Florida Music Director September 2022

Building Community Through Music

PLUS: Register now for the FOA & FLASTA Fall Conference

Leveraging Librarianship A Guide for Music Educators

C O N F E R E N 1C E

September 2022

LIVE LIFE ON STAGE LIVE LIFE ON STAGE LIVE LIFE ON STAGE CONSERVATORY CONSERVATORY WITHIN WITHIN A A RESEARCH RESEARCH UNIVERSITY UNIVERSITY CONSERVATORY WITHIN A RESEARCH UNIVERSITY

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November 19available | February 4 | March Additional dates are by appointment.

Graduate assistantships are available.

Additionalassistantships dates are available by appointment.

Graduate are available.

Graduate assistantships are available.

Undergraduate Degrees (B.M.) Undergraduate Degrees|(B.M.) Instrumental Performance Jazz Performance Undergraduate Degrees|(B.M.) Instrumental Performance Jazz Performance Music Business | Music Composition | Music Education Instrumental Performance | Jazz Performance Music Business | Music Composition Music Performance Education Music Technology | Musical Theatre ||Organ Music Business | Music Composition |Organ Music Performance Education Technology | Musical Theatre | Piano Performance | Vocal Performance Music Technology | |Musical Theatre | Organ Performance Piano Performance Vocal Performance Piano Performance | Vocal Graduate Degrees (M.S.)Performance Graduate Degrees (M.S.) Music Education - Traditional & Certification Tracks Graduate Degrees (M.S.) Music Education - Traditional & Certification Tracks Music Education - Traditional & Certification Tracks

18

Graduate Degrees (M.M.) Graduate (M.M.) Performance ConductingDegrees | Instrumental Graduate Degrees (M.M.) Performance Conducting | Instrumental Jazz Performance | Music Composition Conducting | Instrumental Performance Jazz Performance | Music Composition Music Management & Production Jazz Performance | Music Composition Music Management & Production Music Technology | Musical Theatre Music Management & Production | Musical Organ Technology Performance | Piano Theatre Performance Music Technology | Musical Theatre Organ Performance Vocal Performance | Piano Performance OrganPerformance Performance | Piano Performance Vocal Vocal Performance 4 + 1 Track (B.M + M.M.) 4 + 1 Track (B.M + M.M.) Vocal Performance | Composition | Musical Theatre 4 + 1 Track (B.M + M.M.) Vocal Performance | Composition | Musical Theatre Vocal Performance | Composition | Musical Theatre

Wertheim School of Music & Performing Arts at Florida International University Wertheim School of Music & Performing Arts at Florida International University 10910 SW 17th St., Miami, FL 33199 | (305) 348-2896 | music@fiu.edu | music.fiu.edu Wertheim School of Music & Performing Arts at Florida International University 10910 SW 17th St., Miami, FL 33199 | (305) 348-2896 | music@fiu.edu | music.fiu.edu 10910 SW 17th St., Miami, FL 33199 | (305) 348-2896 | music@fiu.edu | music.fiu.edu

2

Florida Music Director

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

Hinckley Center for Fine Arts Education

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

Contents Volume 76 • Number 2

September 2022

F E AT U R E S

Editor-in-Chief

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

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

Advertising Sales

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

Official FMEA and FMD Photographers

Bob O’Lary Debby Stubing

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

Circulation & Copy Manager

Valeria Anderson, (800) 301-3632

Copy Editor

Susan Trainor

PRELUDE TO THE CONFERENCE Welcome. . . . . . . . . . . . . . . . . . .

Important Dates. . . . . . . . . . . . . . .

Registration. . . . . . . . . . . . . . . . .

Contracted Hotels. . . . . . . . . . . . . .

Personal Health and Safety. . . . . . . . .

Concert Tickets. . . . . . . . . . . . . . .

All-State Rehearsal Locations. . . . . . . .

Student Experiences. . . . . . . . . . . . .

Pilot Program. . . . . . . . . . . . . . . .

3K Run & Walk. . . . . . . . . . . . . . .

. . . . . . . . . .

. . . . . . . . . .

. . . . . . . . . .

. . . . . . . . . .

. . . . . . . . . .

. . 6 . . 7 . 8-9 10-11 . . 12 . . 13 . . 14 . . 15 . . 16 . . 17

Building Community Through Music. . . . . . . 21 Leveraging Librarianship: A Guide for Music Educators. . . . . . . . . . . . . . 24 FOA & FLASTA Fall Conference Registration Form . . . . . . . . . . . . . . . . . . . . 34 D E PA R T M E N T S President’s Message. . . . . . . . . . 4

Corporate & Academic Partners .. 39

Advertiser Index. . . . . . . . . . . . 5

Research Puzzles. . . . . . . . . . . 44

2022-2023 FMEA Donors. . . 18-19

Executive Director’s Notes. . . . . 46

Component News.. . . . . . . . . . 30

Officers and Directors.. . . . . . . 47

Committee Reports. . . . . . . . . 35 September 2022

3

President’sMessage

BE the RESOURCE in Music Education Communities

G

reetings, colleagues!

The 21st century presents new chal-

lenges for music educators, especially in

understanding students’ preferences and

tolerance for music of other cultures and communities. Closing the gap in educa-

tors’ awareness of their students’ likes

and dislikes is always of great concern. As

music teachers begin this school year, I’d like to remind each of you to set achiev-

able goals, to develop attainable standards, to be committed, and to use non-

traditional class instruction to connect

with your students. In addition, start with what they know; teach the basics of count-

ing rhythms/fundamentals; stay current with trends, theories, and community

values; interact with other teachers; and be enthusiastic.

One of the most fundamental approach-

es to starting the school year in our music

a clear mission for music teachers to have

ability. Each day, challenge your stu-

and rewarding for students who have

matter than they were the day before.

resources and strategies that are inviting an interest in the music-making process.

As a product of the inner city, I benefited from music teachers on all levels of

my K-12 education who were amazingly dedicated to meeting the challenges of ensuring their students received balanced instruction. Resiliency was a way of life,

even during the most difficult times of turbulence.

No one starts school expecting to fail.

Ensure that some aspects of your grad-

ing rubric depend more upon effort than

fact we are making a difference in the lives of our students, their schools, and

their communities. Collaborate with other

colleagues in your district who might have insight and experiences that can assist your program. Some of the best

learning moments I’ve encountered have

5. Constantly providing positive feedback

6. In tune to the pulse of

and not in isolation, and going beyond

7. Driven by the opportunity to

good work. Many students look to teach-

learning. Believe in yourself and in the

for their students

ing, presenting tasks that offer multiple

grades or contest awards as motivation for

than what our students are or are not

for anything less than excellence

4. Critically confident

modes of response, working in groups

approach to teaching as the issue rather

2. Willing to go the extra mile, never settling

essential element for achieving desired

edge rather than information gather-

times we might need to reflect upon our

1. Musically diverse to educate all students

3. Consistent in planning

outcomes. This requires applying knowl-

Be encouraging and accept that some-

Resourceful music teachers are:

classes is to ensure we have a structured curriculum. Planning continues to be an

dents to become better in your subject

their community

learn technology as an

influential tool for instruction

ers and parents for approval, but students

8. Resilient and resourceful

motivating.

9. Always amenable to communicating

tradition of developing outstanding com-

10. Passionate and exceptionally persistent

need learning tasks that are intrinsically

In Florida, we have always had a strong

ponent organizations in band, elementary

music, orchestra, and vocal programs. It is

4 F l o r i d a

Music Director

(NO MATTER WHAT)

effectively with all stakeholders

Shelby R. Chipman, PhD President Florida Music Education Association

2022-23 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:

been in those settings where one-on-one meetings

take place, e.g., professional development clinics, shared meals at restaurants, labs, rehearsing your ensembles, and shared learning via video.

As leaders, when we stand in front of students,

we exert our influence in multiple ways. The depth

of the musicians’ understanding and the quality of their experience reflect the way we lead. The value

they place on music and music-making is closely tied

to how much they value us as conductors and leaders.

As a proud member and president of FMEA, I’m

counting on each of you to renew your membership and to participate in the myriad of activities provided throughout the school year. Your finances help sup-

port the wonderful services we all enjoy, even beyond our Professional Development Conference in January each year.

I’ve learned that people will forget what you said, people will forget what you did, but people will never forget how you made them feel.

— Maya Angelou

Have a wonderful begin-

ning of the school year as you inspire your students and communities. I look forward

to seeing you during the fall semester in-person and on

webinars. Remember, our 2023 FMEA Professional Development Conference promises to be amazing.

Registration begins September 17.

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:

The circulation of the Florida Music Director is 4,500 educators. Published eight times annually by The Florida Music Education Association, Hinckley Center for Fine Arts Education: 402 Office Plaza, Tallahassee, FL 32301-2757.

FMEA reserves the right to approve any application for appearance and to edit all materials proposed for distribution. Permission is granted to all FMEA members to reprint articles from the Florida Music Director for non-commercial, educational purposes.

Non-members may request permission from the FMEA office.

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.

Advertiser Index The Florida Music Director is made possible by the participation of the following businesses whose advertisements appear in this issue. They make it possible to provide you with a high-quality publication, and we gratefully acknowledge their support of our mission. We hope you will take special notice of these advertisements and consider the products and services offered. It is another important way you can support your professional association and the enhancement of Florida music education.

The publisher does not endorse any particular company, product, or service. The Florida Music Education Association (FMEA) is not responsible for the content of any advertisement and reserves the right to accept or refuse any advertisement submitted for publication. Information for advertisers (rate card, insertion orders, graphics requirements, etc.) can be found at FMEAMediaKit.org. Florida Music Director reserves the right to refuse any ad not prepared to the correct specifications OR to rework the ad as needed with fees applied.

ADVERTISER

Florida International University.......................................................................... IFC

Shelby R. Chipman, PhD, President

Florida Music Education Association

This advertiser provides additional support to FMEA members through membership in the Florida Corporate and Academic Partners (FCAP) program. FCAP partners deserve your special recognition and attention.

September 2022

5

2023 FMEA Professional Development Conference

UNITY IN MUSIC EDUCATION Building Communities One Note at a Time January 11-14, 2023 Tampa Convention Center, Tampa, FL

We can’t wait to see you in Tampa this January!

The FMEA Professional Development Conference is one of the largest music education professional development events in the United States. In addition to approximately 250 clinic sessions and concerts, it is host to 23 all-state

ensembles featuring Florida’s top band, orchestra, chorus, guitar, Orff, and

popular music students conducted by world-class conductors and teachers.

It is attended by more than 10,000 people, including secondary music

directors, elementary music teachers, music supervisors, college students,

college music teachers, school administrators, K-12 students performing in

the all-state ensembles, students and professional musicians performing with invited performing ensembles, exhibitors, and parents and family members of performing students.

6

Florida Music Director

«

So many reasons to participate:

« « « «

An exhibit hall with world-class exhibitors providing products and services for music educators and students

More than 2,800 music teachers and 200 administrators

More than 120 sessions, covering a variety of topics for all music educators, with

on-demand access to recordings after the conference

Performances and mini-concerts from some of Florida’s top music programs

Networking opportunities, college fair,

awards ceremony, and other special events

Important Dates September 17, 2022 September 17, 2022

Preregistration Opens Nominations open for Student Conference Experience

and Tri-M Experience

September 24, 2022

Hotels begin taking reservations at 9 am EDT

November 12, 2022

Hotel room cancellation deadline at 5 pm EST

November 14, 2022

Hotels will charge your credit card a nonrefundable deposit

December 11, 2022

Preregistration closes at 12 midnight EST. Payment must be

for the first night of each room reserved.

postmarked on or before December 4 if you are paying by

check. Preregistration is by credit card only after December 5.

December 12, 2022

You can begin the on-site registration process online to

generate an invoice with the on-site prices, but you must bring your payment to the conference.

December 16, 2022

All school lodging checks are due, payable to the hotel where reservations were made for yourself and/or your students.

December 16, 2022

The final deadline for discounted

hotel blocks. Unsold rooms in the FMEA blocks are released back to hotels.

September 2022

7

Registration

Membership in FMEA and NAfME is a prerequisite for registration. See the Registration Policies

for details.

All registration information must be

entered online, beginning September 17 (click HERE

). At the end of the online

form, you will have the opportunity to print an invoice to send in with a check until one week before the preregistration

deadline or to pay online instantly with

a credit card until the preregistration deadline.

Please Note: To assist our members,

their students, and chaperones as they

visit exhibit booths, all badges will have a barcode encoded with contact infor-

mation. Attendees will be able to allow exhibitors to scan their badges rather than manually writing information on contact cards or mailing lists at their booths.

In order to maintain a positive relation-

ship with our exhibitors who can benefit

your students through scholarships, new equipment, sheet music, software, and more, we ask that you please provide

the ACTUAL, CORRECT MAILING

ADDRESS and EMAIL for each of your

Registration Fees Preregistration Rates: Sept. 17-Dec. 11

On-Site Rates:

Director/Member

$155

$200

Collegiate Member

$70

$100

Retired Member

$25

$25

Non-Teaching Spouse

$100

$150

Non-Teaching Spouse of Retired Member

$0

$0

Paid Chaperone

$75

$125

Free Chaperone

$0

$0

Description

All-State Student

$75

$125

Tri-M Student

$50

$75

Preconference Workshop

$75

$125

Preconference Workshop (First-Year Teacher)

$75

$125

Student Experience – Student

$50

$75

Student Experience – Chaperone

$50

$75

To take advantage of early discounted rates, you must register and pay before the deadlines.

students and chaperones and do NOT

Note: If you are mailing a check to the FMEA office to pay for your registration, it must

incorrect information.

preregistration deadline.

simply enter your school address or other

8 F l o r i d a

Music Director

be postmarked early enough so that it will ARRIVE in the FMEA office before the

Chaperone Registration

Chaperone registration

is based on the following rules:

«

Elementary Students

Registration Policies 1.

