Florida Music Director - September 2024

Noteworthy Connections: Mentorship in Music Education Five Ways to Cultivate Culture in Urban Music Classrooms PLUS: June M. Hinckley Music Education Scholarship Essays How do I get to the conference?

FOA-FL-ASTA Fall Professional Development Conference September 2024

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Peggy Joyce Barber

ova Singers’ founding musical director and long-time mentor, Peggy Joyce Barber, 94, passed away peacefully at her John Knox Village home on Sunday, August 4. She has remained an honorary director emeritus since turning over the conducting reigns to Chuck Stanley in fall of 2010.

Peggy was a nationally recognized choral director and clinician. She served as director of music for the First Presbyterian Church in Pompano Beach as well as First Christian Church of Fort Lauderdale. She was a past state president of both the American Choral Directors Association as well as the Florida Music Education Association where she was inducted into their Hall of Fame in 1988 (the youngest person at the time).

She began her choral career in South Florida as director of the Stranahan High School music program. During Barber’s 18 years at Stranahan High School in southwest Fort Lauderdale, she nurtured the choral program from a handful of students to up to 500 singers winning numerous accolades and honors.

Peggy was a loving – but demanding – director and will be remembered for her uncanny energy and endless enthusiasm for bringing quality choral music to audiences in Southeast Florida. Bringing people together to share their passion of making music has been an everlasting gift to our community. An interesting side note ... 23 marriages (and still counting) have resulted from this common love.

To commemorate Peggy’s impact on choral music, the Nova University Community Singers will be dedicating their upcoming winter Concert Series to her as well as celebrating their 50th anniversary in 2026 with the theme “The Road Not Taken,” which was one of all of her choirs signature songs.

Peggy and her life partner of more than 50 years, Janie Ann Hooks, moved to their beautiful waterfront villa in John Knox Village in 2002 and were very active in the community until Janie passed away in March of 2017. Both Peggy and Janie will be interred in a columbarium at the First Presbyterian Church of Pompano Beach (The Pink Church).

If you would like to honor Peggy’s memory, donations to the Nova University Community Singers would be welcome. You can either donate online through the Nova University website (giving.nova.edu) and make sure you select Nova Singers under the Select Gift area drop down or by mailing a check payable to: Nova University Community Singers c/o John List 971 SW Pepperidge Terr.

Boca Raton FL 33486

Advertiser Index

2024-25 FMEA MEMBERSHIP: You are eligible for membership in the Florida Music Education Association if you are an individual engaged in the teaching, supervision, or administration of music in elementary and secondary schools, colleges, or universities within the state. Visit FMEA.org/membership to learn more about the benefits of active membership.

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

CIRCULATION: 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: Kelly Miller, DMA, kelly. miller@ucf.edu.

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

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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.

ADVERTISERS

Music Is Elementary....................................................46

University of Florida...................................................4 Advertisers indicated in bold provide additional support to FMEA members through membership in the Florida Corporate and Academic Partners program.

These partners deserve your special recognition and attention.

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

Hinckley Center for Fine Arts Education

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

Editor-in-Chief

Kelly Miller, DMA University of Central Florida 12488 Centaurus Blvd.

Orlando, FL 32816-8009 (407) 823-4545 (kelly.miller@ucf.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 Amanda Crawford

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

Contents F E AT U R E S

June M. Hinckley Music Education Scholarship Essays. . . . . . . . . . . . 10-15 Noteworthy Connections: Mentorship in Music Education. . . . . . . . . . . . . . 30 Five Ways to Cultivate Culture in Urban Music Classrooms. . . . . . . . . . . . . . . . 34 FOA-FL-ASTA Fall Professional Development Conference. . . . . . . . . . . . . . . . . . . . . . . . . . 39 D E PA R T M E N T S

2025 CONFERENCE

Advertiser Index. . . . . . . . . . . . 2

Important Dates. . . . . . . . . . . 17

President’s Message. . . . . . . . . . 5 Advocacy Report. . . . . . . . . . . . 6 Immediate Impact. . . . . . . . . . . 8 Component News.. . . . . . . . . . 40

Circulation & Copy Manager

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

Copy Editor

Committee Reports. . . . . . . . . 46

Valeria Anderson, (800) 301-3632 Susan Trainor

September 2024 Volume 78 • Number 2

Academic Partners. . . . . . . . . . 51 Corporate Partners. . . . . . . . . . 52 FMEA Donors. . . . . . . . . . . . 54

Registration. . . . . . . . . . . . 18-19 Hotels.. . . . . . . . . . . . . . . 20-21 All-State Concerts. . . . . . . . 22-23 All-State Rehearsals. . . . . . . 24-26 Session Attendance Verification Report.. . . . . . . . . 26 Policies. . . . . . . . . . . . . . . . . 27 Student Experiences. . . . . . . . . 28 How do I get to the conference?.. 29

Executive Director’s Notes. . . . . 56 Officers and Directors.. . . . . . . 57 September 2024

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President’sMessage

Jason P. Locker President Florida Music Education Association

We Are Team FMEA nother school year has begun! Classrooms were cleaned and

Once the students arrive, introductions are made, and the

prepared, and lessons were planned. School staff members

lessons begin, there will undoubtedly be challenges for these

campus to talk about their travels, visits with friends and family,

with stakeholders, school and district paperwork, finances and

and students alike returned from their summer time away from the books they read, and the movies and shows they watched.

There always seems to be a certain optimistic energy surrounding the beginning of a new school year!

I had the good fortune to witness that energy in a special way

this year. On the weekend before school began, I was able to have

new colleagues to face. Time management, communication fundraising, repertoire selection and concert programming, and conflict resolution are just a few examples of the many things

that a new (or seasoned) teacher may find challenging and disheartening.

Just as we, in our music ensemble courses, strive to build

a quick visit with my family, just a couple of hours up the road.

community among our students, we must make the same

of my sisters purchased her son his own French horn. He worked

by discussing how enrollment in music courses provides our

While there, I went to a local music store and was present as one hard on a school-owned instrument last year in his sixth grade

beginning band class, and his parents told him they would get

him a horn of his own if he decided to stick with it. You should have seen the look on his face—both in the music store and for

the rest of the afternoon! I don’t know if I have ever seen this young man smile so big or so much, as he was filled with pure joy at the feeling of accomplishment accompanying that moment.

effort within our profession. We advocate for music education students with skills in leadership, teamwork, problem-solving,

communication, and managing schedules and commitments, in addition to their academic successes and enjoyment of music.

Are we doing our part to make sure we don’t just instill those values in our students, but also practice them as members of a professional community of music educators?

During this month of September, the novelty and “shine” of

As any musician can attest, there will be days when my neph-

that new teaching gig will begin to wear off for some of us. It

turn to frustration. Perhaps he will be practicing a passage of

performances and travel, raise funds, and really dig into musical

ew’s initial feeling of euphoria over his new instrument will music over and over again, and not be able to get it quite right.

Maybe he’ll work really hard and still not be able to get into the advanced class, or get picked for the solo at an upcoming concert, or pass the honor band audition, or get the MPA solo rating he

wants. He may even be without his horn for a while if it breaks and needs to spend some time in a repair shop. In addition to

the joys of music (and life), we are all destined to experience difficulties, as well.

Have you seen any new teachers yet this year? If you haven’t,

you aren’t looking hard enough! They are the ones who arrive at the first day faculty meeting or the district professional learn-

ing day with the brightest eyes and the biggest smiles. Like my

will be time to prepare our students for all-state auditions, plan

fundamentals with our students. If you haven’t already done so, please join or renew your membership in the Florida Music Education Association. And as you do so, I hope you will also

renew your commitment to reaching out and supporting your colleagues—whether they are right next door, across town, or in another part of the state or country. The leadership, teamwork,

problem-solving, and communication we teach our students, and tout in our advocacy efforts, shouldn’t end with graduation

from high school or college. We are Team FMEA, and when we all support one another, our positive impact on students is multiplied exponentially!

I am now in my 24th year as a music educator. During those

nephew, they are excited to begin a new chapter, as they have

years, I have experienced many peaks and valleys, both good

prize they have been working very hard for years to attain, and

numerous to list, I am still here smiling, optimistic, and proud

just received their very first position as a music educator. It is the they are ready to get started and change lives for the better.

days and bad. But thanks to mentors, colleagues, and friends too to be a Florida music educator!

Jason P. Locker, President

Florida Music Education Association September 2024

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AdvocacyReport

Jeanne W. Reynolds

Chairperson, Advocacy Committee

Vote, Visit, Vigilance PART 2

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his month we are diving deeper into the concepts of vote, visit, and vigilance referenced in the August

advocacy column. These ideas center on the premise that democracy is not a spectator sport. This column will focus

Photo by © Ashlee Wilcox Photography, LLC

on visit, specifically “official” visits, but all three concepts are important and interrelated.

September Vote “To Do” List

While there are no elections being held this month, it

is important for FMEA members to continue to educate themselves on local, state, and federal candidates’ posi-

w Register and/or check your voter registration status tions.

(and vote by mail status).

~ Deadline to register to vote in the November election is October 7.

Visits

We will discuss “official” visits this month. In this context

w Attend school board candidate forums. Ask school events with elected federal, state, and local officials. ~ Deadline to request a mail ballot is October 24.

board candidates about their vision for strong music

the phrase “official visits” is used to describe scheduled For example, in June, FMEA members participated in

w Be an informed voter. Research unbiased sources such hill-day-2024/). education programs in your district. as vote411.org/florida.

the NAfME Hill Day (nafme.org/blog/look-back-nafmeThe FMEA team included Dr. Carlos Abril, Dr. Shelby

Chipman, Jason Locker, Skip Pardee, Jeanne Reynolds,

and Dr. Kathleen Sanz, as well as NAfME Florida col-

legiate members Megan Robichaud, Megan Rodriguez, and Grace Wieckowski. We visited 16 offices including Senators Scott and Rubio and 14 congressional represen-

tatives. In the broadest terms, we talked about the impor-

tance of music education and its relationship to specific legislation and/or funding requests. As a result of these

visits, several offices have reached out with questions or to seek input on impending legislation.

