education (FDOE) (2015).

Developing quality Individual Education Plans: A guide for instructional personnel and families. http://www.f ldoe.org/core/fileparse.php/7690/ urlt/0070122-qualityieps.pdf VanWeelden, K. (2015). Understanding the Individualized Education Program model within the United States. In Blair, D. V., & McCord, K. A. (Eds.), Exceptional music pedagogy for children with exceptionalities: International perspectives (pp. 278-295). Oxford University Press.

Wrightslaw (2020a). The Wrightslaw Way to Special Education Law and Advocacy: Assistive technology. https://www.wrightslaw.com/info/atech. index.htm Wrightslaw (2020b). The Wrightslaw Way to Special Education Law and Advocacy: Confidentiality and IEPs. https://www.wrightslaw.com/blog/confidentiality-and-ieps/

ComponentNews

FLORIDA NAfME COLLEGIATE

Julian Grubb, President

Welcome our guest author, Florida NAfME Collegiate member Alexis Hobbs.

Tips for Success

by Alexis Hobbs

T

he Florida NAfME Collegiate Executive Board is beyond excited for this school year. During these unprecedented

1

times, we would like to provide three major tips for setting you and your NAfME Collegiate chapters up for success!

« By increasing communication within your chapter, you are 1. Increase communication

taking your first step on the road to success. A good way

to increase communication is through a virtual approach.

There are a lot of great apps that can help this process, such

« Be consistent! While adapting new forms of communication as Zoom, GroupMe, Skype, etc.

is great, being consistent is the key to keeping members

« Communicate with other chapters around the state. When involved and up-to-date.

network and to share ideas that could positively impact your chapter, as well as a chance to get to know future colleagues

« Contact your Florida NAfME Collegiate Executive Board.

We are here to serve your chapter and to help with your chapter’s needs.

« Coming up with ideas for chapter meetings can be difficult

2. Ideas for chapter meetings

and sometimes intimidating. Depending on your institu-

tion’s guidelines for the year, we would like to list a few ideas for both virtual and face-to-face chapter meetings and

« For virtual meetings: social events.

•

Provide recorded or virtual live sessions from guest

•

Platforms such as Houseparty or Jackbox allow members

• •

speakers.

to interact virtually outside of business meetings.

Host a karaoke or performance party over a virtual platform.

Host a social media spirit week (e.g., Motivation Mondays

« For face-to-face meetings: or Fine Arts Fridays).

•

Hold small group gatherings (socially distanced, of

•

Host a chapter spirit week (e.g., “Throwback Thursday”

course).

playing a piece from the 1800s).

Pre-sell fund-raisers.

Hold a practice competition (e.g., chapter members logging their practice times as a friendly competition while

3 2

you reach out to other chapters, you have the opportunity to

in your field.

• •

improving their musicianship).

« Focus on your why. Keeping your mind focused on why 3. Stay motivated

you are studying to be a music educator is a great motivator!

While everything might seem to be chaotic, taking a moment

to look back on the moments you have had in music is a won-

« It is easy to let the work fall to a few members, so remember derful inspiration.

to stay active and participate! Although this may not be an ideal situation, focusing on making the most of your chapter’s circumstances will help you and others around you stay

« Keep making music. As future music educators, we all have motivated and driven.

one thing in common: we love music! Inspire the musician in

you with a new piece of music you have been dying to play or a new attainable practice schedule.

While we may not know what the future holds, we can begin

to take the first steps into this new season of music education by starting with our NAfME Collegiate chapters.

Alexis Hobbs is a junior music education major at

Southeastern University in Lakeland, Florida. She is actively involved in Southeastern’s NAfME Collegiate

chapter, where she serves as president-elect. She is a multi-instrumentalist and plays in the Southeastern

String Orchestra, Symphony Orchestra, Jazz Ensemble, and Athletic Pep Band.

September 2020

19

ComponentNews Resources You Can Use for Online Teaching

by Victor Fernandez FLORIDA ORCHESTRA ASSOCIATION

Matthew Davis, President The 2020-21 school year has finally arrived! I would like to welcome our new district chairpersons: Raine Allen District 8 Samantha Felber District 10 Shelby Montgomery District 12 Joshua Lennox District 14 Besnik Hashani District 16

W

hen the Coronavirus epidemic

shut our school district on Friday,

Lauren Pardee District 18

March 13, 2020, our entire world pivoted

Thank you to our district chair-

as an orchestra director who has led

a successful year for your district!

15 years across all grades, this transition

person is there to support you with

the daily human connection we shared

you may have throughout the year.

the collective striving to create beauty

year, I thank you for your flexibil-

list could go on!

FOA website for the most up-to-date

the actions taken and resources created or

this year.

receive a high-quality musical education.

time, I have asked FOA member

tary school programs can all benefit from

provide some online teaching ideas

I created apply to your teaching area, I

questions for Mr. Fernandez, please

interested in learning how I created, pro-

dez@palmbeachschools.org.

will be delighted to connect with you and

to online instruction overnight. Speaking

persons for setting the stage for

orchestras of 50 to 60 students for over

Remember that your district chair-

was difficult on many levels. I missed

any FOA questions or suggestions

during our rehearsals, the music making,

As we navigate this most unusual

through music, the performances, etc. The

YouTube

From March 13 to the end of the school

year, I recorded, edited, and published more than 100 teaching videos focused

on string playing and piano accompaniments.

CLICK HERE

They consist of scales

and arpeggios (1 and 2 octave flavors) up

to four flats and four sharps with harmonic accompaniment. Additionally, I started

the project of recording the Suzuki books

on violin and viola, which was helpful to have on the channel.

With this resource at my fingertips, I

What I hope to share in this writing are

assigned scales and ensured that students

information and changes for events

used to ensure my students continued to

context while developing their ear and

To assist you during this difficult

High school, middle school, and elemen-

and director Victor Fernandez to

the ideas shared. Should the resources

colleagues to create materials that stu-

he has found helpful. If you have

share them freely for you to use. If you are

the instrument played. In the example

reach out to him at victor.fernan-

duced, and published any of the content, I

ity and patience. Please check the

20

teach you how.

Florida Music Director

were practicing their scales in harmonic playing in tune. I intend to continue adding content this year.

I also collaborated with professional

dents could practice with, regardless of

below, you will see us playing an orchestra arrangement of a technical exercise

from Schradieck’s “The School of Violin Technique.”