All participants—directors, students, chaperones, and guests—must be

2.

Only directors may register their groups or pick up registration materials if

3.

All participating students must be chaperoned. As required by FMEA and

registered for the conference. preregistered.

FSMA, at least one chaperone other than a director is required for every ten (10) students or fraction thereof; however, FMEA policy allows for one free chaperone for every six (6) students or fraction thereof.

4.

registered or (b) for each all-state rehearsal site where registered students are If a participating student is not accompanied by the director from that student’s

school, then the principal from that school must furnish a letter designating the person from the school or school district who is to be in charge of that student.

The letter should be addressed to the FMEA executive director, must explain the extenuating circumstances preventing the director from attending, and must be submitted with registration materials. The school will be notified of approval.

6.

Student observers are not allowed to attend the conference. If any student

observers are brought to the conference, the offending school’s participation in

registered, one free chaperone

and one paid chaperone may be registered.

Any additional attendees must

purchase a guest pass at on-site registration for entry into the convention center.

Middle School and

«

High School Students

An additional paid chaperone may be registered for (a) each six (6) students performing.

5.

«

For each elementary student

For every six (6) students

registered, one free chaperone

and one paid chaperone may be

registered. No other chaperones

« «

may be registered until the

seventh student is registered.

Any additional attendees

(chaperones or guests) must

purchase a guest pass at on-site registration for entry into the convention center.

Exceptions

•

more than one performing

the conference may be eliminated the following year. (Tri-M students registered

ensemble, you may pay

from this rule.)

performing ensemble in

for a chaperone for each

and participating in sessions or working for the all-state concerts are exempt 7.

If you have students in

which you have registered

All school music teachers must register for the conference as FMEA directors and must be current members of the FMEA. This includes directors of

invited performing groups or mini-concerts, and session presenters. All-state conductors from Florida schools, colleges, or universities must also be FMEA members. No current music teacher may register as a chaperone.

Refund Policies 1.

Full registration refunds are available for cancellation requests made through

2.

No registration refunds will be made for cancellations made after December 15,

December 15, 2022.

2022, except for emergency situations. These will be reviewed on a case-by-case basis.

3.

Refunds must be requested in writing (email is acceptable).

4.

All requests for refunds must be received no later than January 31, 2023.

5.

All refunds will be issued after the conference is completed.

6.

There are no refunds for concert tickets.

Requests received after that date will not be processed.

•

students.

If you have students from

different schools, you may

pay for a chaperone for each school for which you have registered students.

Chaperones are not allowed to bring

other children who are not participating in an all-state ensemble. Only

registered students, teachers, and chaperones wearing a conference

badge are allowed in and around the rehearsal areas. Directors are asked to make sure their chaperones are

aware of this policy before agreeing to serve as a chaperone.

September 2022

9

Hotels Greetings! It’s that wonderful time of year when we start planning our very special conference event. The Florida Music

Education Association has contracted the following Tampa hotels for the January 11-14, 2023, Professional Development Conference. Please telephone your hotel of choice directly from

the list below beginning Sept. 24, 2022, at 9 am EDT. Guest

A maximum of five (5) guest rooms may be reserved per

rooms at the contracted rates are available until the room block is

teacher or parent. Each and all rooms reserved on Nov. 14, 2022,

EST. If your hotel of choice is sold out, please continue to try to

sible credit cardholder. (Invalid credit cards risk reservation

full or until the cancellation deadline of Nov. 12, 2022, at 5 pm make a reservation until Nov. 12, 2022, as FMEA attendees will periodically release surplus guest rooms.

will be charged a non-refundable, one-night fee to the responcancellation.)

We urge any guest holding surplus reservations/rooms to

cancel excess reservation(s) as soon as possible and no later

than 5 pm EST on Nov. 12, 2022, and you must secure a cancel-

lation confirmation number. (This courtesy will make surplus rooms available to other guests.) In order to receive complimentary rehearsal and meeting space, you should book guest rooms in the hotel you are using for your group functions.

NOTE: FMEA IS NOT offering a housing bureau service.

All participants MUST call the hotels directly beginning

Sept. 24, 2022, at 9 am EDT to request the “Florida Music Education Association” room block rate and confirm the guest

room rate listed on the next page. We look forward to seeing you in Tampa!

10 F l o r i d a

Music Director

2023 FMEA Professional Development Conference January 11-14, 2023 Tampa Convention Center, Tampa, FL

Contracted Hotels HOTEL RESERVATIONS – Cutoff date: 11/12/22

ROOM RATES Single

Double

Triple

Quad

Barrymore Hotel Tampa Riverwalk 111 West Fortune Street, Tampa, FL 33602 Comp. internet & self parking

(813) 223-1351 #1 for reservations Group Code: FMEA

$156

$156

$156

$156

Courtyard by Marriott Downtown Tampa 102 East Cass Street, Tampa, FL 33602 Comp. internet; $30 valet only

(813) 229-1100, ext. 1 Group Code: FMEA

$169

$169

$169

$169

Embassy Suites Downtown 513 South Florida Avenue, Tampa, FL 33602 Comp. internet & breakfast; $24 valet only

(813) 769-8300 #1 Group Code: FM3

$264

$264

$274

$284

Embassy Suites Tampa Airport Westshore 555 North Westshore Blvd., Tampa, FL 33609 Comp. internet, self-parking, & breakfast

(813) 875-1555 #2 Group Code: FME or FMEA 2023

$203

$203

(up to 5 in room)

(up to 6 in room)

Four Points by Sheraton Suites Tampa Airport Westshore 4400 West Cypress Street, Tampa, FL 33607 Comp. internet & shuttle to Tampa airport; $10 self parking

(800) 368-7764 Say “Associate” No cell text reservation link Group Code: FMEA

$148

$148

$148

$148

Hampton Inn Tampa Downtown Channel District 1155 East Kennedy Blvd., Tampa, FL 33602 Comp. internet & breakfast; $22 self parking

(813) 525-9900, ext. 1 Group Code: FME

$199

$199

$199

$199

Hilton Downtown 211 North Tampa Street, Tampa, FL 33602 $9.99 internet (Comp. for HH); $35 valet only

(800) 445-8667, ext. 1 Group Code: FMEA

$227

$227

$227

$227

Home 2 Suites Tampa Downtown Channel District 1155 East Kennedy Blvd., Tampa, FL 33602 Comp. internet & breakfast; $22 self parking

(813) 525-9900, ext. 2 Group Code: FME

$224

$224

$224

$224

Sheraton Tampa Riverwalk Hotel 200 North Ashley Drive, Tampa, FL 33602 Comp. internet; $36 overnight valet; $20 daytime valet

(888) 627-8105 #1 Say “Associate” No cell text reservation link Group Code: FL3

$229

$229

$249

$249

Tampa Marriott Water Street Hotel (formerly Marriott Waterside) 505 Water Street, Tampa, FL 33602 Comp. internet for Bonvoy members; $33 overnight valet; $23 daytime valet

(888) 789-3090 #1 Group Code: FMEA

$211

$211

$211

$211

Westin Tampa Waterside 725 South Harbour Island Blvd., Tampa, FL 33602 Comp. internet; $30 valet only

(888) 717-8853 Group Code: FMEA

$217

$217

$217

$217

$213

September 2022

$223

11

Personal Health and Safety

Releases Health Risk Acknowledgement By registering for this event, I hereby

acknowledge that I fully understand the

nature and extent of the risk related to the COVID-19 virus and other contagious diseases and agree that by attending this

conference and any related events, I do so

at my own risk. Additionally, I expressly

« « « «

acknowledge the following:

Security Procedures The Florida Music Education Association is working with the Tampa Police Department and Allied Security at the Tampa Convention Center (TCC) to enhance the conference experience for the students and attendees.

Great News!

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

heightened security presence throughout the TCC

and at various hotels. All entrances to the TCC will be patrolled by uniformed

officers of the Tampa Police Department and uniformed Allied Security person-

nel. They will be patrolling the TCC as well. The Tampa Police Department will be at the crosswalks between Marriott Tampa Water Street and the TCC, at concerts,

death;

COVID-19 is highly contagious;

the risk of infection and transmission are higher in indoor facilities;

there are no safety precautions that totally eliminate the risk of contracting COVID-19; and

individuals with various underlying

medical conditions may experience worse outcomes.

Information about the precautions

we are taking is posted on our Health Information Page.

Photography/Videography

and patrolling some of the downtown hotels during rehearsals.

By registering for this event, I hereby

participants) must wear their conference badge during the conference once the

graphic imagery and video footage taken

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

authorized registrant obtains the conference packet.

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

if at all possible, to use a clear bag, similar to those used at sporting events, for entrance.

Enjoy the Conference Experience.

12

«

infection by COVID-19 can result in

Florida Music Director

grant permission to use any and all photo-

of me at this event and activities pertaining to this event, without payment or any other consideration. I understand that

such materials may be published electron-

ically or in print, or used in presentations or exhibitions.

Frequently Asked Questions Do I get free tickets for my students’ family members to attend the concert?

No. You can pre-order and pay for their tickets when you preregister for the

concert, but there are no free tickets.

Concert Tickets All Concert Ticket Sales Are Final. No Refunds or Exchanges.

Please make sure you know the exact name of the all-state ensemble for which you need tickets before approaching the ticket sales window.

1.

Registered (BADGED) attendees do not require tickets to attend any all-state

name badge, so no ticket is necessary.

Attendees that are not registered for the conference (parents, family, etc.) must

Can I buy extra tickets anytime?

All nonregistered (NONBADGED) attendees (parents, family members, guests,

etc.) are required to purchase tickets for any all-state concert they wish to attend

3.

There are no “free” or “allotted” tickets. All concert attendees must either wear

4.

Directors who preregister online may reserve and prepay for all-state concert

their conference badge or purchase a ticket.

tickets for nonregistered attendees for concerts in which they have registered

If you are an FMEA member registered for the conference, you may purchase

tickets at the computers in the on-site registration area anytime during the

regular registration hours. Everyone else

may purchase tickets beginning at 11 am on Thursday.

nonregistered attendees for concerts in which they have registered all-state

There are more family members and guests coming to watch my all-state student than I have tickets. How and when do they get tickets?

Directors with all-state students may purchase additional concert tickets for

general ticket sales open. Tickets will be

the on-site registration desk or at a designated ticket sales location at anytime.

cost $20 each.

all-state students. If paid for online, these tickets will be preloaded into the director’s registration package.

Directors who register on site may purchase all-state concert tickets for students during the on-site registration process.

7.

admission to concerts with their

retired members, and VIP guests that you entered as part of your conference

at $20 per ticket.

6.

chaperones, students) are allowed

purchase tickets.

registration.

5.

No. Registered attendees (directors,

concert. This includes directors/members, directors’ non-teaching spouses,

performing all-state students, registered chaperones, collegiate student members,

2.

Can I get free tickets to any concerts?

nonregistered attendees for concerts in which they have performing students at General ticket sales for all-state concerts will begin at 11 am on Thursday at the FMEA registration desk. There is no requirement that the director or any other registered attendee be the person purchasing these tickets after this time.

8.

All ticket sales are final. Concert tickets are nonrefundable.

9.

For entrance, ticket, and concert purposes, a concert is defined as the group of ensembles that are performing in the same venue in a common, defined block of time. An example of a “concert” for purposes of entrance, ticketing, etc., is

the 6 pm concert on Saturday for the All-State Middle School Band, the All-State Concert Band, and the All-State Symphonic Band.

NOTE: No concerts will be held at the Straz Performing Arts Center.

Extra tickets may be purchased when

sold at the main registration area and

Does my young child need to buy a ticket?

Everyone who will be taking up a seat

will need a ticket. Babies that are being

held by a parent or sitting on a parent’s lap for the duration of the concert are

welcome without a ticket, but children who are old enough to sit in their own seat will need a ticket.

September 2022

13

All-State Rehearsal Locations All-State Concert Band

Sheraton Riverwalk

All-State Concert Chorus

Tampa Marriott Water Street

All-State Concert Orchestra

Tampa Marriott Water Street

All-State Elementary Chorus

Tampa Convention Center

All-State Elementary Orff Ensemble

Tampa Convention Center

All-State Guitar Ensemble

Tampa Marriott Water Street

All-State High School Jazz Band

Tampa Convention Center

All-State Intercollegiate Band

Barrymore Hotel Tampa Riverwalk

All-State Middle School Band

Hilton Tampa Downtown

All-State Middle School Jazz Band

Westin Tampa Waterside

All-State Middle School Mixed Chorus

Hilton Tampa Downtown

All-State Middle School Orchestra

Tampa Marriott Water Street

All-State Middle School Treble Chorus

Hilton Tampa Downtown

All-State Popular Music Collective

Tampa Convention Center

All-State Reading Chorus

Embassy Suites Downtown

All-State SSAA Chorus

Westin Tampa Waterside

All-State Symphonic Band

Tampa Convention Center

All-State Symphonic Orchestra

Tampa Convention Center

All-State TTBB Chorus

Embassy Suites Downtown

High School Honors Band

Sheraton Riverwalk

High School Honors Orchestra

Embassy Suites Downtown

Middle School Honors Band

Hilton Tampa Downtown

Middle School Honors Orchestra

Sheraton Riverwalk

14 F l o r i d a

Music Director

NT STU D E

EX PER I EN CE S

FMEA now offers two experiences for high school students who are not participating in an all-state ensemble,

the Student Conference Experience and the Tri-M Conference Experience. Read the comparison here

.