Many FMEA members tell me they are nervous about

making these visits. No need for any apprehension. It’s not hard. As a citizen, you have a right and a responsibil-

ity to make your voice heard. Most often these meetings are very cordial, and most importantly, they can be very productive.

When you call or email to schedule a visit (either in

Washington D.C. for federal legislators or Tallahassee for state legislators) you will likely be asked if you are willing

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to meet with an aide if the legislator is unavailable. It’s

w Make sure you know your state senator and state September Visit “To Do” List

representative. Do not confuse them with your federal elected officials.

~ Find your state senator here: flsenate.gov/Senators/Find

~ Find your state representative here:

fine to meet with an aide, and in fact, it may be more pro-

ductive than a meeting with the legislator. Congressional aides are responsible for doing research on various legis-

lative bills and priorities, and they advise their legislator regarding votes on those bills. Aides frequently ask thoughtful questions. They are generally polite, respectful, and pleased to meet with constituents.

There are many resources to prepare you for scheduling

and meeting with your elected officials. In April, NAfME

presented a Zoom training for Advocacy Leadership Force (ALF) members (nafme.org/advocacy/state-advo-

cacy/advocacy-leadership-force/)

entitled How to Hug

a Porcupine – Building Relationships with Legislators and Why It’s Important presented by Brad Fitch, president and CEO of the Congressional Management Foundation (congressfoundation.org/).

Even though I have been

working on advocacy issues for decades and have made

scores of legislative visits, I learned new strategies from

this informative, engaging presentation and would be happy to share this resource with you. If you are inter-

w Schedule an “official” visit with your state senator myfloridahouse.gov/FindYourRepresentative

and/or representative this fall while legislators are

back in their home districts. Find at least one other person to attend with you. This can be another music teacher, a parent, or a friend. You will schedule this visit at the home office close to you.

~ The message can be very simple. The message

will be to thank them for their support of music education and their support for the Seal of Fine Arts bill. All the information you need can be

found on the FMEA advocacy page (FMEA.org/ advocacy/).

~ Rarely do constituents thank their legislators. By

doing this, you will be building a relationship for

w For other local information and including the names future communication with this legislator.

of local decision makers, go to your county supervisor of elections page (dos.elections.myflorida.com/ supervisors/).

w and nurture relationships with coworkers, buildw The ability to articulate the reason for a constituent’s Build ing-level decision makers, and community members. support or opposition to a bill or issue w Consider doing an informal needs assessment for w Sharing a personal story that relates to the bill or issue your school or community regarding music education. w Clearly stating the specific impact that the bill or issue What do you need to take your programs to the next has on the district (or school or program) level? w Customizing the “pitch” to the specific legislator or Vigilance means constant and careful attention. decision maker is a great month for proactive advocacy. This w Knowing the legislator’s (or decision maker’s) position September can involve making some official visits, building relationon the issue and building a strategic plan for music education in w In-person constituent visits have tremendous influ- ships, your community. For music education to remain strong ence on legislators. thriving in ALL Florida schools, advocacy must be w Constituents who represent large groups of people and part of everything we do. Let me help you become the best ested, please contact me for the link and password. Some important themes follow:

have great influence. For example, an FMEA member represents 4,000 other members. On a local level, a

band director may represent 200 families in a school board member’s district.

September Vigilance “To Do” List

advocate you can be.

Jeanne W. Reynolds September 2024

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IMMEDIATE IMPACT M U S I C E D U C ATO R S P OT L I G H T

FMEA “Immediate Impact” Music Educator Spotlight In this feature, FMEA seeks to spotlight the outstanding work and accomplishments of music educators in the earlier stages of their teaching careers. These educators are making an immediate impact on their schools, communities, and students.

GABRIELLE TORDI

DAVIDSON MIDDLE SCHOOL OKALOOSA COUNTY

Gaby Tordi is incredibly honored to serve as band director of

the Panther Band at Davidson Middle School (DMS) in Okaloosa

County. She has been teaching at DMS since August 2022. During that time, Ms. Tordi has received incredibly high district assessment ratings. In addition, Ms. Tordi and the Davidson Middle

School Band boast an impressive enrollment of around 250 band students across grades 6–8. Ms. Tordi received her BM degree in

music education (2019) and MM in instrumental conducting and

clarinet performance (2021) from the University of Florida. During her undergraduate and graduate studies, she performed in the UF

Wind Symphony, Clarinet Ensemble, Symphony Orchestra, Gator Marching Band, and various chamber groups. Ms. Tordi served as

a graduate assistant with the UF Gator Band, concert ensembles, and the undergraduate conducting courses. Additionally, she

works as a regular clinician with several middle and high schools throughout Central Florida. She has performed with the New World Symphony Orchestra at Carnegie Hall and most recently at the Festival des Anches d’Azur in La Croix-Valmer in Paris,

France, with the UF Wind Symphony. Ms. Tordi’s professional affiliations include NAfME, Sigma Alpha Iota Women’s Music Fraternity, and Kappa Kappa Psi.

Thank you, GABRIELLE, for making an immediate

impact on your students, community, and music education in Florida!

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RAD BOLT

GEORGE JENKINS HIGH SCHOOL POLK COUNTY

Rad Bolt is in his fourth year as the director of bands at George Jenkins High School in Polk County. Under his leadership, the band

program has flourished in enrollment and musical achievement

at the district and state levels. Mr. Bolt places special emphasis on

fostering a culture of safety, inclusivity, and growth in his music classroom. He has also made increased efforts to make his students

and program visible in the community. With a steadfast belief in the power of music for all, Mr. Bolt started a beginning band class at his

school to create as much accessibility and opportunity as possible for the students on campus to join band.

Educator Spotlight form and materials for yourself or a

Now Accepting Exhibitor Reservations for the 2025 Conference!

an immediate impact on their schools, communities, and

LEARN MORE AT:

Thank you, RAD, for making an immediate impact

on your students, community, and music education in Florida!

LET US BRAG ABOUT YOU! Please submit the FMEA “Immediate Impact” Music

colleague who exemplifies the criteria for educators making students.

CLICK HERE

TO NOMINATE A DESERVING CANDIDATE.

FMEA.ORG/

CONFERENCE/

EXHIBITORINFORMATION/

September 2024

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JUNE M. HINCKLEY MUSIC EDUCATION SCHOLARSHIP

Applicants were asked to respond to the prompts “Why do you wish to become a music educator?” and “Why should music be available to all students?” Arturo’s essay appears here with minor editing and the addition of a headline.

Education Is Society’s Foundation submitted by Arturo Sabogal

“Education is the passport to the future, for tomorrow belongs to those who prepare for it today.” – Malcom X

T

education is society’s foundation.

his was my goodbye message

When I started my sophomore

to my fellow students at my old

school before I moved to the U.S. in

year at Gaither High School, iron-

ized that educators are fundamental

programs that Gaither offered. At

ically, I wasn’t aware of the music

2021. Throughout my life, I’ve real-

the end of that year, there was an

in one’s journey through school, not

orchestra and band concert called

only because they teach you about

OPUS. At the time, I wasn’t sure of

different topics, but because they

what an orchestra or a band was, I

are the ones who change your life;

just knew some of the instruments.

they influence your personality, dis-

I decided to go, and I didn’t know

cipline, choices, etc. They prepare

back then that that concert would

you for the real world by making

change my life. I had never expe-

you a better person through their

rienced music in that way before. I

passion. Music has made out of me a

had goosebumps with some of the

passionate, happy, and determined person, but it wouldn’t be like that if it wasn’t for the amazing music

educators I’ve had. Music should be

Arturo Sabogal

pieces they played. When I saw the orchestra play, however, I didn’t just

watch a group of people making

available to all students because of how fundamental it is;

wonderful music, but I saw a family who came together

several doors for success academically and personally.

performing with confidence. That’s when I told myself, “I

it educates you, connects you with people, and it opens Music education is about connecting with the younger

generations and inspiring them to achieve their goals

and be the best version of themselves. When I left Bogota, Colombia, I was a year away from graduating high school,

which made me feel sad about not seeing my friends or

teachers anymore. This made me reflect on how much of

an influence my teachers had on me; they would inspire

me to pursue what I wanted to do; they showed me how our society is and how we can be the best version of our-

selves and make it better. All of this made me realize that

10 F l o r i d a M u s i c D i r e c t o r

to have a good time and enjoy playing music. They were have to be there.” I did not know how to play any orches-

tra string instrument, but my guitar teacher (who is the orchestra director) gave me the opportunity to choose any

of the four, so I chose the violin, and he let me borrow it.

He believed in me, and that’s part of an educator’s job and

what I aspire to do: care about the students’ success and help them pursue their passion.

Over that summer, I met Karen Bishop, former music

educator and director of the Play it Forward Orchestra (an ensemble I’m part of), a community orchestra that

“Music offers a different kind of education that no other classes teach you; music teaches you leadership.” performs for people who can’t experience this kind of

of your life. Just like Mr. Heglund says, “Orchestra is like

first violin teacher, and she taught me that music is about

ourselves, which teaches you autonomy; you work with

music, seniors, veterans, and for fundraisers. She was my

people; you make your community better through music and giving back.

In the start of my junior year, I was officially part of

Gaither’s Concert Orchestra. Mr. Heglund, my orchestra director, is one of the most passionate educators I know (as well as my first inspiration to become a music educator), and the more the year advanced, the more I improved

as a musician and the more I felt inspired by the music program at Gaither. I wasn’t sure of what I wanted to do after I graduated, but I knew that I wanted to influence

young generations to make our society better. I reflected on the impact music had had in my life, so the idea of

a team sport.” In an ensemble, we are all accountable for several people to make music happen, which teaches you social skills and teamwork; you are responsible for having

an organized schedule and practicing constantly, as well as developing mental endurance during long rehearsals,

which teaches you responsibility and time management.

Most importantly, however, you are enjoying and giving

your best in the music you and your peers are making, which makes you passionate. All of these are the underlying effects of music on students, and they are what I

will try to transmit to my students once I become a music educator.