CLICK HERE

The point here is you can still assess

your students’ performance while adapting to the limitations of the current technology. Lastly, consider upgrading your

microphone, as your students will hear

you better and more clearly. Also consider upgrading your speakers so you can hear your students more clearly.

Closing Thoughts FlipGrid

This site provides students

the ability to record themselves and then

upload and share their videos for feed-

back and evaluation. Because it is not streamed content, the audio and video quality is considerably higher.

Every week, students recorded several

1-2 minute clips for which I could provide

detailed and specific feedback on intona-

tion, tone quality, posture, and position, etc.

Google Classroom

In the School District of Palm Beach County, Google Classroom was adopted

1. Ask your students to mute themselves

while you play or “lead” your ensem-

ble through scales or warm-ups.

a. Alternatively: ask a proficient student to lead while other students mute themselves.

b. What happens here is that to the stu-

dents, perceptually they are playing in-sync with you since they hear you and follow you.

2. Ask individuals to unmute and play

the passage, allowing you to assess and provide feedback.

3. When coaching students one on one:

a. Set the incoming student audio to headphones (wear them!).

for online instruction. With my orches-

b. As you lead the student through

ing, playing, and writing assignments;

you can hear him or her roughly a

tra class connected, I could post listenrespond to comments; and track complet-

ed work. Because the class itself can host content, I was able to upload PDF materials covering orchestra music, scales, tech-

passage work, scales, or warm-ups,

half-second delayed on your head-

phones, although to the student you are in-sync.

Even if your classroom starts in person

this coming year, I believe elements from the tips listed here can still enhance and

enrich your instruction. In our case, we are starting virtually, but I can tell you

right now that when we go back to in-person instruction, many of these pieces will remain in my tool box.

I wish all of you a successful year

ahead. As a global society, we are in uncharted waters, and our students need

us and music more than ever. Let’s collaborate, evolve, adapt, and share to meet the challenges of this time. Our advocacy

and actions today will have far-reaching

repercussions as we carry the torch for the music profession. Stay in touch, stay connected, and continue to give students the very best of yourself!

For inspiration,

CLICK HERE

to see my

virtual performance from last spring.

Have a safe and successful school year!

nical development, solo repertoire, etc.

If your district does not use Google

Classroom, speak with your administrator to explore the possibility of using it as a hub for your ensemble or classroom.

Tips for Using Google Meet or Zoom for Ensemble Practice

Because of internet lag, playing at the same time is not a possibility; however, it

is possible to lead some modified ensemble activities. These practices evolved while trying to keep engagement levels high and adapt to online learning.

September 2020

21

ComponentNews Cultural Responsiveness in the Elementary Music Classroom I see you.

Why now?

Learning Communities in our classrooms;

focus of media, conversations, and the

We are charged to create Inclusive we want our students to feel “seen” in

our classroom lessons and experiences.

These lessons should include compelling inclusions that support affirming and celebrating our students as unique individuals to help nourish empathy and to

help create enduring relationships, which is an incredible part of social emotional learning.

Issues of social injustice have been the lives of our students more than ever before. Many of our students have been

exposed to challenging situations and

unfortunate events in the past several

months that children should not have to deal with. Many of the students we

serve will have experienced some level of emotional trauma before they take a seat

in our classrooms this fall. Trauma comes

emotional development of our students’

issue is poverty, racial injustice, food inse-

fortunate enough to have the privilege

in various forms and faces, whether the

What is cultural responsiveness?

Cultural responsiveness as coined by the National Center for Culturally

curity, or lack of stability.

Inequitable representations of the

Responsive Educational Systems is “the

students in our classrooms must be

fully with people of your own culture

music educators, the ability to “see your

ability to learn from and relate respectas well as those from other cultures.”

It is a pedagogy that recognizes the importance of including students’ cultural references in all aspects of learning.

addressed by us as the educators. As

achievements in every aspect. We are of influence to share openly with our

students, to show emotion, to encourage creativity and expression, and to motivate musicianship.

Let’s use this incredible time of change

students” through a more authentic lens

and flexibility to invest in making inten-

responsiveness practices in the music

relevant impact in our students’ lives. I

is more important than ever. Cultural room can play a pivotal role in the social

tional decisions to make responsive and

hope we are all doing this daily; however,

CLASSROOM LESSON CONNECTIONS RELEVANT RESOURCES Edward’s Rhythm Sticks

Franklin Willis

Rhythm and Found Sound Lessons

Three Little Birds

Cedella and Bob Marley

Genre, Meter, Tempo, SEL

Say a Little Prayer

Burt Bacharach and Hal David

Family Connections, SEL, Timbre

I’ve Got Rhythm

Frank Morrison

Rhythm Lessons

The Day You Begin

Jacqueline Woodson

SEL, Orff, Form

Say Something

Peter H. Reynold

SEL, Movement, Orff

Because

Mo Willems and Amber Ren

SEL, Composers, Conductors

Whole World

Christopher Corr

Folk Songs, Global Connections, SEL

What If?

Samantha Berger

Creative Arts, Orff, Composition, SEL

The Proudest Blue: A Story of Hijab and Family

Ibtihaj Muhammad

Movement, Form, SEL

Maybe Something Different

F. Isabel Ch

Rhythmic Chant, Orff, SEL

Favorite Folk Songs

Peter Yarrow

Songs, Music, Historical Context

22 F l o r i d a

Music Director

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Ernesta Chicklowski, President

this is a great opportunity to reflect on

the academic and emotional decisions in our music classrooms and program.

Classroom Lesson Connections (Relevant Resources)

Providing positive opportunities for crit-

ical self-reflection is key to our students’ social emotional development and creating culturally responsive learning environments for them. See the previous page for a list of relevant resources.

« Exercise thoughtful choice and careConsider the following:

ful selection of musical and visual materials in your classroom teaching

space and lessons so that all students are represented. Unconscious bias of selections shared in your music room

makes an impact on students’ atti-

« Ensure

tudes and music experiences.

authentic representation of

cultural references, relevant messages,

and innovative practices that embrace the “past” while ensuring the “pres-

ent” is represented and evolving with the current climate of our schools and

« Take a risk to develop yourself and society.

learn more about cultures other than

your own. Research shows that “teach-

ers’ histories count” in the classroom.

We bring in our own personal sto-

ries, experiences, and interactions that

« Reshape your way of doing things in shape the way we teach our students.

your classroom for the betterment of all of your students.