Student Leadership Session

Tri-M Conference Experience

Student Conference Experience

Wednesday, January 11, 2023, 1-4:30 pm

The purpose of the Florida

Thursday, January 12-13, 2023

Presenter: Anne M. Fennell, MEd

In It to Win It, for Everyone!

This workshop is designed for all high

school student leaders who want to learn, thrive, and become the best leader for their schools, peers, and themselves.

Attendees will participate in active

conversations and team and relationship

building activities while also discovering their personal strengths and needs to continue to grow on their leadership journeys. Everyone will be engaged

in a culture of inclusivity to see and hear all students whle revealing the

unique strengths and knowledge of our combined voices and experiences.

Music Education Association

Tri-M Conference Experience is to provide students with

Presenter: Anne M. Fennell, MEd The purpose of the Florida Music Education Association Student Conference Experience

experiences that will build

is to expand access to the annual conference

skills, as well as expose them

Participating students will interact with

at the annual conference.

representatives, and incredible performing

their leadership and advocacy

to students from throughout the state.

to the experiences available

amazing clinicians and educators, college

Participating students will

interact with amazing clinicians and educators, college

representatives, and incredible performing groups. These

experiences that they can take back

and share with their high school music

programs. The program will take place on Thursday and Friday of the 2023 FMEA

students will have memorable

experiences they can take back

and share with their high school music programs.

groups. These students will have memorable

Professional Development Conference.

Students will participate in

workshops, observe rehearsals, attend

College Night,

and engage in networking

and social activities with their peers.

Anne M. Fennell, MEd, is the president of

Education, the GRAMMY Foundation, the

and the K-12 music program manager for

Little/Baby Einsteins. She presents sessions

the California Music Educators Association San Diego Unified School District in San

Diego, California. She holds the BME, the

MEd in educational leadership studies, and

Orff-Schulwerk certification Levels I-II-III, and has more than 90 graduate hours in

music and additional education course-

work. Her experiences include 32 years of teaching music composition and steel

Percussion Marketing Council, and Disney’s

and gives keynotes both nationally and

internationally, including state MEAs, the American Orff-Schulwerk Association, the

National Association for Music Education, the

Organization of Economic Cooperation and Development, China music education conferences (through the support of the International

Music Products Industry (NAMM)), and the

drum ensembles in grades 9-12, teaching K-8 integrated

International Society for Music Education. She has received

vocal and instrumental ensembles in civic and profession-

Music Education National Teacher of the Year, 2017 Magnet

arts and music through Orff-Schulwerk, and leading both

al performances, including national music conferences and the annual NAMM Board of Directors’ meetings in 2013 and 2016. She is a published author through Pearson

numerous state and national awards: the 2020 Technology in Schools of America National Teacher of the Year, top 10 GRAMMY Music Educator Finalist for 2016, and top 3 Music Educator Award from Music and Arts in 2015.

September 2022

15

PI LOT PRO G R AM

FLORIDA CORPORATE & ACADEMIC PARTNERS COMMITTEE

A Pilot Program First for the 2023 FMEA Conference

Dr. Matthew Arau

A

Dr. Rollo Dilworth

Dr. Robert Gillespie

fter meaningful discussions with our part-

This is an ideal partnership, whereby each presenter

Academic Partners Committee (FCAP) is thrilled to

the issues they encounter in and out of the classroom,

ners at Hal Leonard, the Florida Corporate and

announce that three incredible sessions featuring three

of the best educators in world will present on Friday at

will be offering music teachers additional tools to face allowing all of us to improve.

As I have stated before, the quality of the music

the 2023 FMEA Professional Development Conference.

business community is dependent on quality class-

short list of names they wanted their members to see,

of our communities grow and flourish.

In a nutshell, FVA, FOA, and FBA were asked for a

and Hal Leonard made it happen. It is my pleasure

room teaching, and it is our intention to make sure all If you are a Corporate or Academic Partner that has

to announce that Dr. Matthew Arau (FBA), Dr. Rollo

an idea on how you can help any of our FMEA compo-

in Tampa in January to address our members.

2024 conference, then please contact me. I look forward

Dilworth (FVA), and Dr. Robert Gillespie (FOA) will be

These Pilot Program sessions, though funded by

Hal Leonard, are not about the products they sell.

Renew your partner membership TODAY! 16

Fred Schiff, Chairperson

Florida Music Director

nents and would like to be seen on another level for the to our conversations.

For more information, call 850-878-6844 email info@flmusiced.org

visit FloridaMusicEducation.org/partners

CLICK

September 2022

17

FLORIDA MUSIC EDUCATION ASSOCIATION 2022-2023 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, 2022, through July 28, 2022.

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

Carlos Abril In Honor of Dr. Nicholas DeCarbo Lucinda Balistreri In Honor of music educators in Sarasota Christopher Banks Kasia Bugaj Dale Choate Virginia Densmore In Honor of Vicki Rhodes Dennis Holt Frank Howes In Memory of Richard Bowles & Harry Grant Steve & Beth Kelly Sheila King In Memory of John W. King Carolyn Minear Mary Palmer In Memory of Amy Catherine Palmer 18 F l o r i d a

Music Director

David Pletincks In Honor of Alexis & Jonathan Pletincks Mary Catherine Salo In Memory of Gary Rivenbark & Wes Rainer Steven Salo In Honor of John “Buck” Jamison & Dr. William Prince Kathleen Sanz In Memory of June M. Hinckley D. Gregory Springer Jeannine Stemmer In Memory of Barbara Kingman & Lauren Alonso Richard Uhler Howard Weinstein In Memory of Barry Weinstein David Williams

PATRONS $25 – $99 Michael Antmann Judy Arthur In Honor of Raymond Kickliter & Nancy Marsters Blair Clawson In Honor of Ginny Densmore, Alice-Ann Darrow, & Vicki Rhodes Dayna Cole In Memory of Linda Mann Marc Decker Dewey Dodds Scott Evans

Bradley Franks In Memory of Gary W. Rivenbark Julie Hebert Julia House In Memory of Dr. Kimberle Moon McKee Joseph Luechauer Kevin Lusk Lloyd McIntyre In Memory of Bob Hager Katie Grace Miller In Honor of Artie Almeida Edward Prasse

Mark Stevens Valerie Terry David Verdoni John Watkins Sondra Wenninger Collins Graeme Winder On Behalf of all our hardworking music educators Anonymous (1)

FRIENDS

up to $24

Crystal Berner Laurie Bitters Antonio Borges Gwendolyn Carroll Jodie Donahoo Denise Dumala Debbie Fahmie Michael Gabriel

Tina Gill In Memory of Gary Rivenbark James Hammond Angela Hartvigsen Deborah Mar In Dedication to Mrs. Barbara Kingman Katie McGuire Menges Diana Rollo

Ian Schwindt Joani Slawson Andrea Szarowicz Bradley Wharton Lindsey Williams Jennifer Zahn Anonymous (5)

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 2022

19

Pictured here is an example of “involving our greater school community in active music-making.” Each Friday, Leon High School’s Capital Singers in Tallahassee gather around the lobby mascot (the lion) to sing for about 10 minutes before the school lets out for lunch. Students from all across the school gather to enjoy the tradition.

CLICK HERE for a video of “Singing Around the Lion”

20

Florida Music Director

Building Community Through Music

by Jacob Reedy and Sherry St.Petery

M

Making music in a community setting is one of the most significant experiences we participate in as musicians,

forming an essential part of our work as music educators.

It takes the music beyond the confines of the classroom and puts it in real life. This allows the students to see how what they may be learning in the classroom has real-life,

tangible applications. The past two years have seen a serious disruption in the community brought by COVID-19.

As we strive to return a sense of normalcy to our students, it is important to keep in mind that everything does not

need to be high stakes. Lehman (2021, p. 65) noted that “... music remains one of humanity’s greatest joys.” It can be simple, focusing on the joy of music-making within our

classrooms and connecting with the greater community.

We have a variety of ideas and strategies we have used

over the years to make quality music within our classrooms, schools, and communities.

Involving our greater school community in active

music-making shows our students there are opportunities for making music in the future and as adults. These do not have to be complex events to engage and inspire students.

In fact, they can be very simplistic in nature while still allowing for the same impact to be made. Hosting ensembles and performers or attending community performanc-

es can be exciting experiences to plan. However, they do not have to be the only avenues for exposing students to

musical experiences. Organizing the faculty and staff of Continued on page 22 September 2022

21

Building Community Through Music Continued from page 21

your school to sing or play a song at an assembly or a pep

sharing what they have learned by teaching it to someone

For example, I (Jacob Reedy) organized a teachers’

classroom as well as the community at-large. Limited

rally can be just as—if not more—influential.

recorder ensemble to play a short piece at the beginning of a school fall festival. Was this a polished, professional

performance filled with lots of technically brilliant music?

No. Was it an opportunity for colleagues to come together and explore a medium that most were not experts

in, to have fun, and to experience many of the tasks we

expect our students to undertake in our music programs?

else gives them authentic responsibility within the music

instructional time can be a barrier to holding performances. By planning ahead and evaluating your curricula

choices, you can prepare for events like this folk dance

night by teaching a variety of dances at each grade level

and then revisiting and refining them in shorter lessons before presenting them to the community.

Creating traditions that bring students and fami-

Absolutely! This aligns with the benchmark “Describe

lies together builds community within your school and

Generation Sunshine State Standards (Florida Department

schoolwide sing-alongs of your school song is a great

how people participate in music” from the Florida Next of Education, MU.2.F.2.1), showing that not only do people

make music as a career, but as a part of their life for enjoyment with friends and family.

Another event that can successfully engage our com-

munity is a family folk dance night where students

and their families join in music and movement togeth-

er. I (Jacob Reedy) did this with fourth graders at my school, using many different types of dances that we had

explored in music class. The students had the opportunity to be the experts, helping their family members and

special guests learn the dances. Engaging students in

22 F l o r i d a

Music Director

creates opportunities for lasting relationships. Having

place to start. If you do not have a school song, creating one together as a school community can be a starting

place. Students, families, and staff can all contribute ideas and help select the phrases and themes that are important

to your school community. Adding to that can be a collection of songs that all students learn throughout their time

at your school and then come together as the whole school to sing each year. Simple songs that can be sung in unison or short canons work well to create a sense of togetherness. Echo songs are super fun and will get everyone focused and singing together as well. Teach the kids they

can sing with everyone else; you will see so many smiles.

Vertical alignment may be an organized part of your

You can teach a finger-play rhyme with a steady beat

district’s practices, or you might have to search for those

are in music class. Then you can get the entire school to

the colleagues your students will work with (or come from

or an echo song to all students, schoolwide, when they participate together in an activity with minimal directions because they have already prepared. The finger play

can be done with all audiation, using only hand motions.

Before the COVID-19 pandemic, there was a morning

when I (Sherry St.Petery) was asked with the other special area teachers to keep the student body in the cafeteria

so their teachers could finish an important professional development. We had 15 minutes with hundreds of stu-

dents. I started our speech piece and the entire cafeteria

opportunities, but by reaching out and connecting with

if you are a secondary teacher), the path can be primed for

students to continue participating in school music pro-

grams. We have seen great energy and excitement when students get to see other programs and the students share

their music. Joint concerts where each school presents its own program and then the schools combine for a collaborative piece can be an excellent opportunity for students to see peers and older students performing.

These are just a few examples that show ways to incor-

was engaged, moving their hands and speaking together.

porate the school and local community into the class-

only hand motions and speech in our heads.) We prac-

we can build resilient relationships that support our stu-

Then we tried it with “magic lips” (i.e., audiating—using

ticed a few times to line up our claps, and everyone was

participating and getting focused for their day. The school community is supported and grown when students participate together in activities like these that unite them.

During the first several years I (Sherry St.Petery) taught

at my school, we did a schoolwide showcase. The amount

room. By engaging with our students and their families, dents’ musical and personal growth. What ways can you connect yourself to the music-making community within and around your school? What ways can you connect

your students to the community around them through music?

of work to get this together was enormous. I have a great

Jacob Reedy is a music specialist at Seaside

mance, and we worked together to organize and prepare

University of North Florida. Passionate about

team of special area teachers who embraced this perforwith the students. The community-building showcase of

all students making music together was fabulous. Former

students came back to help during transitions backstage.

This was a community working together—what better

way to encourage our students to continue in music

Charter San Jose and holds the BME from the

active music-making, Mr. Reedy serves on the

board of the North Florida Orff Chapter and serves the Florida Elementary Music Educators Association as chair of District 5.

beyond elementary school? Parents’ appreciation for the

Sherry St.Petery grew up in Miami, Florida.

always the beginning and the finale where all of the stu-

School District of Indian River County, Vero

music program grew and grew, and the highlight was

dents (kindergarten through fifth grade) performed a few songs together, surrounding the audience.