Music offers a lot to students during their childhood

becoming a music educator was starting to form.

and teenage stage; if music isn’t available in an education

extremely stressful. One day I was very anxious about

ties, and therefore we are failing as a society to provide

Not knowing what to do after high school can be

this, so I talked to Mr. Heglund and, crying, I told him

about my idea of becoming a music educator. He was really supportive and explained to me the journey of

becoming one. It is not an easy path, and he told me that it requires a lot of work, but time made me realize that I

love both teaching and music enough to be determined

and try to reach my goal. Since then, my music, teaching, and leadership skills have become better by being a violin

and viola section leader and a student conductor. I made it into Gaither’s Chamber Orchestra by my senior year (this current year), where I’m concertmaster, and I also joined

Gaither’s marching band, wind ensemble, and percus-

sion ensemble. I’ve gotten three superior ratings at solo and ensemble and one superior in the student-conductor

section at MPA, and I’ve made it into the All-State Honors Orchestra and the All-County Orchestra. None of these

system, we are limiting students’ learning opportuni-

future generations with the education they deserve so

that they can be tomorrow’s leaders. On the other hand, students love having something to be passionate about, and something that keeps them busy, rather than wasting

time at home or doing bad things on the streets; music

gives students hope and a way to express themselves. As a Colombian, it makes me sad that the education system in my country doesn’t provide music programs or music

education like the one in the U.S. Having music programs such as the ones in Florida’s education system is a privi-

lege that can transform people. I am the perfect example of this. Just like I said earlier, I didn’t know what an

orchestra was when I moved, I had never been near a violin in my life, but it was the music educators who showed me the spark that music can create in my life.

Music has a lot to offer to the young generations,

achievements would have been possible without the moti-

which is why every child should have the opportunity

Music offers a different kind of education that no other

is the foundation of what their life will be like. It will

vation and help of my music educators.

classes teach you; music teaches you leadership. A “lead-

er” is a word with a broad definition; in a music program, you learn different skills and habits that turn you into a

leader. These skills and habits transmit to other aspects

to experience it. The high school stage in a teenager’s life

be my duty as a music educator to lead my students to success in what they are passionate about, through the

beauty and complexity of music and how it can influence their lives.

September 2024

11

JUNE M. HINCKLEY MUSIC EDUCATION SCHOLARSHIP

Applicants were asked to respond to the prompts “Why do you wish to become a music educator?” and “Why should music be available to all students?” Brianna’s essay appears here with minor editing and the addition of a headline.

Music Is a Universal Language That Can Touch the Heart submitted by Brianna Steele

I

aspire to become a music edu-

it as well. Our choir is no exception,

ing music the way they have been

her teaching and methods to find

but the way my director adapts

cator to share the joys of learn-

what works is amazing. If we have

brought to me over the course of

a class where one method of learn-

my high school and middle school

ing something is not working, she

years. Making my way through

comes back the next day with a

high school, the chorus and band

new angle to take or a new exer-

rooms became like second homes

and second families, and the direc-

cise to try. Even if it takes multiple

ures. Because yes, they have taught

before we truly accomplish the goal

rehearsals of trying different things

tors leading them, like parental fig-

in mind, she always has a positive,

me music, but also life lessons. They

happy mindset and never settles for

have been some of my biggest sup-

less than what she knows we are

porters, always building me up and

capable of.

pushing me to be my best.

My choral director is one of the

most influential figures in my life, and is part of the reason I have

Brianna Steele

What catches my attention about

this is how responsive and collected she is in times like this. Many

decided to become a music educator. Walking into her

directors would get frustrated and start to become angry,

but also a continual growth as a person, surrounded by

lower level than it could be performed at, deciding they

classroom every day brings new musical opportunities,

positivity, balance, and organization. I believe it is truly a

sign of a good teacher when students can learn simply by observing how the teacher does their job. There are many

times when, from the students’ perspective, rehearsal can be frustrating because progress is slow or something is not going as planned in the learning process. This

frustration, of course, goes both ways, and directors feel

12 F l o r i d a M u s i c D i r e c t o r

or decide to do something easier, or leave the music at a

simply did not have capable performers. Never once has

my director ever made me feel like I am incapable of achieving something, nor has she for any of her pupils.

She truly listens when we talk and ask questions, and values that input from us. She uses the questions we ask

and input we give her to adjust her teaching in a way that

works for our choir as a whole, rather than viewing our

“... nothing brings so many people together in the way music does.”

thoughts as unimportant just because we are students.

the gifts God has given me in a way that honors him, and

watching the way my director teaches, plans, transitions,

delving deeper into how I can be a music educator.

I have been able to pick up so many skills just from and respects her students. It has become more and more

applicable when I help teach in small groups and for tasks like Senior Song as part of my job as president.

It is amazing to me how much I have grown as a

musician and person since starting high school, and looking back, many of the steps in that growth process

happened because of my directors. Every success, failure, long rehearsal, late bus ride home, laughter-filled class …

They are there for all of it, and I think it is such a beautiful

thing that as teachers they are helping create that sparkle

in students’ eyes when they start to understand both the musical concepts and the joy they get out of those

moments. Those are the memories students remember,

the memories I will remember and smile about years down the road as I try to bring that same joy to others.

My different music classes have also allowed me to be

in multiple leadership positions in band and choir over

my high school years, and have truly developed my abil-

ity to lead with respect and humility. I am the president of our top vocal ensemble, Opus One, and have also been

a squad leader and librarian with our Wind Symphony

for me I believe that is continuing my music career and No one person approaches music in exactly the same

way as anyone else. No one practices or performs identically to any other person. No one has an identical voice

or timbre. But regardless of all that, nothing brings so many people together in the way music does. It is a universal language, and one of the few things that when done right can touch the heart of any person. If you

need a boost before a sporting event, uplifting music. If

you’re struggling, music that touches the soul. If you’re celebrating, music that feels like sunshine. Being able to

bring anywhere from two to hundreds of people together to create that music makes an environment that is

more alive than anything else I have ever experienced,

and that should not be denied to anyone. The beauty of

music is that everyone starts somewhere, and regardless of who you are or when you start, you can learn and progress to become your own musician. Whether that

means being a professional or simply enjoying taking classes that give you a break from the stress that is life, it is not a joy that should be kept limited for sake of experience or talent.

Music is a beautiful method of communication that

and Eagle Pride Marching Band. I have always been fairly

was passed down verbally before it was ever put on

even from the time I was little. Being in an environment

based on talent or being able to afford it. It should

outspoken and felt the need to plan and direct things, where I had mentors to look up to and learn how to use those characteristics has been a huge part of helping

me become who I am today. I have found that between these qualities and the excellent musical education I have received, I truly enjoy using that leadership to help teach

music when the opportunity arises. Watching the lightbulb come on, especially when helping middle schoolers

or underclassmen, makes me feel like I am doing some-

thing that is giving back to those around me, and allows

me to see myself become a music educator. I want to use

paper and printed. There was no restriction or limit remain as such, and be available to all students to help spark their creativity, allow them to breathe and do something they enjoy, and bring them into a community. All the while, it also offers an education on literature, poetry, the impact words and music can have on the

world, and how the world impacts what music is made.

The opportunity to express themselves and build rela-

tionships with others in a healthy environment should be a foundation offered to students as a space where they flourish and grow.

September 2024

13

JUNE M. HINCKLEY MUSIC EDUCATION SCHOLARSHIP

Applicants were asked to respond to the prompts “Why do you wish to become a music educator?” and “Why should music be available to all students?” Gabriella’s essay appears here with minor editing and the addition of a headline.

Music Educators Helped to Shape Who I Am submitted by Gabriella R. Sierra

G

rowing up, music has always

My middle school band direc-

played a significant role in my

tor was another musical inspiration

person; however, as I reflect upon

playing trombone and piano in his

life, shaping much of who I am as a

of mine early on; I always loved

who I am today, I find that much of

jazz band, and he even gave me the

what I have learned as a musician

opportunity to sing a few songs

has to do more with the phenome-

throughout my time there. I’ll never

nal educators I have been fortunate

forget the mornings he set aside

enough to study under, rather than

before school to help me practice my

the music itself.

Spanish pronunciation so I could

My first ever music teacher was

sing “Brujeria” at my sixth grade

my childhood piano teacher, Ms.

end-of-year concert.

Ildelisa Maseda, whom I absolutely

My high school band directors

adored. She gave me all the funda-

and staff have also played a huge

cian, teaching me how to read music

today. I’ll always remember my first

mental skills I needed as a musifrom scratch. When I was younger,

she would give me stickers at the

role in shaping the person I am

Gabriella Sierra

FMBC state prelims performance; I was incredibly nervous right before

end of every lesson as motivation to practice, but her

my marching band took the field in competition, and our

toughest teachers I ever had, and even though there were

over and helped calm me down while fixing my shako

classes were not always easy. She was probably one of the many times I considered giving up piano, she always

picked me up and pushed me to keep going. I was eventually recognized in June 2023 by the National Guild of

Piano Teachers Association with a High School Diploma in Social Music, which was one of my greatest accomplishments (and a huge weight off my shoulders)!

14 F l o r i d a M u s i c D i r e c t o r

music caption head, Mr. Bill Muter, noticed. He walked and reassuring me that I could do it. And of course, my

high school band director, Mr. Dean Calmer, has always

been there to support me in any of my musical pursuits; he showed up to watch my 2023 All-State Concert Chorus performance without me asking when my choir director

couldn’t even make it. It’s the little moments that make

“… the arts are perfect for fostering environments where students can make lifelong friendships and lasting memories through simply participating.” you look back and appreciate your teachers; their kind-

to pursue it.” I am extremely grateful that I now have a

like them.

for my last year of high school. It is important for me to

ness, passion, and drive inspire me to be an educator just

If it was not already apparent, I have always admired

and respected my directors and teachers; however, my experiences throughout senior year specifically have

altered my perspective in the importance of having

great music educators in schools and sparked my desire to teach, too. I recently had the opportunity to revisit my old elementary school when my younger neighbor,

chorus director I can look to for support, even if it is only do what I can to give back to my community, especially

given the current state of the arts in Florida. Witnessing

how these teachers have introduced singing and chorus to schools, involving more students in the arts, has given me a renewed sense of confidence that, with great educators, the arts in schools can be saved.