« Allow

students opportunities to

share, connect, and reflect when shar-

ing lessons that may challenge their

« Revisit and select folk songs that you thinking.

share with care and concern for your

« Take thoughtful care in verbal groupstudent audience.

ing of race, cultural identity, gender, and sexual identity.

“Pause, Pivot, Plan, and Proceed with Passion”

« Consider curriculum, historical context of selections, and sequencing. « Recognize that your “choice” may be

Opportunities for Growth

Thoughtful Considerations

Move beyond the month (i.e., Black History

« Be intentional about your selections of classroom. « Add more diversity in your music material. « Diversity should be woven into your listening and text library. entire curriculum. Consider moving « Reach out and connect with others

Month, Hispanic Heritage Month, etc.)

interpreted as your “voice” in your

away from months of celebration,

who may offer other perspectives and

« Every story, every song, every music embracing all at all times.

experiences.

experience shows what YOU value

Resources About Culturally Responsive Practices

Choose wisely!

Culturally Responsive Teaching in Music Education: From Understanding to Application—Constance McKoy

and what YOU think is important.

« Know your resources and their con-

Dig in deeper

text before you share them with your

Responsive Classroom for Music, Art, PE, and Other Special Areas— The Responsive Classroom Publications

students.

September 2020

23

ComponentNews

FLORIDA NAfME COLLEGIATE

Mark A. Belfast, Jr., PhD, Advisor

Off we go into the wild …

W

elcome back! Since the last publication of Florida Music Director, many K-12 school

Education, the FMEA homepage is a

of instructional delivery. In Florida, the methods of providing that instruction are as

most current issues affecting music

systems, colleges, and universities across the country have resumed some form

diverse as the institutions and the people who attend them. Some will be returning to the physical classroom with hopes that mitigation strategies (i.e., social distancing, mask wearing, upgraded HVAC systems, etc.) will be enough to slow or prevent con-

tagion. Out of an abundance of caution, others will resume virtual education with promises of better infrastructure, more adequately prepared instructional staff, and

flexible schedules. The decisions being made by educational and political leaders, at all

gateway to resources related to the education today. Additionally, from the “Programs” tab, you can visit

the FMEA component organizations’ websites to view resources specific to your specialty area of interest.

levels, have a direct impact on you as you continue your professional development and prepare to teach in the post-pandemic era.

Of greatest concern this academic year is your ability (or inability) to get practical

experience in K-12 classrooms. Many of you may find your typical field study and

internship experiences will involve fewer hands on activities with students. Although when it comes to teacher preparation, there is no substitute for being in a classroom with children, there are resources available to help you bridge the gap:

across the country pose questions and

receive guidance from their colleagues

within the profession. It has been fas-

cinating (and at times frightening!) to watch the hive mind at work during

this pandemic season. Even if you’re

« NAfME

not a fully paid collegiate member of NAfME, the “For Teachers” tab on the

– If you have paid your

NAfME homepage includes a great

NAfME Collegiate dues (not just your

deal of useful (and free) resources.

local chapter dues), you should have access to a number of publications just like this one. Visit NAfME.org

•

Update: Applications of Research in

Journal of Research in Music Education

conference

fessional

development

material.

Simply search for your organization of interest (e.g., Florida Music

Education Association, International Society for Music Education, College

ics related to teaching and education in general. Some of my favorite

videos related to classroom management have been uploaded by Agape

« FMEA – Similar to NAfME, FMEA’s « Free

Music Education

NAfME’s Amplify platform also

serves as a professional networking community where educators from

24

webinars,

recordings, tutorials, and other pro-

COUNTLESS videos of special top-

research journals:

Journal of Music Teacher Education

uploading

of Singing, etc.). There are also

you can access five practitioner and

General Music Today

YouTube channels where they are

National Association of Teachers

right section of the page. From there

Music Educators Journal

nizations (including FMEA) have

Band Directors National Association,

and click the “Research” tab in the top

• • • •

« YouTube – Many professional orga-

Florida Music Director

Management. Check them out!

Professional Development

website (FMEA.org ) provides access

Conferences/Webinars – Ask your

you might find helpful during this

and other college music professors

to a significant number of resources

time. In addition to gaining access to

back issues of Florida Music Director and Research Perspectives in Music

NAfME Collegiate chapter advisor to let you know when professional organizations announce free virtual conferences or webinars. Attending

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

Marc Decker, DMA, President

those during this time could provide invaluable experiences that might oth-

erwise be inaccessible on your usual budget. This summer, I enrolled in

Jazz at Lincoln Center’s Summer Jazz Academy for the first time … and it was free. WOW!

I recognize it might be difficult to find

hurricane season just in time to enter flu

T

amidst the worst of the worst storms, the

Etude Magazine in November 1942. This article was composed less than a year after

focus during these unusual circumstances, and we’re still trying to finish up a

season. I was recently reminded that even sun is shining brightly just on the other

side of the clouds. If you’ve ever taken off in a plane during a storm, you remember

that feeling of trepidation as you watched the rain falling from darkened skies and pounding the tarmac while lightning

his morning, seeking insight into the challenges we are facing in the upcoming

semester, I recalled a tremendously powerful journal article. After 30 minutes

of searching through my poorly labeled binders, I finally unearthed the treasure I

was seeking. “How Music Can Help Win the War” by William Revelli, published in our country declared war on the Axis powers. It is hard to imagine the complicated

feelings of our nation back then. Surely many experienced uncertainty about the future and a fear of war while witnessing major societal challenges. Revelli’s message during this terrible time was that music holds tremendous power. It is strong enough to sway hearts and minds to help win a war. Music is mighty indeed!

Our challenges today are different than those of the Greatest Generation. We are

filled the sky. You’ve heard a calm (too

struggling against a pandemic that has changed our professional and social lives. Of

buckled because it was going to be a bit

the same ones faced nearly 80 years ago, but music’s innate ability to help remains

calm?) pilot remind you to stay seated and of a rough ride at the start. You recall the feeling of your stomach jumping into your

throat as the plane dipped, hopped, and

equal concern are issues of social injustice and inequality. These challenges are not constant. Reading through Revelli’s article, there is much we can borrow to enlighten us about the challenges of today.