Get to know the middle and high school music teachers

in your area. Isolation is a well-discussed theme, especially among elementary music teachers who are often

the only teachers teaching their content in the building (Bautista et al., 2021). Attend concerts and get coffee or

lunch together in the summer or during other times of the year. We have so much to learn about and see what

everyone is doing with music in our local communities.

She teaches K-5 music at Liberty Magnet School, Beach. Mrs. St.Petery holds the BME and the

MME in music education from Florida State

University. She taught middle school band for

12 years and is in her 10th year of teaching elementary music.

References Bautista, A., Stanley, A. M., & Candusso, F. (2021). Policy strategies to remedy isolation of specialist arts and music teachers. Arts Education Policy Review, 122(1), 42-53. https://doi.org/10.1080/10 632913.2020.1746713

By connecting with colleagues personally, we can build

Florida Department of Education. (2010). Next Generation Sunshine State Standards. Retrieved December 20, 2021, from https://www.cpalms.org/public/search/Standard

and then opportunities for collaboration can naturally

Lehman, P. R. (2021). Another perspective: Why do we like music?

And what does this mean for music education? Music Educators Journal, 108(1), 60-65. https://doi.org/10.1177/00274321211024194

community as teachers, like we do within our classrooms, develop.

September 2022

23

Leveraging Librarianship A GUIDE FOR MUSIC EDUCATORS

M

by Adam E. Berkowitz

Music educators are responsible for a great many things

of Music. She notes similarities regarding advocacy, pro-

Proficiency in pedagogy, library maintenance, budgeting,

ativity (Green, 2014). In another publication, she mentions

in order to deliver the best possible level of education. and community engagement are all responsibilities of

music educators. However, catering to the education of

children need not be a solitary function. There exist strategic partners, both within the schools and the community,

who are eager to collaborate. This article aims to add to the body of literature promoting partnerships between

libraries and music programs. Here, several issues that impact music educators are considered from the perspective of a librarian, suggesting how libraries and best practices in librarianship can support school music programs.

Supporting Literature

Libraries exist for the purpose of meeting a community’s

information needs and to serve as a venue of free thought and collaboration. The mission of the Tampa-Hillsborough

County Public Library, for example, includes statements about lifelong learning, intellectual freedom, and enhancing quality of life (HCPLC, 2022). When compared to the NAfME’s values statement, which mentions collaboration, empowerment, diversity, and uplifting the human spirit,

the common interests are clear (National Association for Music Education, 2015).

According to music teacher Steve Damon, “[Children]

come to the realization that every subject area is con-

nected .... Although teaching styles may differ, librarians and music educators have a common goal: to open young

gram planning, cross-curricular collaboration, and crethe emphasis that NAfME places on integrating tech-

nology into music education and concludes that this is “an opportunity identified” for partnerships with school

librarians as multimedia specialists (Green & Green, 2014, p. 107). Another article, published in Tampa Bay Parenting Magazine, demonstrates how public libraries, through resources and services, can support school music and

theatre programs (Berkowitz, 2022). There would seem to be an obvious path to ongoing collaboration.

Useful Collection Development Strategies

Collection development is the process by which a librarian assesses the information needs of the community and

endeavors to meet those needs through acquiring resourc-

es, preserving the body of the collection, conserving specific items within the collection, and deselecting (i.e., weeding) unnecessary materials. There are additional

aspects to collection development, and this is by no means

an exhaustive list of collection development responsibili-

ties; however, these are the core components that are most

relevant. To clarify, anything can be included in a music collection, such as sheet music, instruments, CDs, DVDs,

etc. From here on, though, this article will discuss music collections as scores and sheet music, but the methods to follow can be applied to any kind of music collection.

To start the acquisitions process, the music educator

minds to every area of learning” (Damon, 2003, p. 33). Lucy

must consider what constitutes a viable addition to the

University of South Carolina, identifies overlapping pro-

needs of the teacher and students as well as credible

Santos Green (2014), information science professor at the

fessional standards between the American Association of School Libraries and the National Association of Schools

24 F l o r i d a

Music Director

collection. This is determined by a combination of the

sources providing information on desirable music. Two Continued on page 26

September 2022

25

Leveraging Librarianship Continued from page 24

of the best kinds of resources to consider are bibliographies of musical works and professional reviews of literature.

A music bibliography is a curated list

of compositions indicating the title, com-

poser/arranger, publisher, and date of publication. There exist many music bibliographies for large ensembles, chamber

ensembles, and individual instruments or

voice. Examples of bibliographies include

music performance assessment lists for

solo and ensemble and all-state auditions,

or the Midwest Clinic’s “Recommended March Composers List” (Midwest Clinic,

2022). Orchestra directors would find

of the composer/arranger as well as an

the collection also protect the individual

Music by David Daniels (Daniels et al.,

Preservation and conservation, because

sider include assessing individual parts as

value in consulting Daniels’ Orchestral

excerpt of the sheet music.

2022), and band directors would ben-

they are so closely related and often used

Metrics to Improve Selection Criteria in

cussed together. The primary difference

efit from referring to “Using Citation Developing Symphonic Band and Wind Ensemble Libraries,” which contains a

significant evaluation of relevant bibliographies (Berkowitz, 2021).

Literature

reviews

are

published

assessments by field experts and listed

interchangeably by librarians, are dis-

between the two is that preservation

refers to protecting the entire collection while conservation deals with protecting

a single item. Below are some examples of each.

As a measure of preservation, music

in professional periodicals. Reviews fea-

programs should have an emergency con-

Notes list compositions in bibliograph-

disasters. This plan likely includes special

tured in the Music Library Association’s ic format, ISBN numbers, and cost of

purchase. Furthermore, they include a lengthy synopsis discussing the history of the work, biographical information about

the composer/arranger, and descriptions of the music itself. The Music Teachers

National Association’s The American Music

Teacher prints reviews of compositions

comprising the title, composer/arranger, publisher, and cost of purchase as well as

information about the music and composer/arranger. The Percussive Arts Society

publishes its reviews of new percussion literature and recordings in Percussive

Notes and Rhythm! Scene, offering a short synopsis of the music and biography

26 F l o r i d a

Music Director

tingency plan when preparing for natural

instructions for where and how to store the music library, or perhaps includes

provisions for how the library can be replaced if needed. Another preservation tactic utilized in archives is storing sheet

music in acid-free boxes. Doing so ensures that the contents are protected from natu-

ral degradation. A preservation strategy

familiar to all music educators requires students to refrain from marking their music with a pen. While erasing pencil

materials. That said, some tactics to conmusic is being distributed. It is highly rec-

ommended that parts in poor condition be replaced with newly purchased copies;

however, allowances can be made for photocopies. Temporary photocopies can be used in lieu of purchased sheet music

so long as the copy is shredded after use and then replaced with the legitimate

purchased part. Photocopies of parts can also be used in perpetuity provided that

written consent from the copyright owner has been obtained prior to making the copy (Gilligan, 2022). Music educators

who find worn-out scores, assuming they are still legible, are advised to send them

to a professional binder for repair or to

rebind the pages themselves at a print shop. In revisiting the use of acid-free

boxes, another option is to use them only for out-of-print music. This will extend

the life of the music and can be done on a case-by-case basis.

Weeding, the act of removing materials

marks inevitably damages the music’s

from the library, is the final step in the

continued use.

be made clear that deselection does not

integrity, ink is permanent, preventing

Conservation often overlaps with

preservation. The methods that protect

collection development cycle. It should necessarily mean disposal. The weeding

process exists because space in a library

topic is extensively discussed in the

sess the desired materials, obtaining them

Metrics to Improve Selection Criteria …”

be explored. ILL is a service offered by

aforementioned article, “Using Citation

(Berkowitz, 2021). In practice, a music educator interested in purchasing music

seen in a review or a bibliography would benefit from consulting additional sourc-

es to determine if the title is mentioned elsewhere. The more frequently a work is

included in different bibliographies, the

facilities where materials from the col-

lection can be moved to make room for

es of music in the library that do not retain

a high citation metric, the more likely it is that they should be weeded.

In addition to best practices in librarian-

The next issue is to determine what

should be removed. Librarians consid-

er circulation statistics, the reputations of titles and authors, the cohesiveness

of individual materials, and the overall

condition of the items. When applied to a music program’s library, certain questions

need to be asked: How frequently is this work programmed for performance? Can the composition be found in the latest

bibliographies? Is the music a good fit for the ensembles and the students? Is the

sheet music in good enough condition for distribution and use? Answering these questions will lead to better-informed decisions.

There is one more tool that would

prove useful to music educators during the acquisitions and weeding processes. Citation metrics, also known as cita-

tion impact, is the number of times a published work is referenced in other published works (Garfield, 1988). This

must first gather information about the

needed resources and report them to the library. Required details can be found using WorldCat (www.worldcat.org

),

Many libraries have webforms that can

school music programs or community disposal may be necessary.

them from other libraries. The patron

in the library. Conversely, if there are piec-

Library Collections and

ensembles. If none of this is possible, then

items they do not own by borrowing

an online international database of mate-

new additions. Other possibilities include donating the excess sheet music to other

libraries for the purpose of obtaining

more likely it is to be of high quality, fur-

ther justifying the purchase and inclusion

is limited. Some libraries have storage

through interlibrary loan (ILL) should

rials held in public and academic libraries. be accessed and submitted through their websites, and others will provide instruc-

tions on how to request items through WorldCat.

Libraries can also be relied upon to

Interlibrary Loan

procure sheet music as well as audio and

ship, libraries themselves can be invalu-

es. Typically, only scores can be found

able in supporting school music pro-

grams. Often overlooked is how library collections and services can be utilized to augment a music program’s library. Music reviews and bibliographies were previ-

ously identified as necessary resources for collection development; however, the

publications where reviews and bibliog-

raphies can be found often require a

paid subscription. As such, it would be prudent to inquire if the local library

has access through its digital databases.

Library vendors such as EBSCO, Gale,

ProQuest, JSTOR, and SAGE often have

video recordings of musical performanc-

in libraries or requested through ILL; however, some libraries carry scores and parts for small chamber ensemble works.

Many libraries also have access to extensive e-book collections through vendors such as Hoopla and Overdrive, which

may include digital copies of sheet music available online both within and outside

the library. The advantage of borrowing

scores and parts is that it gives music edu-

cators the ability to review the music prior to purchasing or renting to determine if

the piece is suitable for the music program.

All libraries have some kind of col-

access to these professional periodicals.

lection of recorded music, which can

General Music Education, Journal of Music

are CDs, DVDs, and streaming media.

In fact, Music Educators Journal, Journal of

Teacher Education, Journal of Research in

Music Education, and The American Music Teacher are all available through at least one of these databases.

Cases where only physical copies are

available will necessitate travelling to the

library, and if the library does not pos-

take many forms, but the most common Libraries contract with several companies

in order to make streaming music, in both audio and video formats, available wher-

ever there is an internet connection via websites and mobile apps. Some examples

of these vendors include Hoopla, Naxos Continued on page 28 September 2022

27

Leveraging Librarianship

Figure 2. Tampa Bay Ukulele Society Jam Session at THPL

Continued from page 27

Music Library, Alexander Street, and

ing equipment, and computers with edit-

is not available in physical or digital for-

make for excellent practice rooms. As a

DRAM. In cases when the required music

mats, it is possible to request recordings

through ILL; however, online commercial streaming services such as YouTube,

Spotify, Pandora, and Deezer should not be discounted.

ing programs … the library’s studios sizeable, open space equipped with sound

dampening technology, the studios are suitable for singing, playing instruments,

running lines, and dancing” (Berkowitz, 2022, para. 3).

Libraries

without

recording

stu-

Practice Rooms and Music

dios also tend to include private meet-

A currently trending practice in libraries

large conference rooms. Some of these

Programming

is retaining and facilitating recording studios. Florida public libraries with record-

ing studios include but are not limited to the Tampa-Hillsborough County Public

Library (THPL, see Figure 1), the Delray Beach Public Library, the Pasco County

Library Cooperative, the Orange County Library System, and the Jacksonville

Public Library. The Tampa-Hillsborough

County Public Library’s recording studios “are equipped with green screens, recordFigure 1. THPL Recording Studio

ing rooms, enclosed study spaces, and rooms may not be suitable for practice,

but for students who need a practice space

and are unable to practice at home or at school, this is a viable option to explore.

Furthermore, libraries are often located

Libraries, as hubs for education and

within walking distance of schools and

culture, often partner with local music

ents. Music educators are advised to con-

the Tampa-Hillsborough County Public

are convenient for both students and partact their local libraries to learn more about the amenities and to reserve space for students.

organizations. Two organizations that Library cooperates with include the

Tampa Bay Ukulele Society and The Florida Orchestra. In May 2015, the

Ukulele Society donated a large set of

ukulele kits to the library consisting of a ukulele, a method book, a tuner, an

instructional DVD, and a carrying case.