Obviously being involved in the arts has contributed

Sofia, invited me to watch her as the lead in her school’s

a considerable amount to my personality. Besides basic

the school barely had a music program, but this pro-

active member in my school’s chorus and band programs

“High School Musical” play. When I was a student there, duction was amazing. I was absolutely blown away by

how Sofia’s new teacher rebuilt the music program from practically nothing into something beautiful. I found

out that she even had students making all-county and all-state choirs!

This year, I have also had the opportunity to study

under my new choir director, Dr. Tim Brent, who has completely transformed my high school’s chorus program.

For the first three years of high school, I had a hard time finding encouragement in my previous director, but now

I feel as though I am learning so much more in a welcom-

ing and positive environment, and I know my peers feel the same way. I’ll never forget the day after our winter

character traits, I have also developed skills from being an that I will carry with me for the rest of my life. I have learned how crucial time management is in maintaining

both academics and extracurriculars. Being in leadership positions has also pushed me to become more comfortable speaking in front of groups of people, and as a result, I now have more confidence. It has also developed my problem-solving skills by putting me in situations where

I had to navigate conflict amongst my peers and find solutions. Every child wants to enter the real world feeling prepared and equipped to handle all the challenges

that life will throw at them; the arts are a great setting to practice these skills.

Perhaps most importantly, the arts are perfect for fos-

concert. We spent that class looking back on all our hard

tering environments where students can make lifelong

so passionate about the music they were creating. We dis-

ipating. Not every child involved in the arts is going to

work that semester, and I had never seen my classmates cussed everything, from our awesome performance the night before, to our struggles as high schoolers balancing

music and academics, to our fears about the uncertainty of college and the future. It was a very vulnerable moment.

I remember in sharing his experiences, Dr. Brent told us (which hit particularly home for me), “Music chooses you; the hardest part about studying it is having the courage

friendships and lasting memories through simply particpursue music as a professional career, but I firmly believe

that all students deserve to experience a community

where they feel at home and a sense of belonging. I hope to create a space for future students of the arts that is as caring and inclusive as those my wonderful teachers have

provided for me, while guiding them toward their fullest potentials; that is the type of educator I aspire to be.

September 2024

15

2025 FMEA Professional Learning COnference

16 F l o r i d a M u s i c D i r e c t o r

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

! l a t i g i d go nference program

o The 2025 c of course d n a . .. ly n al o will be digit ad the lo n w o d o t you’ll want the latest ll a r o f p p a conference programs t r e c n The FMEA Professional Learning Conference is o C ! info one of the largest music education professional printed. e b l il t s l il w development events in the United States. In addition to approximately 200 clinic sessions and concerts, it is host

to 24 all-state ensembles featuring Florida’s top band, orches-

tra, chorus, guitar, Orff, and popular music students conducted by world-class conductors and teachers.

It is attended by more than 10,000 people, including second-

ary music directors, elementary music teachers, music supervisors, college students, college music teachers, school admin-

istrators, K-12 students performing in the all-state ensembles,

students and professional musicians performing with invited

performing ensembles, exhibitors, and parents and family members of performing students.

w An exhibit hall with world-class exhibitors providing products and services for music educators and students w More than 3,000 music teachers and 300 administrators w More than 200 sessions covering a variety of topics for all music educators, with on-demand access to recordings after the conference w Performances and mini-concerts from some of Florida’s top music programs w Networking opportunities, college fair, awards ceremony, and other special events So many reasons to participate:

Important Conference Dates & Information September 28, 2024

Hotels begin taking reservations at 9 am; all hotel reservations to be made online and only five (5) rooms per director.

November 9, 2024

Hotel room cancellation deadline is 5 pm.

November 12, 2024

Hotels will charge your credit card a nonrefundable deposit for the first night of each room.

Early registration closes at midnight. Prices increase to the regular registration rates. You may continue to register and pay online until the conference.

December 13, 2024

December 16, 2024

Postmark deadline for checks mailed to pay for conference registration. After this date, all unpaid conference registrations must be paid by credit card online, or the check must be brought with you to the conference.

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

The final deadline for discounted hotel blocks; unsold rooms in the FMEA blocks are released back to hotels.

September 2024

17

Registration w Membership in FMEA and NAfME is a prerequisite for registration.

See the Registration Policies for details. w To take advantage of early discounted rates, you must register and Registration Prices and Procedures pay before the deadlines.

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

must be postmarked early enough so that it will ARRIVE in the FMEA office before the preregistration deadline.

REGISTRATION FEES Description Director/Member Collegiate Member Retired Member Non-Teaching Spouse Non-Teaching Spouse of Retired Member Paid Chaperone Free Chaperone All-State Student Tri-M Student Pre-Conference Workshop Pre-Conference Workshop (First-Year Teacher) Student Experience – Student Student Experience – Chaperone

9/8/24– 12/15/24 $160 $70 $30 $105 $0 $75 $0 $75 $50 $80 $80 $50 $50

After 12/15/24 $205 $100 $30 $155 $0 $125 $0 $125 $75 $100 $100 $75 $75

Refund Policies

1. Full registration refunds are available for cancellation requests made through December 15, 2024.

2. No registration refunds will be made for cancellations made after December 15, 2024, 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, 2025. Requests received after that date will not be processed.

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

18 F l o r i d a M u s i c D i r e c t o r

6. There are no refunds for concert tickets.

Chaperone Registration

Chaperone registration is based on the following rules:

w For each elementary student registered, one free chaperone and one paid chaperone may be registered. w Any additional attendees must purchase a guest pass at Elementary Students

on-site registration for entry into the convention center.

w For every six students registered, one free chaperone and one

Middle School and High School Students

Registration Policies

1. All participants—directors, students, chaperones, and guests—must be registered for the conference.

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

3. All participating students must be chaperoned. As required

by FMEA and 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. An additional paid chaperone may be registered for (a) each

six (6) students registered or (b) for each all-state rehearsal site where registered students are performing.

5. 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, explain the extenuating circumstances preventing the direc-

paid chaperone may be registered. No other chaperones may

w Any additional attendees (chaperones or guests) must purbe registered until the seventh student is registered.

chase a guest pass at on-site registration for entry into the

w EXCEPTIONS

convention center.

~ If you have students in more than one performing ensem-

ble, you may pay for a chaperone for each performing ensemble in which you have registered students.

~ If you have students from different schools, you may pay

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

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.

tor 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 the conference may be eliminated the following year. (Tri-M students registered and participating in sessions or working for the all-state concerts are exempt from this rule.)

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

includes directors of invited performing groups, mini-con-

certs, 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.

September 2024

19

Greetings! It’s the 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 8-11, 2025, Professional Learning Conference.

We look forward to seeing you in Tampa!

HOTELS

Contracted for 2025 FMEA Professional Learning Conference NOTE: FMEA IS NOT offering a housing bureau service. All participants MUST reserve their rooms online via links that will be posted at FMEA.org/conference/hotels/ on September 28, 2024. Please confirm the guest room rate posted below when you make your reservation. We look forward to seeing you in Tampa!

w All reservations will be made online via links that will be posted at FMEA.org/con-

ference/hotels/. Room blocks will open on Saturday, September 28, 2024, at 9 am EDT. The hotel list will be available on the FMEA website at that time, along with

w Guest rooms at the contracted rates will be available until the room block is full or the online reservation links and phone numbers for each hotel.

until the cancellation deadline of November 9, 2024, at 5 pm. If your hotel of choice

is sold out, please continue to try to make a reservation until November 9, 2024, as FMEA attendees will periodically release surplus guest rooms.

ROOM RATES

HOTEL – Cutoff date: 11/9/24

Single

Double

Triple

Quad

Barrymore Hotel Tampa Riverwalk 111 West Fortune Street, Tampa, FL 33602

Comp. internet & self-parking

$164

$164

$164

$164

Courtyard by Marriott Downtown Tampa 102 East Cass Street, Tampa, FL 33602

Comp. internet; $40 valet only parking

$179

$179

$179

$179

Embassy Suites Downtown 513 South Florida Avenue, Tampa, FL 33602

Comp. internet & breakfast $31 valet only parking

$272

$272

$282

$292

Embassy Suites Tampa Airport Westshore 555 North Westshore Blvd., Tampa, FL 33609

Comp. internet, self-parking, & breakfast

$209

$209

(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 & self-parking; comp. shuttle to Tampa airport

$152

$152

$152

$152

Hampton Inn Tampa Downtown Channel District 1155 East Kennedy Blvd., Tampa, FL 33602

Comp. internet & breakfast; $30 self-parking

$205

$205

$205

$205

Hilton Tampa Downtown 211 North Tampa Street, Tampa, FL 33602

$9.99 internet (comp. for HH); $45 valet parking

$241

$241

$241

$241

Holiday Inn Tampa Westshore Airport 700 North Westshore Blvd., Tampa, FL 33609

Comp. self-parking; $100 for bus parking

$134

$134

$134

$134

Home 2 Suites Tampa Downtown Channel District 1155 East Kennedy Blvd., Tampa, FL 33602

Comp. internet & continental breakfast buffet; $30 self-parking

$230

$230

$230

$230

Hotel Tampa Riverwalk (formerly Sheraton Tampa Riverwalk) 200 North Ashley Drive, Tampa, FL 33602

Comp. internet; $36 valet parking overnight; $20 valet parking daytime

$239

$239

$259

$259

Residence Inn Tampa Downtown 101 East Tyler Street Tampa, Florida 33602

$25 self-parking

$205

$205

$205

$205

Tampa Marriott Water Street Hotel (formerly Marriott Waterside) 505 Water Street, Tampa, FL 33602

Comp. internet for Bonvoy members; $40 valet parking overnight; $30 valet parking daytime

$217

$217

$217

$217

Westin Tampa Waterside 725 S. Harbour Island Blvd., Tampa, FL 33602

Comp. internet; $30 valet only parking

$229

$229

$229

$229

20 F l o r i d a M u s i c D i r e c t o r

$219

$229

w A maximum of five (5) guest rooms may be reserved per name/credit card. w Directors should try to reserve rooms for all-state students and chaperones in the hotel where they are rehearsing. w Credit cards are required for online reservations, and the credit card name must match the name on the reservation. w If calling, be sure to request the “Florida Music Education Association” room block rate and confirm the guest room rate listed for the hotel. w If paying by check, reservations must be made over the phone, and a check for the full amount must be mailed directly to the hotel no later

w You do not need to register for the conference before reserving your than December 13, 2024.

hotel rooms, but this is something we are considering for future

w Each hotel will have contract terms, such as parking charges, etc., on conferences.

their reservation link.