Competitions, music festivals, traditional concerts, and football games seem less

(are we falling out of the sky?!) plopped

important now. Instead, what I contemplate daily are methods of student engage-

navigated their way through the storm.

different ways of teaching and performing music. Like so many of you, I have been

through the turbulent air as the pilots It was FRIGHTENING … and then it

wasn’t. I’m sure you also remember the sigh of relief as the plane breached the top layer of clouds only to find a breathtakingly blue sky and blinding sun. The ride

became smooth as silk, and you could feel

ment, maintaining student wellness, adapting to new technology, and exploring

challenged with teaching music ensembles online. Although the teaching platform is new, educational goals remain the same. Those goals are simply the individual

and collective growth of students. We can still accomplish this as we have always

done. This is a semester to champion collaboration and service learning activities, while teaching our students that we can still accomplish greatness.

In light of the many social challenges our country faces today, the need to consider

the release of tension in the air (give that

programming trends is greater than ever. American culture is wonderfully diverse,

and beverage carts began to roll. 2020 has

social injustice can help students understand how they fit in to the modern world.

pilot a raise!) as seatbelts were unfastened been quite a ride, but it too will pass. Have

faith and trust your pilots. Don’t freak out! That doesn’t help anyone. Remember, that tiny cup of ginger ale awaits you just above the clouds.

Be well.

and the music we select should be equally so. Music about national identity and For concert programming there are numerous online databases that can assist with finding diverse repertoire, and the payoff for doing so is tremendous.

Revelli called on music educators during World War II to approach challenges to

the profession with enhanced creativity, ingenuity, and foresight. The world today faces very different challenges, but the power of music can still serve to provide both comfort and understanding. I wish you all a great semester and hope you are encouraged, because you wield the power of music. Teach well and stay safe!

September 2020

25

RESEARCH COMMITTEE CHAIRMAN

Don D. Coffman, PhD University of Miami

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

Preliminary Results

We have news as of August 1 (my submission deadline for the

September issue) from studies being done at the University of Colorado, Colorado State University, and the University of

Maryland. In these studies, wind players enter an aerosol testing

How are researchers exploring the risks of spreading COVID-19 while making music?

chamber and play notes at loud and soft volumes. The flow of air (and particles) emerging from the instruments is being mea-

sured to get an overall understanding of relative airflows from

the instrument bell, fingerholes, fipples, and the musician’s nose and mouth. They also measure the effect of various mitigations (plastic shields or music stands placed at the end of the instruments, wearing surgical/ homemade masks, wearing N95-certified respirators, wearing face shields, and utilizing low-resistance filtering mouthpieces). There are plans to assess the potential impact of aerosol generation in a rehearsal room with multiple players, if that can be done safely, to gauge the effectiveness of passive control techniques (e.g., social distancing and isolation, room ventilation and filtration, and personal protective equipment).

On July 13, the National

Email your questions and feedback to d.coffman1@miami.edu Research Puzzles.

26

Florida Music Director

Federation of State High

School Associations released

this summary of prelimi-

nary results during week 3 of this six-month study:

« Wind instruments produce aerosol, which vary by instrument as well as

intensity. Trends that the team has measured include:

•

Woodwinds have aerosol coming

•

Brass instruments have aerosol

from keyholes and bell.

« At this time, it appears that if players coming from bell.

wear surgical-style masks with a slit

for mouthpiece and bell covers, aero-

sol emission is reduced. Flute players can put the headjoint between their mouth and mask

CLICK HERE

and

use a “flute sock” attached to the foot

« Bell covers tested so far were made CLICK HERE

.

from pantyhose made of 80 denier in

« Singers produce aerosol, which vary two layers.

with consonants, vowels, and inten-

« At this time, it appears that if singsity.

ers wear surgical-style masks (others

will be tested soon), aerosol emission

« Face shields are only effective at close range to stop large is reduced.

droplets; they do not prevent aerosol from being inhaled or

« Plexiglass partitions or barriers between musicians are not released, so a mask must also be worn.

recommended because the room’s HVAC system cannot

properly change the air as designed. “Dead zones” or areas

« Rehearsal space recommendations in order of preference: where aerosol can build up are a concern.

•

Outdoor rehearsals, using individual mitigation tech-

•

Outdoor gazebo style tents with open sides and a high-

• • •

niques described above

pitched ceiling with mitigations

Indoors with elevated outdoor air exchange rate from

purifiers when airflow is reduced under certain outdoor

« Please refer to the Association for Heating, Ventilating and wind conditions

Air-Conditioning Engineers’ (ASHRAE) guidance on venti-

« General procedures

lation during COVID-19

CLICK HERE

.

• •

Masks must be worn at all times.

•

Indoor rehearsals should last for 30 minutes followed by

Follow CDC guidelines for social distancing of 6x6 feet, with 9x6 for trombone players.

clearing the room for 20 minutes to allow the HVAC system to change the air indoors with outside air.

This webpage

CLICK HERE

has links to the press release and

HVAC

the full preliminary report, which is a pdf of a PowerPoint pre-

HVAC plus recirculation of air through MERV 13 filters or

links to some fascinating measures of airflow from a singer, a

Indoors with typical outdoor air exchange rate from addition of appropriately sized HEPA air purifiers

Indoors with outdoor air exchange rate from open win-

dows supplemented with appropriately sized HEPA air

sentation, so it is mostly pictures and graphs with some YouTube clarinetist, and a trombonist.

Stay safe! I will continue to update you with more information

as soon as I can.

September 2020

27

CommitteeReports

DIVERSE LEARNERS COMMITTEE Alice-Ann Darrow, PhD, Chairwoman

Celebrating the 30-Year Anniversary of ADA and Its Impact on the Arts

J

uly 26 marked the 30th anniversary of

Americans with disabilities the opportu-

The Americans with

into law the American with Disabilities

arts are no exception to the importance of

During my years of teaching, I was disap-

thinking through accommodations for

heard of the Americans with Disabilities

President George H. W. Bush signing

Act

(ADA).

This

antidiscrimination

law transformed American society and

ensured Americans with disabilities full access to and equal opportunities within

their communities. Nevertheless, barriers

to access and opportunities still remain for many persons with disabilities. There

are numerous organizations and indi-

viduals, however, working to make the

promise of ADA a reality, to enable all

nity to achieve their full potential. The

Disabilities Act (ADA)

the Americans with Disabilities Act, from

pointed to find many students had never

performance venues or parking spaces, to interpreting performances in sign lan-

guage for those with hearing loss or narrating performances for those with vision

loss, to making printed programs or ticket

sale websites visually accessible. The ADA affects the ways many Americans participate in, experience, and enjoy the arts.