Patrons can check out these kits and, with the accompanying materials, learn how to play the ukulele. In addition, the Ukulele

Society schedules private lessons and jam sessions at several library branches

where patrons can bring borrowed ukuleles and have fun practicing musicianship

(see Figure 2). The Tampa-Hillsborough

County Public Library is also a venue for “instrument petting zoos” facilitat-

ed by The Florida Orchestra. At these events, children are exposed to instruments from the different sections of the orchestra, and after learning about them, the children are invited up to play (see Figure 3). The Florida Orchestra is also a

“Discovery Pass” partner, which allows patrons to attend select concerts at no cost

28 F l o r i d a

(Berkowitz, 2019).

Music Director

All figure photos provided by Tampa-Hillsborough County Public Library.

Music educators are encouraged to take

state include Florida State University’s

and information science from the University

order to augment their music programs.

University of Miami’s Austin and Marta

Music Library Association’s Public Libraries

advantage of these kinds of resources in The library’s ukuleles offer children an opportunity to play an instrument when

the school music program is unable to supply instruments or when the purchase of an instrument is cost prohibitive.

Instrument petting zoos allow children to explore orchestral instruments early in

their music education, possibly cementing an enthusiasm for joining an ensemble in

the future. Attending orchestra concerts

enables students to observe professional musicians in the midst of a high-quality

performance, and as a member of the

Warren D. Allen Music Library and the Weeks Music Library. These libraries and many others in Florida are staffed by individuals holding degrees in both music

and library/information science who research the intersection of the two fields

and are supported by the Music Library

Association. Recognition should also be given to school libraries and media

centers. These facilities are managed by highly trained professionals specializing

in librarianship, multimedia technology, and cross-disciplinary collaboration.

Music educators should feel encouraged

audience, they learn concert etiquette.

by the information presented in this arti-

students leave the classroom.

both within the schools and surround-

The music does not have to stop once the

Conclusion

Libraries throughout the state of Florida house music collections, with university libraries tending to be the most significant in size and stature. The two most prominent music libraries in the Figure 3. The Florida Orchestra Petting Zoo at THPL

cle. Opportunities for collaboration exist

ing communities. Leveraging libraries as

strategic partners will lead to significant enhancements to school music programs.

Utilizing strategies in collection development will lead to improved organization

and better-informed decisions regarding balancing and protecting the music

library. Making use of library collections and services will help augment the school

music library without having to make purchases and allot space. Encouraging

the use of library facilities gives students

a place to listen to music and practice outside of school. Emphasizing musicfocused library programs allows students

to continue their music education beyond the classroom. Through library partnerships, students can receive a fulfilling music education.

Adam Berkowitz is the

grants coordinator with the

Tampa-Hillsborough County Public Library. He earned

the MA in music history and literature

from

Florida

Atlantic University and the MA in library

of South Florida. He is a member of the Committee and reviews proposals concerning topics in music for Rowman & Littlefield as a library advisory board member.

References Berkowitz, A. E. (2019) Music collections and programming at the Tampa Hillsborough County Public Library. MLA Newsletter, 205, 6-8.

Berkowitz, A. E. (2021) Using citation metrics to improve selection criteria in developing symphonic band and wind ensemble libraries. Florida Music Director, 74(8), 8-15.

Berkowitz, A. E. (2022, February). Beyond the books: Music reaches where words can’t. Tampa Bay Parenting Magazine.

Retrieved March 3, 2022, from https:// issuu.com/tampabayparentingmagazine/ docs/february_2022_ web?fr=sODEyZDI0MzkzNzg Damon, S. (2003). From the bookshelf: A librarian with a music educator an unstoppable teaching duo. General Music Today, 16(2), 33-7. https://doi.org/10.1177/1048 3713030160020801 Daniels, D., Rahbee, D. A., & Oertel, D. W. (2022). Daniels’ orchestral music (6th ed.).

Rowman & Littlefield Publishers.

Garfield, E. (1988). Can researchers bank on citation analysis? Essays of an information scientist: Science literacy, policy, evaluation, and other essays, 11(44), 354-363.

Gilligan, T. S. (2022). MTNA copyright guidelines for music teachers. Music Teachers National Association. Retrieved April 24, 2022, from https://www.mtna.org/MTNA/Learn/ Copyright_FAQs.aspx Green, L. S. (2014). School librarians and music educators: A concert for student success.

Library Media Connection, 33, 20-23.

Green, L. S., & Green, B. (2014). School librarians and music educators: Unique interdisciplinary partnerships. In K. Kennedy, & L. Green, Collaborative models for librarian and teacher partnerships (pp. 99-109).

IGI Global. https://doi.org/10.4018/978-14666-4361-1.ch009 HCPLC. (2022). About the Tampa-Hillsborough County Public Library. Hillsborough County Public Library Cooperative. Retrieved March 3, 2022, from https://hcplc.org/thpl/about Midwest Clinic. (2022, January 24).

Recommended march composers list.

Woodridge, IL: Midwest Clinic.

National Association for Music Education.

(2015, October 23). Strategic Plan. National Association for Music Education.

September 2022

29

ComponentNews

FLORIDA MUSIC SUPERVISION ASSOCIATION

Lindsey R. Williams, PhD, President

O

ur county provided a weeklong

of success/failure for the year. To many,

all of our teachers, and I was able to

carries substantial importance verging

professional development event for

facilitate for our performing arts faculty.

What struck me during this event was the level of energy and creativity present,

especially in the collaborative sessions.

The sharing, reimagining, and creation of

lessons was an amazing sight to behold.

Further, these sessions became a week

full of takeaways that our teachers can

implement immediately in their respective classrooms.

By now our new year is in full swing,

and we are likely developing a clearer sense of the strengths and areas for

especially our more novice teachers, it on it being the sole purpose of the year.

Meaningful assessment data can be very important in measuring a program, but

I hope we are all seeking more than a single performance to make these judgments. I trust we are helping each other

students to make music together—to cre-

Seminole County Public Schools elementary music teachers Danielle Hatch and Lisa Langston share new lessons with their colleagues.

the assessment itself (aka MPA rating)

show the value or growth of an individual

to approach this process of preparing

ate beauty—as the “it,” where results of function as a byproduct of the teaching/ learning process.

My wife and I have two boys who have

improvement for our individual students

both had multiple experiences of prepar-

a groove, with our students solidifying

sure and stress, and I’m seeing similar

and our ensembles. We are, I hope, in what they can expect in the various classrooms they enter each day. This part of the year is so exciting to me.

A topic of conversation during the

professional development week, as well as myriad conversations with teachers

around our state, addressed approaches and perceptions of the relative “weight” of our music performance assessment

system. Some view it as an event that

happens within the context of teaching

music while others view it as a harbinger

ing for FSA testing. They both felt presperceptions in music teachers as it relates to our various assessment experiences

(e.g., MPA). The feeling from my kids and from my colleagues is that these assessments can function both in a summative

fashion and, to some, as the sole data

point that determines success or failure. I would argue that these feelings of stress

and anxiety certainly do not align with quality performance on an instrument, a voice, or a standardized test. I would also argue that no single assessment can truly

or ensemble, let alone an entire program.

In a music education setting, I know that

these performance experiences can pro-

vide a valuable data point for how our students are achieving and some insight into the appropriateness of the literature choices made by the director. Other data

points to show program growth and/or

stability could be such things as enrollment data, retention/attrition rates, number of students in solo and ensemble, community involvement, other adjudicated events, or independent student projects, to name a few. But let’s make sure that an

adjudicated data point isn’t the only measure we are using to show individual and ensemble growth.

A quote from Adam Grant’s book

sums this up nicely: “The more you value achievement, the more you come to dread

failure.” I choose to interpret this quote to mean that if we overvalue a single result, we can lose the freedom and joy of creat-

ing art—alone or together. There is value in success and in “failure” when we treat each event in a formative (i.e., big picture) way rather than as repeated summative endeavors.

Secondary teachers work with the staff at Orlando Repertory Theatre (The REP) on show design and production scheduling. (Photo: Jennifer Adams-Carrasquillo, The REP)

30

Florida Music Director

Reference Grant, A. (2016). Originals: How non-conformists move the world. Viking Press.

FLORIDA NAfME COLLEGIATE

Mark A. Belfast, Jr., PhD, Advisor

Networking to Create Your Professional Community

by Margaret Flood, PhD

shops, etc.,—GO! There’s more to these workshops than pedagogy; it’s the optimal time to network. These are the best places to find passionate people excited about what they do, and they will help to pump you up, too!

As your collegiate chapter activities

gain momentum this fall, invite your col-

leagues who are music majors to attend events and to join your chapter. These colleagues are valuable to your future endeavors. For example, they could provide lessons for your future students, help you book a gig, or collaborate on a

commissioned composition. Almost all music majors will find themselves teach-

ing in some capacity, and being a part of

P

rofessional networking starts from

part. I direct messaged and emailed sever-

ate music degree program. The ability

part, and these relationships still exist

the first day of your undergradu-

to build professional connections is an important soft skill not often emphasized within the overwhelming music educa-

tion course load. Being a music major is unique, as you spend an incredible

al agents, scholars, and conductors to take

tations to give clinics in schools, stu-

You’ll be surprised by the responses.

The community you build through

professors, graduate students, and clin-

throughout your career.

As we increase our face-to-face inter-

actions, we may feel a bit uncomfortable and socially awkward. Do not be afraid to

connect with others initially via email or social media. Social media is a great place to network with like-minded people. It

is less awkward at times, and is socially

through the snowball effect. Classmates, ical teachers are key relationships that will help introduce you to others. NAfME

Collegiate activities offer opportunities

for networking and fostering relationships. Daily ways you can network are

through social activities, such as sharing

dents to populate my teaching studio, and

paid gigs. These opportunities opened pathways for me, including invitations to apply for teaching positions and a doctoral music education program. I often joke

that there is only one degree of separa-

tion amongst people in our greater music

community, so I encourage you all to take advantage of and start connecting!

Margaret Flood, PhD, is an

assistant professor of music

ting to build relationships.

cation at Florida Southern

you don’t have be in a formal music set-

Network by going to conferences and

professional development activities. If

symposium to be virtual, allowing me to

gests a workshop, such as Orff or Kodály

invite other professional musicians to take

community I had built offered me invi-

a meal with your colleagues. Remember,

and professionally acceptable. In 2020, I was faced with reinventing a conducting

Networking can be lifechanging. In

you to reach out to those you admire.

for networking. These connections start to sional relationships so you feel supported

pedagogical skills.

2011, I lost my job, yet the professional

of the Buffalo Philharmonic! I encourage

networking will organically populate

build your personal community of profes-

ing opportunity as well as a foundation in

today—even with Maestra JoAnn Falletta

amount of time with your cohort and professors, which creates an optimal setting

NAfME Collegiate offers them a network-

your clinical teacher or professor sugtrainings, conducting clinics, dance work-

and coordinator of music edu-

College. If you would like to

network with her, or the Florida Southern

College NAfME Collegiate Chapter, please reach out to mflood@flsouthern.edu or fscnafmecollegiate@gmail.com.

September 2022

31

ComponentNews I

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

Marc Decker, DMA, President

hope this column finds you well and

and kind, but always quick to point out

a noble place, but unless you’re teaching

term. This month I’m writing to our new

of today’s article, which is advice for new

music you’re picking is too hard. The

my mistakes. That brings us to the subject

enjoying the first few weeks of the

music teachers that I hope helps you this

music teachers in Florida. Welcome to

year.

the profession of music education! You

Picking music for MPA. Picking music

are in store for a great year. When I think

back to my first few years of teaching, I

that’s too hard for our students is a trap

many successes, and a few challenges.

often because in college we formed a

we all fall into. Why do we do this? It’s

recall amazing colleagues, great students,

strong musical connection with a piece of

I remember that first year connecting

music and we want our students to have

with students through a shared youthful

that same experience. This comes from

excitement for music. They were patient

at an amazing school your first year, the

other reason—which is common for expe-

rienced music educators as well—is that hard music is fun! Hard music tends to have cool counter-melodies, complicated

harmonies, virtuosic solos, and high lev-

els of syncopation and chromaticism. We pick hard music because we are drawn to it, only to learn after a few weeks that it isn’t a good fit for our students.

One of my first mentors, a brilliant mid-

dle school band director, gave me advice on this. She said that even after spend-

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

ing many hours searching for music, she

wouldn’t know if it was the right fit until after the first rehearsal. On that day she

Joani Slawson, President

would sight-read with the students, fix-

ing some mistakes, but ignoring the vast majority of wrong notes and rhythms.

After all, there was plenty of time to fix that later, and she didn’t want the music to be too easy. The true test of difficulty

W

e are off and running in a new school year. There are so many things to

came toward the end of rehearsal. She

bogged down with all the minutia. As we settle into this new school year, I am

to the end to see if the ensemble ended

plan, set up, and organize at the beginning of the year. It is easy to get

reminded of this quote by Haim Ginott:

I’ve come to the frightening conclusion that I am the decisive element in the

classroom. It’s my personal approach that creates the climate. It’s my daily mood that makes the weather. As a teacher, I possess tremendous power

to make a student’s life miserable or joyous. I can be a tool of torture or an instrument of inspiration. I can humiliate or humor, hurt or heal. In all situations it is my response that decides whether a crisis will be escalated or de-escalated and a student humanized or de-humanized.

would start the piece and push all the way together. If they could, then the music

wasn’t too hard. I found that approach to be very successful as a new teacher.