Cancellation Deadline

We urge any guest holding surplus reservations/

rooms to cancel the excess reservation(s) as soon as possible and no later than 5 PM ON NOVEMBER

9, 2024, and you must secure a cancellation confir-

mation number. This courtesy will make surplus rooms available to other FMEA members and conference attendees.

Nonrefundable Deposit

Frequently Asked Questions Why are the FMEA hotels so expensive?

The prices we contract with the hotels are much lower than their standard room rates during the same dates (in many cases, less than half).

Why is it so hard to get a room?

On November 12, 2024, each room reserved and not

cancelled by November 9 will be charged a nonrefundable deposit in the amount of the posted rate for one night plus tax. It will be charged to the credit

card used to secure the reservation. Invalid credit cards risk reservation cancellation.

When the blocks first open, everyone tries to get as many rooms as

If Hotels Are Full

so they fill up very fast. If you wait until after the all-state results come

ately upon opening due to teachers overestimating

they can in case they need them for all-state students and chaperones, out, many people will have cancelled their rooms and it will be much easier for everyone else to get a reservation.

Why don’t you wait and open the hotel block after all-state auditions results are released?

Our hotel partners are not comfortable waiting until we are so close to the start of the conference to start booking room reservations.

Every year, the hotel blocks fill up almost immedi-

how many they will need for all-state students and

chaperones. They cancel the rooms they don’t need after the audition results are released (late October

w Try again in late October or early November and early November).

after all-state results are released and teachers

the cancellation deadline listed, you will not be charged any type of

w Try again after the cancellation deadline. All

per room in your reservation will be charged to your credit card, and

FMEA blocks! To receive discounts for the ball-

Is there a cancellation fee?

No, as long as you have cancelled all the rooms you no longer need by cancellation fee. After the cancellation deadline, a deposit of one night that deposit is nonrefundable.

Someone at the hotel told me that cancelled rooms don’t

go back into the FMEA block, and they are sold at full price instead. Is that true?

Not until December 16. Before that date, all the hotel rooms in the

FMEA blocks that are cancelled will go back into the FMEA blocks and can be reserved by other FMEA members at the low FMEA rate.

cancel rooms for students who were not selected.

cancelled rooms will return to the FMEA blocks

w Please do not reserve a room outside of the until December 16, 2024.

rooms we use for all-state rehearsals, we must fill most of our allotted room blocks. If we do not meet our required minimum number of hotel

nights sold, we will need to raise conference registration rates to compensate for the added cost of the rehearsal space.

September 2024

21

All-State COncerts Attendee Concert Tickets Registered conference attendees, such as directors, chaperones, students, and administrators registered as part of your conference

registration, will be admitted to all all-state concerts with their conference badge. Purchased tickets are necessary for other family or friends attending only the concert.

All-state concerts are now sold exclusively online through the

FMEA conference ticket sponsor: TeachTix. Directors should send the following link to the parents or guardians of their all-state stu-

dents who may need to purchase tickets: FMEA.org/Conference/ Tickets/.

Ticket Sales Tickets are sold online for family, friends, and other attendees

who are not registered for the conference. Directors will no longer need to pre-order all-state concert tickets for their students’ family

Frequently Asked Questions

members or friends who will be attending their concerts. Send them this link instead: FMEA.org/Conference/Tickets/.

Tickets will go on sale in September, and can be purchased any-

time up until 30 minutes after the start time of the concert.

Tickets purchased will be emailed to the purchaser and can be

printed or stored on their phone. The barcode will be scanned at

the door to validate a ticket’s authenticity and to gain entrance to the concert.

No Refunds. Tickets may be exchanged for another concert or

transferred to another person using the online ticket sales portal only.

Signs with QR codes will be posted at the conference for pur-

chasing tickets at the door with your smartphone.

A desk in the conference registration area on the second floor

of the convention center will be selling paper tickets if you need to

purchase tickets with cash or if you do not want to use electronic tickets.

Concert Reentry Procedure Once a ticket’s barcode is scanned to

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

No.

Can I get free tickets to any concerts?

No. Registered attendees (directors, chaperones, students) are allowed admission to concerts with their name badge

so no ticket is necessary. Attendees that are not registered for the conference (parents, family, etc.) must purchase tickets.

Can I buy extra tickets anytime?

Anyone can purchase tickets online. Electronic tickets will go on sale in September and sales will close 30 minutes

after each concert’s scheduled start time. Paper tickets will be sold at the FMEA registration desk during its regular open hours on Thursday through Saturday.

gain entry, that ticket is marked as

Does my young child need to buy a ticket?

for another entry into the concert. Attendees who need to exit and

Babies that are being held by a parent or sitting on a

“used” and will no longer be eligible

reenter the concert should be prepared to show their ticket and a photo ID to confirm they are the ticket owner to gain reentry into the concert hall.

22 F l o r i d a M u s i c D i r e c t o r

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

All-Ticket Sales Are Final.

No Refunds.

Please make sure you know the exact name of the all-state ensemble for which you need tickets before approaching the ticket sales window. Exchanges may only be made through the online portal.

Note: No concerts will be held in the Straz Performing Arts Center.

All-State Concert Ticket Policy 1. Registered (BADGED) attendees do not require tickets

to purchase tickets should take care to correctly enter the

members, directors’ non-teaching spouses, performing

using the tickets into the online sales portal, or transfer

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

all-state students, registered chaperones, collegiate stu-

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

2. 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 their conference badge or purchase a ticket.

4. Tickets will be electronic and sold online utilizing a

mobile-friendly website. The link will be available on the conference website well in advance of the confer-

ence, and directors are encouraged to share the link

with all of their all-state students and their parents or guardians. On site at the conference, the links and QR codes will be posted on signs in the venue so attendees

names and email addresses of the people who will be the tickets to those who will be using the tickets using their correct name and email address in the online ticket sales portal.

6. Paper tickets will be on sale at the registration desk on site at the conference for attendees who would like to pay by cash or who do not want to use electronic tickets. Paper ticket sales for all-state concerts will begin on

Thursday morning and continue Friday and Saturday at the FMEA registration desk. There is no requirement that the director or any other registered attendee be the person

purchasing these tickets. If a concert starts after the regis-

tration desk is closed, only electronic tickets will continue to be sold for that concert.

7. All ticket sales are final. There are no refunds for any concert tickets. Tickets may be transferred or exchanged using the online ticket sales portal only.

may purchase tickets using their smartphones. Anyone

8. For entrance, ticket, and concert purposes, a concert is

tronic ticket online anytime up until 30 minutes after

forming in the same venue in a common, defined block of

who wishes to attend a concert can purchase an electhe concert’s published start time.

5. There is no longer a need for directors to pre-purchase any tickets for their students or their families. Instead, they should direct the student and their family to the

online ticket sales website. Any directors who still wish

defined as the pair or group of ensembles that are pertime. An example of a “concert” for purposes of entrance

and ticketing would be the 5:30 pm concert that features

both the Treble Chorus and Mixed Chorus or the 6:30 pm concert that features the Middle, Concert, and Symphonic Bands.

September 2024

23

All-State Rehearsals All-State Concert Band Concert – Tampa Convention Center, Ballroom A Saturday, January 11, 2025, 6:30pm Reseating Auditions Hotel Tampa Riverwalk, Riverwalk Ballroom Thursday.................................................. 9am-11am Rehearsals Hotel Tampa Riverwalk, Riverwalk Ballroom Thursday................................................... 1pm-5pm Thursday.............................................. 7pm-9:30pm Friday.............................................8:30am-11:30am Friday........................................................ 1pm-5pm Saturday................................................9am-12noon

All-State Concert Chorus Concert – Tampa Convention Center, Ballroom A Saturday, January 11, 2025, 11am Rehearsals – Tampa Convention Center, Room 114 Thursday...........................8am-8:30am, Registration Thursday........................................ 8:30am-11:30am Thursday......................................... 1:30pm-4:30pm Thursday...............................................6:30pm-9pm Friday............................................. 8:30am-11:30am Friday....................................................1:30pm-4pm

Full Orchestra Rehearsals – Marriott Water Street, Florida Ballroom, Salons 5-6 Thursday................................................... 1pm-5pm Thursday................................................... 7pm-9pm Friday.............................................8:30am-11:30am Friday........................................................ 1pm-5pm Saturday.........................................8:30am-10:30am

All-State Elementary Chorus Concert – Tampa Convention Center, Ballroom A Thursday, January 9, 2025, 1:30pm Rehearsals – Tampa Convention Center Wednesday.......12noon-1pm, Registration, Room 114 Wednesday............................... 1pm-6pm, Room 114 Thursday...................... 7:45am-12:45pm, Room 111

All-State Elementary Orff Ensemble Concert – Tampa Convention Center, Ballroom A Friday, January 10, 2025, 1pm Rehearsals – Tampa Convention Center Thursday......... 10am-11am, Registration, West Hall A Thursday...............................11am-6pm, West Hall A Friday.................................8am-11:30am, Room 112

All-State Concert Orchestra

All-State Guitar Ensemble

Concert – Tampa Convention Center, Ballroom A Saturday, January 11, 2025, 2:30pm

Concert – Marriott Water Street, Grand Ballroom Thursday, January 9, 2025, 12:30pm

Registration for Strings – Marriott Water Street, Florida Ballroom, Salons 5-6 Thursday, 7:30am-8am