Act or its predecessor, Section 504 of the Rehabilitation Act, or learned in their

civics or American history classes about the disability rights movement that led

to these two federal statutes. Many music

educators today were not yet born or were very young in 1990 when Congress

passed the most sweeping antidiscrim-

ination disability legislation to date, the Americans with Disabilities Act (ADA).

For those who may not be familiar with this civil rights law, the ADA prohib-

its discrimination against individuals with disabilities in all areas of public life,

including jobs, schools, transportation, and all public and private places that

are open to the general public. The law

guarantees equal opportunity for individuals with disabilities in public accommodations, employment, transportation, state and local government services, and

telecommunications. The ADA is divided

into five titles (or sections) that relate to

these areas of public life (ADA National Network, 2020):

1. Employment (Title I): Title I requires A protest prior to the Americans with Disabilities Act (ADA) passing in 1990

28 F l o r i d a

Music Director

covered employers to provide reason-

able accommodations for applicants

President H. W. Bush signs the Americans with Disabilities Act (ADA) into law on July 26, 1990.

and employees with disabilities and

prohibits discrimination on the basis of disability in all aspects of employment.

Reasonable accommodations include, for example, restructuring jobs, making work sites and workstations acces-

sible, modifying schedules, providing services such as interpreters, and modifying equipment and policies.

2. Public Services (Title II): Under Title

II, public services (which include

(Title

IV):

are available to people without disabil-

ities. In addition, public transportation

restaurants, hotels, grocery stores, retail stores, etc., as well as privately

owned transportation systems. Title III requires that all new construction and modifications must be accessible

to individuals with disabilities. For

Congress passed the ADA Amendments Act of 2008 (ADAAA), which made five

ing has made such services dated and

changes to the ADA that are significant”

rarely used.

(Cope, 2020, p. 1).

1. It provides that the definition of the

includes a provision prohibiting either

ADA “disability” must both be more “flexible” and “broadly construed.”

iating against individuals with disabilities or those attempting to aid

2. It expands the list of “major life activ-

their rights under the ADA.

3. It provides that courts can no longer

ities.”

people with disabilities in asserting

consider whether “mitigating mea-

In 2008, the ADA Amendments Act

made a number of significant changes to

ities such as theaters, concert halls,

for the law’s protections. Consequently,

or similar devices. Mobile phone text-

disabilities.

Public accommodations include facil-

individuals with disabilities to qualify

munication devices for the deaf (TTYs)

(ADAAA) was signed into law and became

3. Public Accommodations (Title III):

rulings made it increasingly difficult for

vice to individuals who use telecom-

systems, such as public transit buses,

must be accessible to individuals with

crimination were dismissed. Such court

public must have telephone relay ser-

(a) coercing or threatening or (b) retal-

ipation in programs or activities that

‘disability.’ As a result, many cases of dis-

ing telephone service to the general

Corporation, and other commuter

people with disabilities or deny partic-

ing who met the ADA’s definition of a

Telecommunications companies offer-

5. Miscellaneous (Title V): This title

authorities) cannot deny services to

“Federal courts were strict in determin-

must be removed if readily achievable.

4. Telecommunications

state and local government agencies, the National Railroad Passenger

disability (ADA National Network, 2020).

existing facilities, barriers to services

sures,” such as medication or assis-

tive technology, reduce the impact of

effective on January 1, 2009. The ADAAA

impairment on an individual.

4. It states that diseases that are “epi-

the definition of “disability.” When the

sodic” or in remission may still be

ADA was first passed into law in 1990,

“disabilities.”

an individual was considered to have a disability if that individual either (1) had a

5. It provides that employees who claim

tially limits one or more of that person’s

now make an ADA claim, even if the

they are “regarded as” disabled can

physical or mental disability that substan-

“perceived” disability does not impact

major life activities; (2) had a record of

a major life activity.

such a disability; or (3) was regarded by the ADA-covered entity as having such a

Continued on page 30

September 2020

29

CommitteeReports Diverse Learners continued from page 29 What ADA Has Meant for

Musicians With Disabilities

To celebrate the 30th anniversary of ADA,

The New York Times recently published a

series of articles (NYT, 2020), and National Public Radio asked listeners what ADA

knew what she wanted for her life and her

career. Our job as music educators is to

help our students with disabilities fulfill

their dreams and ambitions as we would any other student.

There are numerous other musicians

has meant to them (NPR, 2020). Though

with disabilities we all know such as

know that because of the Americans with

Quasthoff, Itzhak Perlman, and now Ali

challenges remain, it was heartening to

Disabilities Act, many obstacles have been

removed for persons with disabilities, and consequently, their lives are better and more productive. Because of laws

like ADA, IDEA, and Section 504 of the Rehabilitation Act, people with disabili-

ties have been empowered, can exercise their rights, and have legal protections.

Unfortunately, many persons with disabilities are underemployed or unem-

ployed (U.S. Bureau of Labor Statistics, 2020), though for musicians with disabilities, many doors in the arts have opened

to them. Ali Stoker, who uses a wheel-

chair, won a Tony Award for her role as Ado Annie in Oklahoma. “I didn’t want to get hired because I was disabled and writ-

ers needed someone with a disability in their story. I wanted to get work based on

my ability as an actor, singer and dancer.

I wanted to work with creative, intelligent

and innovative people” (Stoker, 2020). Ali

Gaelynn Lea, American folk singer, violinist, public speaker, and disability advocate

Stevie Wonder, Ray Charles, Thomas

PHOTO BY MONIKA LAWRENCE CLASSICALMPR.ORG

Stoker, but there are others who are mak-

The Americans with Disabilities

crediting the ADA for making venues,

As recently as 2014, nearly 25 years after

ing their mark in the musical world and communication systems, and public services more accessible and consequently,

the public’s perceptions more accepting.

There is a host of rappers with disabilities who are part of Krip-Hop Nation, and

there is Gaelynn Lea, a violinist, who

“… is transforming our cultural understanding of who can be a musician. She

is known for her haunting original songs,

Act and the Arts

ADA, world-renowned violinist Itzhak Perlman and other classical musicians

recounted their experiences navigating

the world’s concert stages and the hos-

tilities they often faced when asking for

basic necessities (Ramey, 2014). Many of

these musicians’ difficulties were to be remedied when in March 2010, the U.S.