Find yourself a mentor. I am very

grateful to have had two mentors in the district during those years. One knew a lot about my content area and could

help with pedagogy and repertoire. The other was invaluable because he was

YOU are the most important factor in the classroom. Let’s try our best to stay

able to provide guidance with classroom

present with our students and tune out the background noise. Prioritize what

management, an area in which I needed

Elementary music teachers are the most hardworking, compassionate people I

In Florida we are fortunate that many

your classroom needs and, more importantly, what you need to be your best!

improvement.

know, and students need YOU most of all.

of the component organizations in FMEA

For those of you who are auditioning all-state students, the September 22

have mentorship programs to help you

All-State Chorus, All-State Orff Ensemble, Regional Honor Choir, and Regional

cator. Additionally, many school districts

deadline is approaching quickly. Please visit femeamember.org

for all of your

Orff Ensemble needs. You may also email questions to AskAllState@gmail.com.

32

Florida Music Director

connect with an experienced music edu-

have programs and supervisors who

can help. It might take some effort to

FLORIDA VOCAL ASSOCIATION

Jeannine Stemmer, President

find yourself a mentor, but doing so will

yield tremendous results. A good mentor will encourage you, support and guide

T

his April I bought a packet of zombie plant seeds. If you have never seen a

zombie plant, look it up. They are super

your professional growth, offer advice,

cool. I planted the seeds and after about

Connecting with a mentor (or two!) will

of the seeds. A few more weeks went

Find time for family, friends, relax-

sprouted from the 10 seeds I had plant-

talk a lot with students, friends, and

another planter, and as spring turned to

education is a demanding profession. The

to plant some new succulents, and as time went on, I noticed a little zombie in the

the children of Florida take a physical and

sprouted.

time in our schedules to rest, stay healthy,

It just happens. I took a moment to pray, and then I checked an unread text on my

you’re thinking right now about evening

Thank you for all that you’ve done, large and small. Thank you for leading by

and be someone to bounce ideas off of.

a week, a little sprout came up from one

make you the best teacher you can be.

by, and about five baby zombies had

ation, and personal wellness. I tend to

ed. I decided to move the little plants to

colleagues about this topic because music

summer, they continued to grow. I used the original planter with some leftover soil

many hours we give each week educating

succulent planter. It took that seed a little longer than the others, but eventually it

emotional toll on us. We have to carve out

I woke up today with a heavy heart. Sometimes a heavy heart is hard to explain.

and recharge our musical spirit. I’m sure

rehearsals, weekend performances, and after-school lessons. How is it possible to

find time for me? Unfortunately, I don’t

have the answer except to say that putting

phone. It said:

example, being unconditionally supportive, and always being such a wonderful friend. – Paul

Wow, what a blessing in the affirmation of my colleague. That was all I needed

in an effort—any effort—does make a dif-

to get over the gloomy hump and find the purpose in my day because Paul decided

family at dinner, to avoid bringing work

words can empower others. We may not always see the results of our words, but

a day off, to truly take that day off. We all

not return void. Let us continue to breathe love, wisdom, joy, and hope into each

ourselves, and it’s important to find the

read these articles, but I sure have enjoyed writing them. If you do, let’s plant seeds

New teachers, I hope you found this

I am looking forward to planting seeds of affirmation in our choral students this

ference. I try each day to connect with my

to wake up and plant a seed of affirmation in my heart. We have no idea how our

home after school, and whenever I do get

just like the little seed that eventually sprouted with the succulents, our words will

need to do a better job of taking care of

other and our students this year. I do not know how many of you take the time to

time to do so.

of affirmation. #seedsofaffirmationfva

helpful. You are going to be great, and

year as we lead them in their musical journey. Our all-state testing windows are

will have on all the children of Florida.

portion. Have fun and share joy as you prepare.

I look forward to seeing the impact you

September 5-17 for the musicianship portion and October 3-15 for the vocal quality

Good luck and teach well!

Print. Digital. Direct.

September 2022

33

Florida Orchestra Association & Florida ASTA Fall Conference 2022 Thursday and Friday, October 6-7, 2022 Keynote Speaker & Guest Conductor: David Eccles Many sessions with information you can use now!

FOA and FLASTA Business Meetings Two New Music Reading Sessions (Bring your instrument and stand!)

Vendor Exhibits & Networking Ask for the FOA room rate: $175.00 (single or double); $13.00 per day resort fee

6001 Destination Parkway Orlando, FL 32819 (1-888-488-3509)

Hotel reservations must be made by Saturday, Sept. 22, 2022!

Preregistration Fee: $75.00 Orchestra Teachers/ASTA Members; $45.00 Retired/Spouse; $15.00 Collegiate

Resort fee entitles you to: • 15% discount at all hotel restaurants (except the Tropics Restaurant)

On-Site Registration Fee: $100.00 Orchestra Teachers/ASTA Members; $60.00 Retired/Spouse; $25.00 Collegiate

• Free basic internet, local phone calls, domestic long distance & 800 numbers

Preregistration must be postmarked by Sept. 16, 2022.

• 50% off the daily self-park fee

Session details and additional information can be found at www.myfoa.org!

Name

Home Phone

Address City

State

School Name

Email

ZIP

Please place the quantity of those registering in each appropriate box: FOA & ASTA Member

ASTA Member (only)

Retired/Spouse

Collegiate

Make checks payable to FOA (Cash and POs are not accepted) Mail registration form and payment by check to: FOA Executive Director • 220 Parsons Woods Drive • Seffner, FL 33584

34 F l o r i d a

Music Director

CommitteeReports

SOCIAL JUSTICE & DIVERSE LEARNERS COMMITTEE Alice-Ann Darrow, Chairperson

What is Inspiration Porn?

And is it Good or Bad?

D

o you subscribe to inspiration porn?

Sadly, I admit that I do. I am a push-

over for nearly every sappy story about

people with disabilities. After slapping

myself around a bit, though, I analyze the story for signs of inspiration porn. Is the subject of the story being sensation-

alized or objectified? Inspiration porn is frequently discussed within the disability community, though rarely addressed

among individuals without disabilities.

Inspiration porn, like other forms of por-

nography, is material that objectifies a person or persons for the benefit of oth-

ers. Obviously, anything pornographic

has no place in the classroom, but what about inspiration porn? Isn’t inspiration

professionals. She recounted as a student

phrases such as “If they can do it, so can

to inspire? Yes … unless we are inspiring

and called “inspirational,” not because

the nondisabled reader.

good? As educators, shouldn’t we strive some students by objectifying others.

What is inspiration porn?

In her 2014 TED Talk “I Am Not Your Inspiration, Thank You Very Much,” the

late Stella Young, a comedian and high school teacher with osteogenesis imper-

fecta, coined the term inspiration porn, a

herself being nominated for an award

she had accomplished anything, but sim-

porn in the media include: the cheer-

went on to denounce images in the media

dent with a disability to the prom; a

her disability. In her TED Talk, Young

that portray persons with disabilities as

messengers of inspiration. You can view it above.

Inspirational is now considered a type

of epithet among many individuals with

meme, video or feel-good article that

activists and advocates consider use of

sensationalizes people with disabilities” (Heideman, 2015, p. 1). As a beginning

teacher, Young recalled a student who,

not realizing she was going to be his

teacher, asked when she was going to give her inspirational speech, adding, “They

usually do them in the big hall.” Young realized the student had only known

persons with disabilities as objects of inspiration, not as teachers, lawyers, doc-

tors, hair stylists, bank clerks, or other

Sentimental examples of inspiration

ply because she had managed to live with

term now frequently referenced in dis-

ability literature. “Inspiration porn is any

you!” are designed to inspire or motivate

disabilities (Heideman, 2015). Disability the term inspirational, or any form of the

word (inspire, inspiring, etc.), as “sepa-

rating, objectifying, and condescending and regressive in terms of equality and

inclusion” (Davis, n.d.). The term is used often in news reports or Facebook posts

depicting an individual with a disability

accomplishing a task that may be extraordinary, but is often simply ordinary but

still considered “inspiring.” News reports or Facebook posts with accompanying

leader or football player who asks a stunondisabled student being praised for

being friends with a student who has a

disability; or the football player with a disability who is allowed to take the foot-

ball into the end zone for a touchdown.

Such media accounts challenge assump-

tions about charity and kindness that

perpetuate inspiration porn. Another example is the often-seen depiction of a

person with prosthetic legs running, captioned with “What’s your excuse?” Such media accounts “give the nondisabled

person a hit of ‘inspiration’ or emotion, and thus, realizes the pornographic selfgratification of people without disabilities” (Gagliardi, 2017, p.1).

One might fairly ask if the examples Continued on page 36 September 2022

35

CommitteeReports SOCIAL JUSTICE & DIVERSE LEARNERS COMMITTEE

Inspiration Porn Continued from page 35

above are simply depictions of kindness

porn assumes that people with disabili-

condescending, it helps to assume the role

of kindness.” How can we teach children

or charity. To determine if a depiction is of the person with a disability. For exam-

ple, 1% to 2% of all Americans have red hair. People with disabilities see themselves similarly, as perhaps unique but

not different or less than. Should someone with blonde or dark hair be congratulated or admired for being friends with someone who has red hair or for taking a red-

head to the prom? Should people with red

ties should be grateful when shown “acts with disabilities to be proud and self-

possessed if they are expected to be grate-

ful for being accepted by others? Shouldn’t they expect the same acceptance given to

others? After politely turning down an

Music Education

ities was told, “You should be thankful

Internet users’ comments posted on

invitation, a young woman with disabilyou were even asked.”

Inspiration porn is harmful because

hair feel proud that they are admired or

it prevents people with disabilities from

they have managed to live with red hair?

stream. It perpetuates the impression that

considered inspirational simply because Most people with disabilities do not see themselves as that different from nondis-

abled people. The same could likely be said for any person who may be considered an “other.”

Why is inspiration porn harmful?

All porn is harmful because it objectifies a person or persons for the benefit of

others. Inspiration porn contributes, perhaps unwittingly, to the subjugation and

belittlement of people with disabilities.

being perceived as part of the mainto live with a disability is considered an

accomplishment that is inspiring. People with disabilities, like all people, would

prefer to be respected for their actual accomplishments. When real accomplish-

ments are viewed as extraordinary or unusual, it diminishes the perception of

people with disabilities as capable and

competent. Disability and achievement

should not be seen as incompatible or unexpected.

Inspiration porn is also harmful

When people with disabilities befriend

because some people with disabilities,

congratulated? Likely not. Inspiration

ties, are often used in pornographic depic-

or help others, are they admired or

especially those with intellectual disabilitions without their consent or the knowl-

YouTube videos of musicians with dis-

abilities, and in a second study (2019)

they analyzed music education and music therapy majors’ comments after viewing these same videos. In the 2016 study, they

found that: (1) musicians with disabilities are often considered “inspirational,”

“amazing,” “awesome,” “courageous,” or in need of God’s blessings; (2) respondents had generalized positive impressions of musicians with disabilities; (3)

video respondents’ comments revealed preferences for character descriptors such

as “courageous” and “inspirational” rath-

er than references to musicianship; and (4) musicianship comments, though positive, may be considered overly so when

compared to those for nondisabled musicians, perhaps implying disability condescension.

In their 2019 study, Hairston and

edge that they were used to give “warm

Darrow found that, like the Internet

good” or “I’m not crying, you’re crying”

cation and music therapy majors also

fuzzy feelings” to others. Those “feel images may be uplifting for nondisabled people but are rarely welcomed by people

with disabilities. Furthermore, inspiration porn does now allow society to normal-

ize disability. If we are fortunate to live

long enough, we will all experience some degree of disability. Few people would want to be the subject of pornographic depictions.

36 F l o r i d a

Darrow and Hairston (2016) analyzed

M u s i c D i r e c t o r Inspiration Porn in

users in their earlier study, music edu-

described musicians with disabilities as “inspirational” and “amazing.” We want our future educators and therapists to be

positive in their assessments of others, but we also want them to be honest and aware of the tendency to be unwittingly

demeaning and belittling by using terms

that are inappropriate and considered

to be patronizing or condescending. As teachers, we can discipline ourselves, and

our students, to speak in a way that con-

to appreciate: the two choirs performing

awareness to use our words with greater

signs to Imagine; and the Imagine lyr-

veys respect. The key is awareness, the consciousness.

How to Combat Inspiration Porn

Make no mistake, most inspiration porn is proliferated with the best of intentions.

There is rarely any intent to purposefully diminish people with disabilities, quite

the opposite. Moreover, there are people with disabilities who do not mind being

considered inspirational. Nevertheless, the consensus among people with dis-

abilities is that inspiration porn impedes their ability to be viewed as competent

and equal to nondisabled people. So, how can we combat inspiration porn, especial-

ly in the music classroom? First, we need

together; the Glee choir learning the ics, which many people find inspiring.

However, many people who are deaf and even some television critics did

not like the segment and considered it overly sentimental. The following is an excerpt from a post on the disability blog Squidalicious (Rosa, 2009):

… and then, to my shock and horror, someone from the glee club started interrupting the Deaf choir to sing.

Ok, now, I have not sung in a choir, but I consulted a person who has

performed in choirs, and I was informed that, no, it is not actually conventional or acceptable to inter-

rupt a choir while they are performing. Why was it ok here? How was it

inspiring to watch the Deaf choir’s performance being interrupted and

co-opted by the glee club? Because

the Deaf choir was doing it wrong?