Rehearsals

Reseating Auditions for Strings Marriott Water Street, Florida Ballroom, Salons 5-6 Thursday, 8am-11:30am Registration for Woodwinds/Brass/Percussion – Marriott Water Street, Florida Ballroom, Salons 5-6 Thursday, 9am-9:30am

Sectional Rehearsal – Marriott Water Street, Florida Ballroom, Salons 5-6 Thursday........................................ 9:30am-11:30am Woodwinds/Brass/Percussion

24 F l o r i d a M u s i c D i r e c t o r

Tuesday......................................................7pm-9pm Marriott Water Street, Meeting Room 8 Wednesday....................................... 8:30am-12noon Marriott Water Street, Meeting Room 8 Wednesday.................................................1pm-5pm Marriott Water Street, Meeting Room 8 Thursday........................................ 8:30am-11:30am Marriott Water Street, Grand Ballroom

All-State High School Jazz Band Concert – Marriott Water Street, Grand Ballroom Friday, January 10, 2025, 7:30pm Rehearsals – Tampa Convention Center, Room 407 Wednesday........................................... 2pm-5:30pm Wednesday................................................ 7pm-9pm Thursday........................................8:30am-11:30am Thursday................................................... 1pm-5pm Friday...............................................8:30am-12noon

All-State Intercollegiate Band Concert – Marriott Water Street, Grand Ballroom Friday, January 10, 2025, 4pm Rehearsals – Barrymore Hotel Tampa Riverwalk, Crown Ballroom Thursday................................8am-9am, Registration Thursday.............................................9am-11:30am Thursday.............................................. 1pm-4:30pm Thursday................................................... 6pm-9pm Friday....................................................8am-12noon

All-State Middle School Band Concert – Tampa Convention Center, Ballroom A Saturday, January 11, 2025, 6:30pm Reseating Auditions – Hilton Tampa Downtown, Palma Ceia Ballroom Thursday, 9am-11am Rehearsals Hilton Tampa Downtown, Palma Ceia Ballroom Thursday................................................... 1pm-5pm Thursday................................................... 7pm-9pm Friday.............................................8:30am-11:30am Friday................................................... 2pm-5:30pm Saturday...........................................8:30am-12noon

All-State Middle School Jazz Band

All-State Middle School Treble Chorus

Concert – Marriott Water Street, Grand Ballroom Friday, January 10, 2025, 7:30pm

Concert – Tampa Convention Center, Ballroom A Friday, January 10, 2025, 5:30pm

Rehearsals Westin Tampa Waterside, Conch Room Wednesday........................................... 2pm-5:30pm Wednesday................................................ 7pm-9pm Thursday........................................8:30am-11:30am Thursday................................................... 1pm-5pm Friday...............................................8:30am-12noon

Rehearsals Hilton Tampa Downtown, Bayshore Ballroom 5-7 Thursday.......................10:30am-11am, Registration Thursday............................................. 11am-1:15pm Thursday.........................................2:45pm-4:45pm Thursday......................................... 6:15pm-8:15pm Friday.............................................8:45am-11:30am Friday........................................................ 1pm-3pm

All-State Middle School Mixed Chorus Concert – Tampa Convention Center, Ballroom A Friday, January 10, 2025, 5:30pm Rehearsals – Hilton Tampa Downtown, Bayshore Ballroom 1-3 Thursday....................... 11am-11:30am, Registration Thursday........................................11:30am-1:30pm Thursday................................................... 3pm-5pm Thursday.........................................6:30pm-8:30pm Friday............................................ 8:30am-11:15am Friday............................................ 12:45pm-2:45pm

All-State Middle School Orchestra Concert – Tampa Convention Center, Ballroom A Saturday, January 11, 2025, 2:30pm Reseating Auditions Marriott Water Street, Meeting Room 8 Thursday, 7:30am-8am, Registration Thursday, 8am-11:30am Rehearsals Marriott Water Street, Meeting Room 8 Thursday................................................... 1pm-5pm Thursday................................................... 7pm-9pm Friday.............................................8:30am-11:30am Friday........................................................ 1pm-5pm Saturday................................................... 9am-11am

All-State Popular Music Collective Concert – Marriott Water Street, Grand Ballroom Thursday, January 9, 2025, 6pm Rehearsals – Tampa Convention Center, Room 403 Wednesday............................................8am-12noon Wednesday................................................ 1pm-5pm Wednesday................................................ 6pm-9pm

All-State Reading Chorus Concert – Tampa Convention Center, Ballroom A Saturday, January 11, 2025, 8:45am Rehearsals Embassy Suites Downtown, Gandy Meeting Room Thursday.......................... 8am-8:30am, Registration Thursday........................................ 8:30am-11:30am Thursday......................................... 1:30pm-4:30pm Thursday...............................................6:30pm-9pm Friday............................................. 8:30am-11:30am Friday....................................................1:30pm-4pm Friday............................................. 4:30pm-5:30pm, Tampa Convention Center, Room 120

All-State SSAA Chorus Concert – Tampa Convention Center, Ballroom A Friday, January 10, 2025, 7:30pm Rehearsals Westin Tampa Waterside, Oasis Ballroom Thursday.......................... 8am-8:30am, Registration Thursday........................................8:30am-11:30am Thursday......................................... 1:30pm-4:30pm Thursday.............................................. 6:30pm-9pm Friday.............................................8:30am-11:30am Friday................................................... 1:30pm-4pm

All-State Symphonic Band Concert – Tampa Convention Center, Ballroom A Saturday, January 11, 2025, 6:30pm Reseating Auditions Tampa Convention Center, Room 122 Thursday........................................8:30am-10:30am Rehearsals – Tampa Convention Center, Room 122 Thursday.......................................12:30pm-4:30pm Thursday.............................................. 6:30pm-9pm Friday.............................................8:30am-11:30am Friday........................................................ 1pm-5pm Saturday................................................9am-12noon

All-State Symphonic Orchestra Concert – Tampa Convention Center, Ballroom A Saturday, January 11, 2025, 2:30pm Reseating Auditions – Tampa Convention Center Thursday, 8am-8:30am, Registration, Room 124 Thursday........................................ 8:30am-11:30am Violin 1, Room 103 Violin 2, Room 105 Viola, Room 106 Cello, Room 104 Bass, Room 109 Sectional Rehearsal Tampa Convention Center, Room 124 Thursday........................................ 8:30am-11:30am Woodwind/Brass/Percussion Full Orchestra Rehearsals Tampa Convention Center, Room 124 Thursday................................................... 1pm-5pm Thursday................................................... 7pm-9pm Friday.............................................8:30am-11:30am Friday........................................................ 1pm-5pm Saturday................................................... 9am-11am

All-State TTBB Chorus Concert – Tampa Convention Center, Ballroom A Saturday, January 11, 2025, 8:45am Rehearsals Embassy Suites Downtown, Bayside Ballroom Thursday.......................... 8am-8:30am, Registration Thursday........................................8:30am-11:30am Thursday......................................... 1:30pm-4:30pm Thursday.............................................. 6:30pm-9pm Friday.............................................8:30am-11:30am Friday................................................... 1:30pm-4pm September 2024

25

All-State Rehearsals High School Honors Band Concert – Marriott Water Street, Grand Ballroom Saturday, January 11, 2025, 2:30pm Reseating Auditions Hotel Tampa Riverwalk, Bayshore Ballroom Thursday, 9am-11am

High School Honors Orchestra Concert – Marriott Water Street, Grand Ballroom Saturday, January 11, 2025, 11am

Rehearsals Hotel Tampa Riverwalk, Bayshore Ballroom Thursday................................................... 1pm-5pm Thursday.............................................. 7pm-9:30pm Friday.............................................8:30am-11:30am Friday........................................................ 1pm-5pm

Rehearsals Embassy Suites Downtown, Skyway Room Thursday.......................... 8am-8:30am, Registration Thursday........................................8:30am-11:30am Thursday................................................... 1pm-5pm Thursday................................................... 7pm-9pm Friday.............................................8:30am-11:30am Friday........................................................ 1pm-5pm

High School Honors Big Band

Middle School Honors Band Middle School Honors Orchestra Concert – Marriott Water Street, Grand Ballroom

Concert – Marriott Water Street, Grand Ballroom Friday, January 10, 2025, 7:30pm Rehearsals – Embassy Suites Tampa Airport Westshore, Cypress Room Wednesday........................................... 2pm-5:30pm Wednesday................................................ 7pm-9pm Thursday........................................8:30am-11:30am Thursday................................................... 1pm-5pm Friday...............................................8:30am-12noon

Saturday, January 11, 2025, 2:30pm

Reseating Auditions Hilton Tampa Downtown, Esplanade Suite Thursday, 9am-11am Rehearsals Hilton Tampa Downtown, Esplanade Suite Thursday................................................... 1pm-5pm Thursday.............................................. 7pm-9:30pm Friday.............................................8:30am-11:30am Friday........................................................ 1pm-5pm

Concert – Marriott Water Street, Grand Ballroom Saturday, January 11, 2025, 11am Rehearsals Hotel Tampa Riverwalk, Riverview Room Thursday.......................... 8am-8:30am, Registration Thursday........................................8:30am-11:30am Thursday................................................... 1pm-5pm Thursday................................................... 7pm-9pm Friday.............................................8:30am-11:30am Friday........................................................ 1pm-5pm

Session Attendance Verification Report Provide proof of the sessions you attended to your administration with Session Attendance Verification Reports!

Each of our presenters will be provided a QR code and asked to display it on the last slide of their presentation. Scan that QR code to confirm your attendance and add the session to your Verification Report.

w Register for the conference, either via preregistration or on site. w Make sure you can login to the FMEA website using the web browser on your Requirements:

phone. Use the username and password you chose when you renewed your mem-

bership. If you are from outside of Florida, you should have chosen your username

w Learn how to scan a QR code with your phone. With iPhones and newer Androids, and password when you registered for the conference.

you just need to open your camera, point it at the code, and a box will appear for you to click.

26 F l o r i d a M u s i c D i r e c t o r

FMEA does NOT automatically submit your hours for you. It

is up to you to follow the pro-

cess outlined by your school or school district to apply for the

professional development points toward your certificate renewal.