Department of Justice revised the compli-

innovative interpretations of traditional

ance regulations for Titles II and III of the

cate for disability rights” (Brown, 2019,

Compliance was required for new con-

folk music and growing role as an advo-

p. 1). There are Justin Hines, a Canadian singer-songwriter, and violinist Adrian Anantawan. Many of these musicians

credit the ADA for making their lives eas-

ier and their careers possible, yet others have lamented unfulfilled promises of ADA.

Americans with Disabilities Act of 1990. struction, program accessibility, and bar-

rier removal. These requirements were implemented to give people with disabilities the same experiences and opportu-

nities as those without disabilities. In the arts, requirements include specifications for accessible seating, options to purchase tickets, and training staff to work with patrons who have disabilities.

Because of these revised regulations,

many arts organizations or performance

halls now hire ADA compliance coordinators. ADA compliance coordina-

tors must complete 40 credits approved

for a certification program. Once the required credits are completed, there is

an exam that must be passed for one to

earn certification. An ADA coordinator

ensures his or her arts association or

venue is ADA compliant and monitors Ali Stoker won a Tony Award for her role as Ado Annie in Oklahoma.

30 F l o r i d a

Music Director

the implementation and use of accessiPHOTO: NYTIMES.COM

bility accommodations. The Hollywood

of a crowded venue with no incline—

guarantee them access to schools, school

formers. As music educators, we may not

lic places to the same extent as anyone

resulting in no view of the stage or per-

programs, transportation, jobs, and pub-

be able to monitor the accessibility of our

else. As music educators, we can do our

community venues, but we can monitor Stevie Wonder performs onstage during the 2015 Life Is Beautiful Festival in Las Vegas, Nevada.

many of its accessibility accommodations

A Survey of Public Participation in the

CLICK HERE

. The website

includes information on ticketing, accessible parking, accessible seating, open

captioning and interpreting services, assistive listening devices, accessible rest

rooms, escorts for wheelchair users, elec-

tric cart services, service animals, dining accessibility, and access to security. Such public venues are required to publish

accessibility information or to make it available to its patrons. Few school con-

cert venues will have these numerous accessibility features, but they provide

a good “wish list” for music educators who aspire to have their performances accessible to all.

Accessibility remains a barrier for

many Americans with disabilities. An NEA study revealed there are an estimated 11 million people who do not participate in local arts due to lack of accessibil-

ity (U.S. Census Bureau for the National

National Endowment for the Arts, 2015) measured the participation of adults with

disabilities in the arts. Over 23% of adults event, such as a classical concert, play, or live dance performance at least once

to physically and emotionally prepare

myself for a night out to see the musicians I love” (Ratcliff, 2018, p. 1). Ratcliff reported that her love for live music is thwarted

by lack of parking options, broken elevators, no elevators, and sitting in the back

National Public Radio (NPR). (2020, July).

In their own words: How the American with Disabilities Act changed people’s lives. Retrieved from https://www. npr.org/2020/07/27/895651325/americans-with-disabilities-act-examining-its-impact-3-decades-later

a year. This finding is 14% lower than

the national average for adults without

disabilities. There are numerous possi-

ble reasons for lack of participation in

the arts by persons with disabilities. As

New York Times (NYT). (2020, July). ADA at 30: Beyond the law’s promise. Retrieved from https://www.nytimes.com/interactive/2020/ us/disability-ADA-30-anniversary.html

stated earlier, accessibility may be a barrier to participation. The survey data also

revealed that people who have more edu-

Ramey, C. (2014, December). Navigating the stage with a disability. Wall Street Journal online. Retrieved from https://www.wsj. com/articles/itzhak-perlman-and-other-classical-musicians-on-navigating-the-stage-with-a-disability-1417458169

cation and higher socioeconomic status (SES) are more likely to attend concerts

than people with less education or lower SES. Because people with disabilities are

Ratcliff, A. (2018, April). Disabled people don’t belong in music venues, apparently.

Huffington Post. Retrieved from https:// www.huffingtonpost.com/entry/opinion-ratcliff-disability-music_us_5acfc626e4b077c89ce6bfc2

often underemployed or unemployed, their SES is also affected.

Nonparticipation in community arts is

is one factor that music educators can

wrote “ADA noncompliance means I have

Cope, T. K. (2020). The ABCs of ADAAA. Retrieved from https://www.mcrazlaw.com/ the-abcs-of-the-adaaa-what-employers-needto-know-about-recent-changes-to-the-americans-with-disabilities-act/

with disabilities report attending an arts

being unable to enter a venue and being Ace Ratcliff (2018), a music-loving blogger,

Brown, J. (2019). How violinist Gaelynn Lea is redefining who can be a musician. Retrieved from https://www.pbs.org/newshour/show/ how-violinist-gaelynn-lea-is-redefining-whocan-be-a-musician

Arts (SPPA) (U.S. Census Bureau for the

often the result of an individual’s lack of

unable to navigate the venue when there.

References ADA National Network (2020). What is ADA? Retrieved from https://adata.org/learnabout-ada

Disabilities in the Arts

Endowment for the Arts, 2015). For people with disabilities, frequent barriers are

dents’ lives and future.

disabilities feel welcomed.

Participation of Persons With

on its website

thus making the arts a part of our stu-

grandparents, siblings, and others with

Bowl, one of the venues used by the Los Angeles Philharmonic, has delineated

part by knowing and abiding by the law,

our school auditoriums so that parents,

Stoker, A. (2020, July). After #OscarsSoWhite, Disability waits for its moment. Retrieved from https://www.nytimes.com/2020/07/19/ arts/after-oscarssowhite-disability-waits-for-its-moment.html

previous experiences with the arts. This

address by including students with disabilities in their music classes and ensem-

U.S. Bureau of Labor Statistics (2020). Retrieved from https://www.bls.gov/news.release/ pdf/disabl.pdf

bles and nurturing their musical development so they become lifelong musicians

U.S. Census Bureau for the National Endowment for the Arts. (2015). A matter of choice? Arts participation patterns of Americans with disabilities. Survey of public participation in the arts. Retrieved from https://www.arts.gov/news/2015/ new-nea-research-arts-participation-among-people-disabilities

or supporters of the arts. Our students

with disabilities are considered the ADA generation. They have grown up know-

ing the transformative civil rights law as a birthright. They expect the ADA to

September 2020

31

CommitteeReports S

AWARDS COMMITTEE

Debbie Fahmie, Chairwoman

ometimes, great innovation is driv-

levels. Although distance learning can

I dare say that is an understatement in

making in an ensemble, there are cer-

en by challenges to the status quo.

today’s climate of music education and the reopening of schools. I am continually awestruck and inspired by what I see

coming from the field of music education

never substitute for face-to-face music tainly aspects of musicianship that came to the forefront during the last several months.