Because the poor impaired folk need

normal people to fill in their defects?

After viewing the next scenario,

also of a Deaf person signing to music, ask yourself the same questions: Does the depiction engender sentimentality

and “warm fuzzy” emotions? Does the depiction portray the singer, Eminem,

as a hero? Is the Deaf signer seen as capable?

Pulrang (2019, 2022) has suggested Continued on page 38

to hone our professional radar to detect

inspiration porn, even though it is often subtle and not always easily recogniz-

able. There are questions we can ask if we suspect inspiration porn. Is the depiction overly sentimental and does it engender

an “Awwww” type of response? Does

the depiction portray the nondisabled person or persons as the hero or heroes?

Is the person with disabilities portrayed as competent? Consider the the scenario depicted above from the “Hairography”

episode of the TV series Glee (season 1,

episode 11) and ask yourself these questions.

There are many aspects of this excerpt September 2022

37

CommitteeReports SOCIAL JUSTICE & DIVERSE LEARNERS COMMITTEE

Inspiration Porn Continued from page 37

some additional questions to ask if we

ities will be appropriately influenced if

Does the depiction demonstrate mean-

with disability. By viewing videos in class

« « « « « «

suspect inspiration porn:

« «

ingful inclusion?

educators challenge stigmas associated of accomplished musicians with disabili-

Is the person with a disability silent or

ties and participating in discussions that

Is the tone infantizing or patronizing?

know persons with disabilities as capa-

able to tell their own story?

Is there a veneer of charity and moralizing in the depiction?

Is disability portrayed as something tragic or to overcome?

Are there adjectives other than inspirational or inspiring that are used to

refer to the person’s unique and pos-

are appropriate, students will come to ble musicians, not as objects of inspira-

tion (Darrow & Hairston, 2016). One such video is of violinist Adrian Anantawan

who is indeed inspiring, not because of his disability, but because of his musical ability.

As music educators, our job is to teach

itive qualities?

music, but also to teach our students to

trayed as someone in need of a good

and to realize that disability is not the

Is the person with a disability pordeed?

Would you mind being depicted similarly?

Implications for Practice

Music educators can do much to shape perceptions of students and musicians

with disabilities in class and on social media by providing appropriate model-

ing and open discussions on diversity.

Attitudes toward students with disabil-

recognize the humanness in all people most salient characteristic of one’s being.

Similarly, we want our students to understand that musicality resides in all people.

We can demonstrate that all students are capable of being competent musicians at whatever their capacity, not “courageous,”

“brave,” or “inspiring” musicians, but

competent musicians. By studying famous musicians, recognizing talented students with disabilities, and finally, by having

high expectations of all students, we can

combat the consumption of inspiration porn.

References Darrow, A. A., & Hairston, M. (2016). Disability porn: A qualitative analysis of comments on music and persons with disabilities found on International YouTube posts. In M. Belgrave (Ed.), Proceedings of the 20th International Seminar of the Commission on Music in Special Education, Music Therapy, and Music Medicine, Edinburgh, Scotland, (pp. 49-57). SBN: 978-0-9942055-7-5 (eBook).

Australia: National Library of Australia Cataloguing.

Hairston, M., & Darrow, A. A. (2019).

Inspiration porn–Part II: An analysis of music education and music therapy majors’ descriptors of musicians with disabilities profiled on the Internet. In G. Tsiris & K. VanWeelden (Eds.), Proceedings of the 20th International Seminar of the Commission on Music in Special Education, Music Therapy, and Music Medicine, Salzburg, Austria, (pp.

83-95). SBN: 978-0-6481219-9-2 (eBook).

Australia: National Library of Australia Cataloguing.

Davis, D. (n.d.). Disability as inspiration: Can greater exposure overcome this phenomenon? Retrieved from: https://www. abilities.com/community/inspirational.html Gagliardi, K. (2017). Facebook captions: Kindness, or inspiration porn? M/C – A journal of Media and Culture, 20(3). Retrieved from: http://journal.media-culture.org.au/ index.php/mcjournal/article/view/1258 Heideman, E. (2015, February). Inspiration porn is not okay: Disability activists are not impressed with feel-good Super Bowl ads. Salon. Retrieved from https://www. salon.com/2015/02/02/inspiration_porn_ is_not_okay_disability_activists_are_not_ impressed_with_feel_good_super_bowl_ ads/ Pulrang, A. (2019, Nov. 29). How to avoid “inspirational porn.” Forbes. Retrieved from https://www.forbes.com/sites/ andrewpulrang/2019/11/29/how-to-avoidinspiration-porn/?sh=214ee7e45b3d Pulrang, A. (2022, Apr. 21). Is there a place for “inspirational” in disability culture? Forbes.

Retrieved from https://www.forbes.com/ sites/andrewpulrang/2022/04/21/is-therea-healthy-place-for-inspiration-in-disabilityculture/?sh=5cdef5bf1418 Rosa, S. D. R. (2009, Nov. 26). Facepalm: Deaf choir on Glee. Squidalicious. Retrieved from http://www.squidalicious.com/2009/11/ facepalm-deaf-choir-on-glee.html

38

Florida Music Director

Please take time to thank and support our 2022-2023 Corporate & Academic Partners.

GOLD PARTNERS Bornoff Foundation for the Advancement of String Education (FASE, Inc.)

BRONZE PARTNERS Eastman Music Company Meloquest, Inc. Music Man West Music Company Partners as of July 28, 2022.

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

September 2022

39

CommitteeReports W

e are just a few days away from

recognizes the most deserving individ-

of the FMEA awards nominations! We

line for all major categories (except the

the application deadline for many

want to recognize the heroes among us who have been “the light” this past year.

We want to shine a light on those who

uals throughout our state. The dead-

FMEA Awards Categories

Music Education Service and the Music

Enrollment Awards) is September 11, 2022. All applications are completed and

turned in online. Please check the FMEA website for details about the awards and

Elementary Music Educator of the Year

nomination process: https://fmea.org/ programs/awards/.

Secondary Music Educator of the Year

year of music education and continued to

potential awardees in your component,

College Music Educator of the Year

Your FMEA Awards Program offers

take the opportunity to recognize them.

Administrator of the Year

turn to be their light, by recognizing

Leadership Award for Music Education

have demonstrated visionary thinking,

resiliency, positivity, innovation, and

a collaborative spirit. We want to hold up and empower those who persevered

through another constantly changing be the light for their students and others.

several awards in recognition of the

efforts and accomplishments of music

educators, school administrators, super-

intendents, school board members, school

I know you have some outstanding

district, and sphere of influence. Please They were the light, and now it’s your them.

boards, business partners, music edu-

nate, I’d like for you to hear some inspir-

programs, and music projects that have

Leadership for Music Education awardee,

cation leaders, music advocates, music made outstanding contributions to music education. Your active involvement in the nomination process ensures that FMEA

Distinguished Service Award for Music Education

As we think about colleagues to nomi-

ing words from our amazing 2022 FMEA Dale Choate, and Distinguished Service

for Music Education awardees, Marilyn

Exemplary Model Music Program Exemplary Model Music Project

and Gary Wirsz.

Dale Choate, instructional specialist for secondary music in Duval County Public Schools, states:

I am blessed and I am grateful for the many mentors in my life that have

shaped and inspired my teaching. People who are not only extraordinary educators, but who themselves modeled selfless qualities of leadership and service. Colleen Kirk, Clayton Craybill, Wayne Bailey, Mark Scott, and so many others who, by their own example, taught me that great educators always give back.

We all know why music education is important. That’s why we are all here.

Music is to be experienced, not just to be spoken about. So, what I wish to say

to all music educators, whether you are just beginning or a veteran teacher, is to give back. Step up where there is a need. Accept the call to serve when

you’re asked. See the potential in other people, in music programs, and in our great organizations. Invest yourself into others to help and encourage young-

er teachers just beginning their careers. Share your experience. To you, it may not seem like much, but to a younger teacher just beginning their career, your wisdom may be the thing they need to get them through a difficult time.

40

Florida Music Director

AWARDS COMMITTEE

Sondra A. W. Collins, Chairperson

Marilyn Wirsz, proprietor of

Head’s House of Music, states:

Music has always been a part of our lives. Gary grew

up playing the organ for church and accompanying choirs, and to this day it remains an important part of his

life. My mom started teaching me piano when I was four, and by the time I was six, my parents began what became

Head’s House of Music. I grew up with serving musi-

cians as part of my life. Eventually, the business became

more focused on serving music educators, and that has remained our focus throughout the years.

In 1984, we began our choral panorama, which is a

workshop available for choral educators every summer.

My parents brought many well-known figures in the

choral world to conduct reading sessions. Teachers are able to learn from nationally recognized composers and conductors, and as a service to directors, we provide this experience at no charge.

For many years, we have partnered with the Florida

Vocal Association in many capacities, from supplying all-state packets, to packets for reading sessions during

the FMEA conference and the FVA summer conference. It is a deep relationship that is very important to us.

Personally, I couldn’t be more proud of the services we

provide. If my parents were still alive today, they would be thrilled that we have continued their legacy.

Music education crosses many barriers. We come

together for making music, and in the process we learn to love a little more, be a little more tolerant, and grow

together into a new family. We are proud to be part of this ever-expanding family.

September 2022

41

CommitteeReports

MULTICULTURAL NETWORK Bruce J. Green, Chairperson

Just say hello.

Building Relationships With Your Colleagues, Part 2

by Angela Pagunsan

H

ello again! Sometimes life gets overwhelming.

While

figuring

out teaching in a new school district, I went through major life changes includ-

guide me through my journey as a band

New Teachers

having a conversation:

and awkward to introduce myself to oth-

director simply because I was open to

ing moving away, getting married, and

Peer Teachers

Asian-American band director in the state

have been teaching the same amount of

having children. Furthermore, being an

of Florida made it difficult for me to find people to relate to.

Ultimately I realized that if I wanted

to thrive as a teacher, I could not shut out the world. I started saying hello to people.

Gradually that hello turned into mean-

ingful relationships with my colleagues.

Here are some people who have helped

42

Florida Music Director

I often compared myself to teachers who time as I have. Slowly I began to shed my

insecurities and was able to bond with my peers by sitting together at meetings

As a younger band director, I was too shy

ers. I chose to sit alone. Now I deliberately

say hi to new faces at band events, invite

them to sit with me, check in to see if they are connected with other teachers, and

answer any questions. Be the person you wish you had.

and band events, starting our group chat,

Pen Pal Teachers

sending recordings of our groups for

have made connections with even if one

working with each other’s bands, and feedback. Share your struggles and victories regularly.

Intentionally keep up with teachers you of you moves away. Talking with teach-

ers in different places gives me a fresh

FromTheEditor D. Gregory Springer, PhD, Editor-in-Chief, Florida Music Director

perspective on my current teaching sit-

uation. Through these conversations, I have learned to appreciate the things that are going well in my classroom and have gained new solutions to problems.

Teachers Who Are Moms

Balancing mom life with band director

life is a battle! I found women with similar priorities who have showed me how

to maximize my time, compartmentalize

my mind, told me to cut myself some slack when needed, and have encouraged me to be my very best.

Teachers Who Look Like Me!

Many Asian-American students are select-

ed for the Florida All-State bands, choirs,

and orchestras. However, only a small

Want to contribute a feature article to Florida Music Director?

percentage attend the FMEA conference as collegiates, and hardly any are band

directors. I have connected with Asian-

to the Midwest Clinic, joining the FMEA

W

Facebook group called “subtle asian con-

11-state NAfME Southern Division and one of the largest MEAs in the nation.

American band directors by attending the FMEA and FBA conferences, going

Multicultural Network, and through the ductors.” This type of camaraderie builds

e invite you to submit a feature article to be considered for publication

in Florida Music Director. Florida Music Director is a previous recipient of

the Music Educators National Conference Award for Excellence. It is the official publication of the Florida Music Education Association, the largest unit in the Florida Music Director contains articles of interest to music educators of all lev-

confidence by allowing us to discuss our

els—from kindergarten through college. It is published eight times annually and

and gives representation for students who

other subscribers.

similar experiences, provides mentorship, look like us to feel supported should they

distributed to more than 5,000 music teachers, district music supervisors, and Please consider sharing your knowledge with other music educators by writ-

pursue music beyond the K-12 classroom.

ing an article and submitting it for consideration. You can view our submission

You never know how your unique charac-

the current issue and past issues of Florida Music Director at FMEA.org/FMD.

These meaningful relationships you cre-

er@fsu.edu.

People learn best from one another.

teristics and background will help others. ate with colleagues can all start by simply

guidelines for authors at FMEA.org/FMD.

As FMEA members, you can view

If you have any questions about submissions, please contact me at dgspring-

saying hello.

Angela Pagunsan received the BME from the University

of Central Florida. She is the band director at Timber

Springs Middle School in Orlando, Florida.

The Tri-M Music Honor Society is a program of the National Association for Music Education, which focuses on creating future leaders in music education and music advocacy.

Learn more at:

musichonors.com September 2022

43

ResearchPuzzles FOR MUSIC TEACHERS

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

Applying Self-Determination Theory to Motivation in Music Education

M

otivation impacts our personal and professional lives.