Policies Code of Conduct

Photographic Release

FMEA is dedicated to providing a positive environment of

By attending the conference and/or asso-

respect and civility for all attendees, including members, stu-

dents, parents, speakers, clinicians, exhibitors, sponsors, staff, volunteers, and guests. All attendees are asked to follow all

applicable laws and conference policies and to refrain from physical and verbal harassment, bullying, disorderly conduct,

or any actions or behaviors that create unsafe conditions or interfere with presentations or performances. Harassment, bullying, and sexual language and imagery are not appropriate for

any conference venue, including clinics, workshops, concerts,

rehearsals, social events, online, and social media. Violations

should be reported to convention center security or conference

staff in a timely manner. Violators and their registered students may be expelled from the conference without a refund at the discretion of the FMEA Executive Committee.

ciated activities, you grant permission for FMEA to use any and all photographic imagery and video footage taken of you and your students at this event and activ-

ities pertaining to this event, without payment or any other consideration. You understand that such materials may be

published electronically or in print, or used in presentations or exhibitions.

Security Procedures The Florida Music Education Association works with the Tampa Police Department

and Allied Security at the Tampa Convention

Center (TCC) to enhance the conference expe-

Indemnity Clause FMEA reserves the right to change the conference/workshop

rience for the students and attendees.

content, timing, speakers, or venue without notice. The event

Great News!

extreme weather conditions, industrial action, fewer than

security presence throughout the TCC and at various hotels. All

may be postponed or cancelled due to acts of terrorism, war, expected delegates, pandemic, or any event beyond the control

of FMEA. If such a situation arises, FMEA will endeavor to reschedule the event; however, FMEA cannot be held responsi-

ble for any cost, damage, or expenses that may be incurred by the registrant as a consequence of the event being postponed or cancelled. Some registrants consider travel insurance to cover

the cost of the registration, travel, and expenses for these types

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

entrances to the TCC will be patrolled by uniformed officers of

the Tampa Police Department and uniformed Allied Security personnel. 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, and patrolling some of the downtown hotels during rehearsals.

All attendees (this includes members, exhibitors, chaper-

of situations. FMEA is not responsible for any registrant’s per-

ones, and student participants) must wear their conference

or property damages while attending an FMEA conference

obtains the conference packet.

sonal injury (i.e., physical, psychological, or emotional stress)

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

badge during the conference once the authorized registrant 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.

September 2024

27

Student Experiences at the Conference

D

Student conference experience

high school? In fact, according to a recent

to students from throughout the state. Participating students will interact with

were not in an all-state group, yet most

ing groups. These students will have memorable experiences they can take back

id you know that most Florida music educators were not a part of an

all-state ensemble when they were in

survey, two-thirds of our music teachers

of the students at our state conference are there to participate in an all-state ensemble. Now more than ever, it is important

to identify and provide opportunities for all our students who might be interested

The Student Conference Experience expands access to the annual conference

amazing clinicians and educators, college representatives, and incredible perform-

and share with their high school music programs. The program will take place

on Thursday and Friday of the 2025 FMEA Professional Learning Conference.

Students will participate in workshops, observe rehearsals, attend College Night, and engage in networking and social activities with their peers.

in pursuing music education as a career.

Tri-M experience

incredible, life-changing opportunities?

leadership and advocacy skills, as well as expose them to the experiences available

Music Education Association’s Student

cians and educators, college representatives, and incredible performing groups.

opportunities for our students?

with their high school music programs.

details about these events, as well as other

overlap; schools can choose to participate in one of these experiences.

please email Michael Antmann, commit-

Student leadership workshop

mac.com.

conference. It is open to all Florida high school music students. Both the Tri-M

How can we provide all our students

The Tri-M Experience provides students with experiences that will build their

Did you know that the Florida

at the annual conference. Participating students will interact with amazing clini-

Engagement Committee facilitates several

These students will have memorable experiences they can take back and share

Please visit the FMEA website for

The Tri-M and Student Conference Experiences run concurrently with some

opportunities. If you have any questions,

tee chairperson, at michaelantmann@

The Student Leadership Workshop takes place on Wednesday of the FMEA and Student Conference Experience students can also participate in the Student Leadership Workshop. Participants have the opportunity to learn from world-class leadership experts.

28 F l o r i d a M u s i c D i r e c t o r

How do I get to the conference?

Making your case to attend the 2025 FMEA Professional Learning Conference

G

etting approval to attend the Florida Music Education

Association Professional Learning Conference may

require developing a proposal. Due to tight budgets in

today’s economy, school principals and districts carefully scrutinize requests to attend professional learning. That

does not mean you should not give it your best effort by

showing your administrators how your attendance will

benefit the students in your school. Rather than assuming

your administrators are aware of the critical importance of you professionally benefitting from content-specific sessions, consider submitting a formal proposal.

Through this proposal, you can demonstrate how

your participation directly relates to the strategies and the objectives of your school (including those beyond the

classroom). This will allow you to articulate the need for your continuing education and how it will benefit your students, your school, and you.

w Write down three of the most important goals and strategies being addressed in your school’s plan. w Think about how you personally contribute to those Develop Your Case

three goals and strategies. How does your work as a music educator affect the overall mission of your

school? Make a list of your personal contributions to

w Review the conference’s professional learning schedyour school’s goals and strategies.

When you create your proposal, in addition to provid-

ule to better understand how the information provid-

ing a summary of the funding you will need, detail your

that relate to your list of personal contributions to the

conference schedule, list the sessions and the clinicians

ed will support your school’s goals. Mark meetings

attainment of those goals and strategies, and make

note of the clinicians and others you will be able to observe and/or with whom you will be able to interact while at the conference. List the high-quality perfor-

mances you will observe and from which you will

learn. You can download the conference app from the

case for attending. List your school’s goals, download the

and presenters who will be there, and list the specific ses-

sions you plan to attend. Also, list the performing groups you will have the opportunity to observe during rehearsals with national clinicians as well as the performances

by these well-known conductors (from whom you can gain programming and conducting ideas). Additionally,

w Write down your case for how attending the FMEA more than 10,000 teachers, administrators, students, and FMEA’s website and bookmark your sessions.

Professional Learning Conference and meeting the people there will help you contribute to your school’s

goals and strategies, and use this case with your administrators when making your request to attend the conference.

let your administrators know that this conference has parents in attendance, the second largest music education conference in the nation.

Finally, ask your administrators to support you to

attend the FMEA Professional Learning Conference in Tampa, Florida, January 8-11, 2025.

September 2024

29

Noteworthy Connec

Mentorship in Music Education

by Jacquelyn Tabone

“The only music or art teacher in the building, a novice often finds that strategies that work in a desk-lined classroom do not transfer to a studio or rehearsal.”

– Conway et al., 2002

Feelings of isolation are common among music educators (Benson, 2008; Blair, 2008; Conway et al., 2002), and new teachers are no exception (Allen et al., 2006). Thinking back to my first year of teaching, I remember turning around to ask a question only to realize I was the lone adult

in a room with 50 pairs of eyes staring at me for an answer. I also real-

ized that while I did not have all the answers, I could pick up the phone and ask someone who might. This is where having a mentor for support

eases the burden of isolation. Researchers have shown that mentorship

is an effective practice in reducing isolation and contributing factors to music teacher attrition and burnout for both new and veteran teachers.

(Benson, 2008; Blair, 2008; Conway et al., 2002, Hays et al., 2000).

An effective mentor has a genuine interest in the mentee’s welfare

and needs while being honest and committed to professional integrity (Hays et al., 2000). An intuitive mentor anticipates the needs of the mentee as they learn to navigate their new career, and introduces mentees

30 F l o r i d a M u s i c D i r e c t o r

continued on page 32

ctions

As the mentor, the most effective way to support the mentee is to ask questions and help them navigate these new experiences rather than imparting their past experiences and choices.

—Grant, 2023

September 2024

31

Noteworthy Connections continued from page 30

Milwaukee, and mentorship expert, on the podcast Work Life explains that the best mentors aren’t necessarily

superstars or leaders in their field. The highest performers may not be the best teachers. Ragins states that perspec-

tive-taking and empathy are critical mentorship skills that make mentors who are closer to the mentee’s experience

level a viable mentor option. This empathy gives the mentor the perspective of what the mentee needs and can help them work through some of their daily challenges

(Grant, 2023; Hays et al., 2000). A common misconception of mentorship is that the mentee is an empty vessel to

be filled with knowledge. However, mentees are actively

in the field and taking in experiences. As the mentor, the most effective way to support the mentee is to ask

questions and help them navigate these new experiences

rather than imparting their past experiences and choices (Grant, 2023).

Communities of Practice

As the school year progresses, available time to meet dwindles. The time and care required of mentorship are to helpful colleagues, corporate and local businesses, and

resources (Hays et al., 2000). A successful mentor-mentee pairing is evident when both individuals gain friendship,

acceptance, and career satisfaction from sharing experi-

ences and decrease the feelings of isolation that contribute

common perceived barriers to starting the mentoring

process. A lack of consistent meetings can put a strain on an established mentorship pair (Benson, 2008). What if the burden of mentorship was not placed on a single individual, but on a community of music educators?

A community of practice is defined as a “group of

to teacher burnout (Allen et al., 2006). These mentorships

people who share a concern, a set of problems, or a pas-

feeder patterns, and through the friendships we main-

expertise in this area by interacting on an ongoing basis”

can be found through our professional organizations,

tained through our undergraduate experiences. It is common not to seek out mentorship because of the perception

that asking questions or for advice can be burdensome; however, the benefits of mentorship are not exclusive to

the mentee. Mentors gain a high level of fulfillment when their mentees gain success (Grant, 2023; Hays et al., 2000).

For mentors, the passing of knowledge and experiences from their past validates themselves as music educators.

Mentors get a deep sense of fulfillment and joy from help-

ing and developing their mentees and the idea of giving back to the profession (Grant, 2023).