As the Awards Committee embarks

on the task of selecting the

when all we have known has

2021 FMEA award winners,

been turned upside down.

I am sure that inno-

I’ve attended webinars,

vation,

Zoom meetings, vir-

and resiliency will

tual performances, Go to Meetings, and

have

more,

witnessed

to. It will be such

collaborations with

an honor to recognize

music teachers think-

music educators, adminis-

ing way beyond their own This time of year, most music teachers

are in the thick of scheduling, programming, auditioning, fund-raising, arrang-

trators, leaders, and business-

es that have led the way for our state through this historic time.

Whether you are new to FMEA or a

ing MPAs, etc. Instead, I see lots of energy

longtime member, I would like to remind

keep students engaged in quality music

dynamic part of our annual conference as

and ingenuity going toward new ways to

education. If there is a silver lining to the

seemingly unending pandemic, it is the

growth and mindset that I see toward this end. With distance learning, something

that all teachers were thrust into last March, the idea of individual musician-

ship was given more attention. I’ve seen where this emphasis allowed students to do more creating, composing, arranging, and developing their own individual skill

32

Hall of Fame Distinguished Service District School Board/School Board Member of the Year Superintendent of the Year Administrator of the Year Leadership Award for Music Education

education are up

I’ve seen amazing

following categories:

and I’m so excitheroes of music

music educators.

I am excited to lead the Awards

Committee in selecting recipients in the

Music Educator of the Year

ed to see what our

the resiliency of

we have throughout the state.

shine through on

the applications,

and

school settings.

creativity,

about all the great programs and partners

you that the FMEA Awards Program is a

College Music Educator of the Year Exemplary Model Program/Project The deadline for the above is September 11, 2020

Music Education Service Award (includes 25+ years of service and 50+ years of service) The deadline for the above is November 3, 2020 Middle/High School Enrollment Award The deadline for the above is TBD. The latter two awards have very simple

it connects all components of the FMEA

application processes. It takes approxi-

educators, administrators, school board

either award.

membership and brings together music

members, and the business community

mately 15 minutes to self-nominate for My thoughts are with all educators as

to celebrate individuals who have made

you begin this remarkable 2020-21 school

cation. The awards ceremony also plays

you are to the students whose lives you

outstanding contributions to music edua pivotal role for music advocacy for all

those who attend. It’s a great way to showcase models and to advocate to others

Florida Music Director

year. Don’t ever forget just how important

touch. Here’s hoping we can all be togeth-

er again this January to celebrate music education!

MULTICULTURAL NETWORK Bruce J. Green, Chairman

H

ello, Multicultural Network members. I hope this article finds you

healthy and strong. During this unprecedented time, we all have faced a fork in

the road. One direction is Do What I Have

Been Doing and the other is Do What Has Never Been Done. Educators have always

taken the road least traveled and have confidently sped toward What Has Never

Been Done. Before this pandemic, the minority students we teach were already facing many challenges that some of us

have known or will never know. Those

whether you like it or not, so you must

for minorities amid this global pandemic

about change is that it prevents you

challenges have now been exacerbated and should embolden us, even more, to do What Has Never Been Done to meet the needs of all students.

I have made up my mind that I will

embrace change and use change as the fuel to get me from what I have done

before to what has never been done. That may be easier said than done, but those

students who have had their situation compounded need us to forge ahead.

Here are suggestions to help us embrace

« Acknowledge change:

that

things

have

changed. Sometimes we get so caught up in fighting change that we put off

dealing with it. The time we spend fighting change can be better spent

learning a new skill, creating or pre-

« Maintain

paring for the task at hand.

a positive attitude. You

always have to be optimistic and

maintain a good attitude, regardless

of where you find yourself. Come to terms that your new situation might

not be perfect. Think about how you can best use your skills, experiences,

and networks to maximize your new

« Recognize that change is constant. situation.

You will have change happen to you

you need to meet, and evaluate your

« Learn new skills. You are now forced entire situation.

accept that reality. The good thing from getting bored in your current

to learn new skills based on the type

role and challenges you to work on

of work you have to do as a teacher.

« Stay connected to co-workers. Never projects that you haven’t before.

Make a list of the skills required for

your new role and invest time each

« Ask as many questions as possible. week in developing those skills.

forget about the people you’ve already

had the chance to work with because they could become extremely benefi-

There are no bad questions unless you

cial to you down the road. They can

ask something that has already been

also be a great resource for technol-

asked or explained. Asking questions

ogy and/or creativity, or simply be a

will help you further develop yourself

« Communicate with others to learn bounce board for thought.

in a new role.

As we continue to navigate uncharted

your new role. Become good at asking

waters, let us strive every day to embrace

the better equipped you will be in

in our classrooms and on our campus-

the new norms that present themselves

questions because the more you know,

es. Know that the FMEA Multicultural

this role and the easier your life will

Network is available as a resource on

be. If you wait too long to reach out

how to support minority students in arts

to others, your performance will start

« Be optimistic even though you might

education. Every student, especially the

lacking and people will notice.

minority students, need you to Do What

not be currently happy. Whether or

Has Never Been Done.

not you like your new role, you need

to make the best of it. Who knows

References

what a year or more in this role can

Sarkis Ph.D., S. A. (2017). 10 Ways to Cope With Big Changes. Retrieved from https://www. psychologytoday.com/us/blog/here-thereand-everywhere/201701/10-ways-cope-bigchanges

« Self-reflect. Take some time to relax do for you?

and think about what you’ve already

accomplished and what your goals

Schawbel, D. (2014). 10 Tips For Handling Change in the Workplace. Retrieved from https://www.quickbase.com/blog/10-tipsfor-handling-change-in-the-workplace

are for your new role. Think about the skills you need to acquire and who

September 2020

33

ExecutiveDirector’sNotes

Who knew?