Personally, you may attempt to motivate yourself to do

things such as eat healthily, exercise regularly, or read more books. Professionally, music teachers consider motivation as

it applies to many aspects of their jobs, including things like motivating students to (a) participate in a school music pro-

gram, (b) practice their instrument, (c) learn something new, and (d) persist in music classes and rehearsals when difficulties are encountered. Motivation is an integral part of learning and can be defined as “the process by which goal-directed activity

no longer continue. In reality, appropriate extrinsic motivation

that facilitates intrinsic motivation is necessary for developing musicians.

Self-determination theory accounts for the role of intrinsic

and extrinsic motivation. It is based on the premise that people have three basic, innate psychological needs that are either ful-

«

filled or not through social interactions. These needs are:

Competence. When people feel competent, that they have

mastery of skills needed to accomplish a task, they are more likely to be motivated to achieve goals. Appropriate

sequencing and scaffolding of curricular content are ways

is instigated or sustained” (Schunk, Meece, & Pintrich, 2013).

that teachers can help nurture competence in students.

While there are several theories of motivation that have been

Dweck’s (2007) research on growth versus fixed mindsets is

derived through research and practice, this column is based on an article by Australian researcher Paul Evans (2015), who

also applicable here. A person with a fixed mindset might

that can help unify varied motivational theories and provide

be altered while another individual with a growth mindset

believe that musical talent is set at a specific level and can’t

suggests that self-determination theory is a model of motivation

will believe they can develop and improve through prac-

guidance to music teachers on how to approach motivation

tice. Teachers should strive to help their students develop a

with their students.

growth mindset. One way to do this is to teach them how

Motivation can be conceived in two broad categories: intrin-

sic and extrinsic. Intrinsic motivation is when a person does something because the task itself is inherently interesting or enjoyable. For most people, engaging with music as a listener,

performer, and/or composer is pleasurable, and we are intrinsically motivated by the experience. In contrast, extrinsic motiva-

«

while older students prefer the opposite. The teacher can

video game after completing their chores. Intrinsic motivation

also help to facilitate appropriate parental support of their

is what we seek, ideally; it leads to longer lasting, sustainable

child’s participation in music. Such support should devel-

behaviors. Importantly, while certain types of extrinsic moti-

op students’ long-term autonomy as a musician. Parents

vators can be appropriate and lead to intrinsic motivation,

need suggestions about (a) how to enable the conditions for

too often they are used in a manner that undermines intrinsic

44

Florida Music Director

sense of belonging. A warm, accepting classroom environ-

ness as being more important than professional competence

practice chart and when a parent allows their child to play a

extrinsic reward is withdrawn, the desired behavior will often

ers (peers, teachers, parents, others in the community); it is a

level, with young students perceiving warmth and friendli-

stickers or gold stars to students who turn in a completed

want to get a good grade on a playing test). When this type of

Relatedness. Relatedness involves feeling connected to oth-

different types of teachers according to their developmental

itself. Some examples of extrinsic motivators include awarding

intrinsic value in a task (e.g., telling a student to practice if they

erate practice.1

ment is important to relatedness. Students appear to value

tion is when something is done for a reason other than the task

motivation by emphasizing immediate compliance over the

to purposefully practice by following the principles of delib-

«

intrinsic motivation and (b) use of extrinsic motivational strategies that can lead to intrinsic motivation.

Autonomy. Autonomy is a feeling of being in control of one’s

actions and being able to set personal goals. Music teaching

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

Table 1

Continuum of Motivation

Note. Adapted from Evans (2015), p. 76 Type of Motivation

Amotivation

Extrinsic Motivation: External

Internal

External

Introjected

Identified

Integrated

Intrinsic

Characteristics

No intention or behavior; low perceived competence

Compliance and defiance; External rewards and punishments

Guilt, shame, social pressures, ego involvement

Understanding the value and importance of a task in relation to personal identity

Identifies the importance of task engagement to achieve goals aligned with sense of self

Engaging in a task for its own sake

Sample Musical Behavior

“I don’t want to practice.”

“I will get in trouble if I don’t practice.”

“I will feel bad if I don’t practice.”

“I don’t enjoy practicing, but I need to in order to improve.”

“I know that if I want to be a professional musician one day, I need to practice.”

“I enjoy playing my favorite pieces.”

has traditionally been prescriptive and teacher-centered.

are ineffective and may even inhibit lasting motivation.

tating student voice and agency, will help to nurture auton-

through social experiences that facilitate and support com-

being asked to engage in specific activities like practicing

in motivation that can be sustained, resulting in students

Striving for student-centered approaches to learning, faciliomy. Providing students with a rationale for why they are scales and arpeggios, encouraging their pursuit of creative

musicianship (i.e., improvisation and composition), and

providing them with some choice in the repertoire they will rehearse and perform are examples of ways to facilitate a sense of autonomy.

Crucial to meeting these needs is an understanding of four

types of extrinsic motivation that have been identified by researchers: external, introjected, identified, and integrated.

They range from largely external to largely internal (i.e., closest

to intrinsic motivation). See Table 1 for an overview of types of

motivation, which can be conceived as being on a continuum from no motivation at all (amotivation) through the four types of extrinsic motivation to intrinsic motivation.

Implications

Many common approaches to motivation that rely on strategies such as extrinsic rewards and punishments, excessive praise, a controlling approach by the teacher, and competition

Instead, meeting the basic psychological needs of students

petence, relatedness, and autonomy is more likely to result enjoying meaningful musical experiences in the present and throughout their lives.

References Dweck, C. S. (2007). Mindset: The new psychology of success. Ballantine Books.

Evans, P. (2015). Self-determination theory: An approach to motivation in music education. Musicae Scientiae, 19(1), 65-83. https://doi.org/10.1177/1029864914568044 Schunk, D .H., Meece, J. L., & Pintrich, P.R. (2013). Motivation in education: Theory, research, and applications (4th ed.). Pearson.

Endnotes 1 See Bauer, W. I. (2022). Practice. Florida music director, 76(1), 42-43.

Email your questions and feedback to

wbauer@ufl.edu with a subject heading Research Puzzles.

September 2022

45

ExecutiveDirector’sNotes

FMEA Executive Director

The mission of the Florida Music Education Association is to promote quality, comprehensive

Kathleen D. Sanz, PhD

music education in all Florida schools.

New Opportunities for the New Year

W

e hope the beginning of your school year has started off with energy and excitement. The 2022-23 school year will

provide us and our students with new challenges and opportu-

nities. Please be aware of your own and your students’ physical and mental health. The FMEA Health and Wellness Committee provides opportunities for maintaining wellness. One of these opportunities is the 3K Run & Walk being held during the FMEA

Legislative Session/Government Relations

The 2023 Legislative Session will begin on March 7 and end on May 5. By now you have had the opportunity to vote in

the Primary Election. The General Election is scheduled for November 8, 2022.

IMPORTANT LEGISLATIVE DATES October 11, 2022

FMEA website to participate.

Deadline to register to vote in the General Election

October 24, 2022November 6, 2022

Early Voting

shortage is not unique to Florida; it is a nationwide dilemma. One

November 8, 2022

Election Day

Professional Development Conference in January. Sign up on the We continue to experience a critical teacher shortage. The

of our strategies for “grow our own” is to encourage our young students to become more involved by performing, leading, and

Professional Development Opportunities

state provide opportunities for our university and college stu-

The

serving. The Florida NAfME Collegiate chapters throughout the dents to join together. In addition, building Tri-M Music Honor

Society chapters in our secondary schools will help us to encourage our young students to become more involved and to make

a connection to their fellow students and music. Through perfor-

mance and community service, they’ll develop confidence, creativity,

critical thinking, compassion, and a host of other leadership skills sure to serve them well in school and beyond. For additional information, go to NAfME.org

and click on the “For Students” tab.

All-State Auditions

Auditions will be taking place during September for the all-state

performing ensembles. Component associations are actively

working with teachers within the component districts to select the students who will participate. In addition, FMEA is now collecting ethnicity and racial category data for students, members,

and other participants in our programs. This is to ensure we are reaching goals in our strategic plan regarding the diversity

of learners, including underserved populations, in accordance with our Mission and Diversity, Equity, Inclusion, and Access statements.

for Members Florida

Music

Education

Association

of professional development each year. Registration for the 2023

event opens on September 17, 2022. Join us January 11-14, 2023, in Tampa as we celebrate Unity in Music Education: Building

Communities, One Note at a Time. We’re looking forward to Dr. Shelby Chipman’s leadership for this conference.

Summer Institute

The FMEA Summer Institute is being held June 12-14, 2023, at

the University of South Florida in Tampa. The Summer Institute

is an inspiring multiday professional development training involving a relatively small number of successful, well-respected music educators. This all-expense-paid institute is a cornerstone of FMEA’s commitment to a proactive approach to build-

ing a strong future for music education in all Florida schools for the decades to come. The participants address relevant topics

and questions centered on ensuring the vitality, inclusiveness, and quality of music education in a changing educational

environment. There is time built in for directed discussion and reflection.

Have a fantastic and prosperous school year.

46

Kathleen D. Sanz, PhD Florida Music Director

Professional

Development Conference and All-State Concerts offers a wealth

�

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

Officers and Directors

EXECUTIVE BOARD President

Shelby Chipman, PhD

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

Steven N. Kelly, PhD

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

Jason Locker

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

Bernard (Bernie) Hendricks, Jr.

Ocoee High School 1925 Ocoee Crown Point Pkwy.; Ocoee, FL 34761 bernard.hendricks@ocps.net FCMEA President

Marc Decker, DMA

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

EX-OFFICIO MEMBERS

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

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

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

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

President....................................................................................Allison Yopp Southeastern University; ayopp@seu.edu

FSMA President .......................................................................Jane Goodwin jane.goodwin@sarasotacountyschools.net

FMEA COMMITTEE CHAIRPERSONS

Past 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 Contemporary Media................................................... David Williams, PhD University of South Florida; 4202 E. Fowler Ave., MUS 101 Tampa, FL 33620; (813) 974-9166; davidw@usf.edu Emerging Leaders............................................................ Mary Palmer, EdD 11410 Swift Water Cir.; Orlando, FL 32817 (407) 382-1661; mpalmerassoc@aol.com Florida Corporate & Academic Partners..................................Fred Schiff All County Music; 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fred@allcountymusic.com Government Relations..................................................Jeanne W. Reynolds jeannewrey@gmail.com Health & Wellness........................................................ Revae Douglas Ross Brandon High School; 1101 Victoria St.; Brandon, FL 33510 (813) 744-8120, ext. 311; revae.douglas@hcps.net

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

Southeastern University ayopp@seu.edu Florida NAfME Collegiate Advisor

Mark A. Belfast, Jr., PhD

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

Lindsey R. Williams, PhD

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

Laurie Bitters

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

Jeannine Stemmer

Florida Christian School 4200 SW 89th Ave.; Miami, FL 33165 j9stemmer@floridachristian.org Member-at-Large

Chad Norton

Miami Northwestern Senior High School cnorton@dadeschools.net

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

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

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

Allison Yopp

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

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

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

Florida NAfME Collegiate President

Florida NAfME Collegiate

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

FEMEA President

Joani Slawson

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Reclamation.............................................................................. Chad Norton Miami Northwestern Senior High School; 1100 NW 71st St.; Miami, FL 33150; cnorton@dadeschools.net Research......................................................................William I. Bauer, PhD University of Florida; wbauer@ufl.edu Secondary General Music.............................................................Ed Prasse Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net Social Justice & Diverse Learners.........................Alice-Ann Darrow, PhD alifsu@mac.com Student Development.............................................. Michael Antmann, EdD Freedom High School; 2500 W. Taft-Vineland Rd.; Orlando, FL 32837 (407) 816-5600; michael.antmann@ocps.net

PROFESSIONAL DEVELOPMENT CONFERENCE Exhibits Manager fmeaexhibits@fmea.org Local Chairman Ted Hope—(813) 272-4861; ted.hope@sdhc.k12.fl.us

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

FLORIDA MUSIC SUPERVISION ASSOCIATION President.............................................................. Lindsey R. Williams, PhD Seminole County Public Schools (407) 320-0434; willialz2@scps.k12.fl.us Past President............................................................Harry “Skip” Pardee 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

FLORIDA ORCHESTRA ASSOCIATION President.................................................................................Laurie Bitters Winter Park High School; 2100 Summerfield Rd.; Winter Park, FL 32792 (407) 622-3200; laurie.bitters@gmail.com Past President.......................................................................Matthew Davis Harrison School for the Arts; 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 499-2855; matthew.lawson.davis@gmail.com 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........................................................................ Jeannine Stemmer Florida Christian School, 4200 SW 89th Ave.; Miami, FL 33165 j9stemmer@floridachristian.org Past President......................................................................... Jason Locker jason@fva.net Executive Director.....................................................................Michael Dye 231 S. Bayshore Dr.; Valparaiso, FL 32580 (850) 217-7419; mike@fva.net Business Manager..................................................................Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; business@fva.net

CENTER FOR FINE ARTS EDUCATION

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

FLORIDA BANDMASTERS ASSOCIATION

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

President...................................................Bernard (Bernie) Hendricks, Jr. Ocoee High School; 1925 Ocoee Crown Point Pkwy.; Ocoee, FL 34761 bernard.hendricks@ocps.net

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

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

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

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

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

AFFILIATIONS

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

September 2022

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Florida Music Director