FMEA Executive Director Kathleen D. Sanz, PhD

W

ho knew we would still be struggling with COVID-19 and the question of how we will continue 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. The pressure has come from having to plan for all these scenarios,

while the increasing stress has come from the indecision created by the pandemic. Throughout July and August, school boards and school leaders have been making decisions and then changing those decisions

The mission

of the Florida

Music Education Association is to promote quality, comprehensive

music education in all Florida schools.

soon after they are made. It has been stressful for everyone. We already had an issue with teacher shortage, and now many teachers have decided to retire, increasing the deficit of certified music educators.

Colleagues across the United States are working diligently to craft guidelines and processes to help music

educators achieve a safe and healthy return to music making. Our key purpose is to be sure our students and teachers are safe.

Research

If you have not had time to read Dr. Coffman’s Research Puzzles article from August, please do so and CLICK HERE

for current studies on music making in classrooms during the COVID-19 pandemic.

The second release of preliminary results from a study on COVID-19 organized by the National Federation

of State High School Associations and the College Band Directors National Association was released on August 6. Dr. Shelly Miller, along with a research team from the University of Colorado, Boulder and the

University of Maryland, is continuing to conduct research on mitigating factors for music education. The

final report will be disseminated in December 2020. While we know the published results are preliminary in nature and continue to be studied, the researchers are trying to ascertain potential risks and mitigations of these risks for our teachers and students. Additional information on the study and other recommendations can be found at NFHS.org. posted at FMEA.org.

Links to the preliminary results and webinar recordings about the study are

Arts education is essential, and our legislators, governor, and education commissioner need to be made

aware of just how essential it is for our students. Reach out to them and let them hear the stories of the impact and importance of the arts in students’ education, no matter the delivery system.

As schools continue to make plans for teaching, we want to continue to let principals and decision makers

know that the arts are essential.

I want to reiterate key points from the August edition of Florida Music Director:

« Arts education supports the social and emotional well-being of students, whether through distance learning or in person. « Arts education nurtures the creation of a welcoming school environment where students can express themselves in a safe and positive way. « Arts education is part of a well-rounded education for all students as understood and supported by federal

Arts Education Is Essential

and state policymakers.

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 keep in touch.

Musically,

Kathleen D. Sanz, PhD

34 F l o r i d a

Music Director

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

Officers and Directors

EXECUTIVE BOARD President

Steven N. Kelly, PhD

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

Kenneth Williams, PhD

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

Shelby Chipman, PhD

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

Ian Schwindt

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

Marc Decker, DMA

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

Ernesta Chicklowski

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

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

Past President................................................... Katherine Attong-Mendes University of Miami; kxa395@miami.edu

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

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

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

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

Past President...............................................................Rosemary Pilonero rosemary@femea.flmusiced.org Executive Director............................................................. Jennifer Sullivan 1750 Common Way Rd., Orlando, FL 32814 (321) 624-5433; slljenn@aol.com

Contemporary Media................................................... David Williams, PhD University of South Florida; 4202 E. Fowler Ave., MUS 101 Tampa, FL 33620; (813) 974-9166; davidw@usf.edu Diverse Learners.....................................................Alice-Ann Darrow, PhD Florida State University, Music Education and Music Therapy 123 N. Copeland St.; Tallahassee, FL 32306 (850) 645-1438; aadarrow@fsu.edu

FLORIDA MUSIC SUPERVISION ASSOCIATION

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

Past President............................................................................Scott Evans scott.evans@ocps.net

President.....................................................................Harry “Skip” Pardee Collier County Public Schools; 5775 Osceola Trail; Naples, FL 34109 (239) 377-0087; pardeh@collierschools.com

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

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

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

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

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

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

Matthew Davis

President....................................................................................Julian Grubb Florida Gulf Coast University, 1519 Neptune Dr.; Lakeland, FL 33801 (863) 430-9466; grubb.julians@outlook.com

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

Research...................................................................... Don D. Coffman, PhD University of Miami; d.coffman1@miami.edu

FOA President

FLORIDA NAfME COLLEGIATE

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

Florida NAfME Collegiate Advisor

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

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

FMEA COMMITTEE CHAIRPERSONS

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

Harry “Skip” Pardee

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

FSMA President ........................................................................Valerie Terry Carlos E. Haile Middle School 9501 SR 64 E.; Bradenton, FL 34212 vterrymusic@gmail.com

Florida Gulf Coast University 1519 Neptune Dr.; Lakeland, FL 33801 (863) 430-9466; grubb.julians@outlook.com

FMSA President

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

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

Florida NAfME Collegiate President

Mark A. Belfast, Jr., PhD

Florida Bandmasters Association P.O. Box 840135; Pembroke Pines, FL 33084 (954) 432-4111; Fax: (954) 432-4909; exec@fba.flmusiced.org

EX-OFFICIO MEMBERS

Government Relations..................................................Jeanne W. Reynolds Pinellas County Schools, Administration Bldg.

301 4th St., SW, P.O. Box 2942; Largo, FL 33779-2942 (727) 588-6055; reynoldsj@pcsb.org

Julian Grubb

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Past President...........................................................................Jason Jerald jason.jerald@sdhc.k12.fl.us Executive Director............................................................. Donald Langland 220 Parsons Woods Dr.; Seffner, FL 33594 (813) 502-5233; Fax: (813) 502-6832; exdirfoa@yahoo.com

FLORIDA VOCAL ASSOCIATION President.................................................................................. Jason Locker Orange County Public Schools; 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jason@fva.net

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

Past President.....................................................................Tommy Jomisko tommy@fva.net Executive Director....................................................................J. Mark Scott 7122 Tarpon Ct.; Fleming Island, FL 32003 (904) 284-1551; exec@fva.net

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

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

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

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

FVA President

FLORIDA BANDMASTERS ASSOCIATION

Executive Director....................... Kathleen D. Sanz, PhD (kdsanz@fmea.org)

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

Director of Finance & Client Relations...............................Richard Brown, CAE (richard@fmea.org)

Jason Locker

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

Edgar Rubio

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

CENTER FOR FINE ARTS EDUCATION

402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 Director of Operations........................Valeria Anderson, IOM (val@fmea.org)

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

Technology Director......................................Josh Bula, PhD (josh@fmea.org)

Executive Director......................................................................Neil Jenkins

Marketing & Membership Coordinator................................. Jasmine Van Weelden (jasmine@fmea.org)

Public Affairs & Communications Coordinator..............................................Jenny Abdelnour (jenny@fmea.org)

September 2020

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