Who should mentor?

sion about a topic and who deepen their knowledge and (Wenger-Trayner, 2015). Alternatively, it could be defined as a group of people who not only have their experiences

and a career in music education in common but also the problems they face in this career and the shared passion

to find solutions for these problems. Teachers who participated in communities of practice found support in their

group members and received mentorship and guidance

while sharing their experiences with others. While collaborating in these communities, teachers had the oppor-

tunity to design lessons, combine concerts, and share classroom strategies using their common successes to fix problems as a community (Blair, 2008; Wenger, 2015).

The camaraderie created in communities of practice

Realistically, anyone who is looking to take an interest

reinforces teacher identity while providing a platform

Grant (2023) in an interview with Belle Ragins, an orga-

a nonthreatening environment. Using planned interac-

in the career of a young music educator can be a mentor. nizational psychologist at the University of Wisconsin,

32 F l o r i d a M u s i c D i r e c t o r

to discuss and receive positive and negative feedback in tions, group members reduce professional isolation and

raise self-efficacy. In doing so, teachers are empowered

of practice, can alleviate feelings of isolation and foster

what they learn from their peers in the learning commu-

actively participating in mentorship, music educators can

to reflect on and adjust their teaching strategies based on nity. In contrast, teachers who experience their first year

without a mentor or peer support struggle to establish their identity as music teachers (Blair, 2008; Wenger 2015).

Participants in a community of practice have a common

identity and shared domain of interest. Continued mem-

career satisfaction for both new and veteran teachers. By build strong connections, enhance professional identity, and collaboratively overcome the shared challenges faced

every day, ultimately contributing to the long-term success and fulfillment of music educators.

bership in these communities implies that all members

Jacquelyn Tabone is pursuing a PhD in music

eagerness to learn, and being accepting and open to new

an active educator and adjudicator in Florida.

have shared goals, which can include self-improvement, ideas. As a community, member engagement is essential to building relationships and sharing information.

Participating in joint activities and discussions enriches the community of practice and increases the flow of information. Members are encouraged not to gatekeep

information or experiences. In turn, staying open to and accepting new ideas is an acknowledgment of wanting to

build strong and successful careers (Blair, 2008; Wenger 2015).

Lastly, the members of the community of practice are

practitioners who are willing to share a repertoire of resources, ideas, and tools to address recurring problems.

Sharing these resources with teachers in the community

supports everyone and raises the expertise of the commu-

nity as a group. This open flow of information takes time and sustained interaction. Regularity and consistency in meetings are crucial to the continued success of the community of practice. The community thrives when a pro-

tective space is established where mentees are focused, stimulated, and motivated to be independent thinkers toward long-term goals (Hays et al., 2000).

In conclusion, the challenges faced by music educators,

particularly in terms of isolation and stress, are significant factors contributing to attrition and burnout. Having sup-

portive mentorship, either one-on-one or in a community

education at Florida State University and is

Previously, Mrs. Tabone was a band director at Liberty Middle School in Orlando, Florida.

References

Allen, T. D., Eby, L. T., & Lentz, E. (2006). Mentorship behaviors and mentorship quality associated with formal mentoring programs: closing the gap between research and practice. Journal of Applied Psychology, 91(3), 567–578. https://doi.org/10.1037/0021-9010.91.3.567 Benson, M. A. (2008). Effective mentoring for new music teachers: an analysis of the mentoring programs for new music teachers as described in the literature. Update: Applications of Research in Music Education, 26(2), 42–49. https://doi.org/10.1177/8755123308317953 Blair, D. V. (2008). Mentoring novice teachers: developing a community of practice. Research Studies in Music Education, 30(2), 99–117. https://doi.org/10.1177/1321103X08097502 Conway, C., Krueger, P., Robinson, M., Haack, P., & Smith, M. V. (2002). Beginning music teacher induction and mentor policies: a cross-state perspective. Arts Education Policy Review, 104(2), 9–17. https://doi.org/10.1080/10632910209605998 Grant, A. (Host). (2023, October 17). The three big myths of mentoring. [Audio podcast episode]. In Work life with Adam Grant. TED Series.

Hays, T., Minichiello, V., & Wright, P. (2000).

Mentorship: the meaning of the relationship for musicians.

Research Studies in Music Education, 15(1), 3–14. https://doi.org/10.1177/1321103X0001500102 Wenger-Trayner, E., & Wenger-Trayner, B. (2015, June 4).

Introduction to communities of practice. Wenger. https://www. wenger-trayner.com/introduction-to-communities-of-practice/

September 2024

33

Five Ways to Cultivate Culture in Urban Music Classrooms

A

by Danté Webb, PhD

As music educators, we try to ensure that our classrooms are places where students can feel

safe, grow musically, harness different emotions, and build relationships with classmates and teachers. Teachers can accomplish this through the social experience of performing and learning music, which allows students and teachers to bond, form a sense of community, and learn

from each other’s diverse backgrounds and experiences while cultivating and expanding their

musicianship. Unfortunately, however, students of Color and students who attend schools of low socioeconomic status are more likely to drop out of music electives than White middle-class

students (Elpus & Abril, 2011). Additionally, most music educators did not receive adequate

preparation in their collegiate courses to teach in urban school districts (Frierson-Campbell,

2006). Because the term “urban” can be interpreted in many ways, urban is defined as schools with more students of Color (Black, Hispanic, etc.) than White students (Fitzpatrick-Harnish, 2015). With that said, it is imperative that teachers who primarily teach students of Color have

strategies to create a culture that will maintain student engagement and involvement in the arts.

Unlike many teachers, I completed my bachelor’s degree at the end of the fall semester and

started teaching at the beginning of the spring semester. Before my appointment, the students did not have a teacher for months and were accustomed to doing whatever they wanted. It was

continued on page 36

34 F l o r i d a M u s i c D i r e c t o r

September 2024

35

Urban Music Classrooms continued from page 34

easy to assume that I could establish a positive culture

Spotlighting Students

ence in an urban music program and as a person of Color.

room, it is essential that they feel welcomed and seen. One

upon entering the classroom due to my personal experiHowever, my first semester of teaching was a nightmare.

Every other day, thoughts of joining the Navy or leaving the profession crossed my mind; however, I developed

a system that proved successful and effective through patience, consistency, and persistence. The strategies below will help you establish a positive culture in your

classroom, and they will cause your students to be more invested in your program.

Create a selfie wall. When your students enter your classway to accomplish this is by creating a selfie wall. A selfie wall is a designated area in your classroom with a collage of your students’ selfies. To create this type of wall,

instruct your students on the first day of classes (the sooner, the better) to take a selfie, attach it to 8.5x11 colorful

cardstock, and include a paragraph about anything music related. For my classes, students answered the question

“Why music?” Then, before posting each student’s selfie on the wall, you can have your students present

their selfie projects to the class. You may have stu-

dents who lack the resources to print pictures or purchase cardstock paper for this project. In that

case, the teacher should consider having students email or scan their selfies for the teacher to print in class or at the school library and provide cardstock paper for the students to choose for their picture.

This activity will not only spotlight the students

but will also show them you are interested in who they are and that your classroom is inclusive. Most

importantly, your students will feel seen and have the opportunity to learn and see other students

you teach. The important thing to remember is

to enable your students to express themselves as they choose with this project. This beginning-ofthe-year assignment is an excellent opportunity

to inquire about students’ pronouns and personal interests before presenting their selfie project.

Showtime @ (name of your school). I loved

watching Showtime at the Apollo growing up

and dreamed of one day being able to sing on that stage. Although my dreams of being a contestant

on the show were never realized, it inspired a similar activity for my students. Showtime @ (name

of your school) is an opportunity for students to showcase their talents. Each student should have

30 seconds to one minute to showcase a talent,

depending on class size. Some of my students chose to sing by themselves or with others for their

talent presentation while other students played instruments, rapped, and/or performed poetry.

Students were not allowed to laugh or boo any

student, nor were there any winners. This activity

36 F l o r i d a M u s i c D i r e c t o r

is to get your students comfortable performing and

supporting one another. Giving your students a platform

to perform and let their creativity shine is a great way to build rapport, social skills, and class morale. As the

teacher, you are highly encouraged to participate in the talent show.

Student-Teacher Partnerships

My instructors determined all decisions about reper-

toire, attire, and fundraisers during my high school and undergraduate years. Due to the traditional approach

to education during that time, my creative ideas and

Your Presence Is a Present

spectful or insulting to the teacher. Those experiences

who participate in extracurricular activities often lack

suggestions on repertoire were viewed as either disremotivated me to try something different in my classes,

allowing students to feel that their opinions and feed-

back mattered. For example, since my students had an excellent ear for spirituals and gospel music, I selected three pieces that my students listened to in class.

Afterward, the students voted, and the piece with the

most votes was added to the program. As the teacher, I served as a tie-breaker in the event of a tie. As a result, my students became more engaged in class and put more effort into learning and practicing their music.

Eventually, my more advanced students would come to

Many students live in single-parent households. Students

parental support because of their parents’ work schedules or disinterest in the arts. Former students of mine

were either athletes or took part in other fine arts cours-

es. Attending their performances and offering my time conveyed to my students my level of commitment to their interests outside of chorus. I can still remember the moments my mother sacrificed time at her job (as a single parent) to hear me sing solos or perform with my high

school choir. I treasure those moments and hold them dear to my heart.

Your presence also means being visible to your stu-

rehearsals with music they thought would be significant

dents, with a smile and a personal greeting before they

for the performance, it was added to the queue for our

in high school always greeted my classmates and me by

to the program. If the repertoire could not be expanded

next concert. Of course, music should not be removed from the program whenever your students dislike a piece; our students need their “vegetables.”

In addition to feedback on repertoire, I encouraged

students to help me decide on their concert attire and the type of fundraisers we conducted. Many colleagues

frowned at this approach. However, suppose we are mas-

ter musicians and train our students daily to be efficient musicians. In that case, we should allow our students to have input on the music they are responsible for singing

and performing, what they will wear, and the fundraisers

they will be participating in so they have an opportunity

enter your class every day. One of my former teachers our last names. She believed that because we could not

address her by her first name, she would return the same respect to her students. Because of this simple gesture, students in her class were generally respectful, and she

had little to no behavior issues. Likewise, students in my classes were usually well-behaved and on task. Mr. and Miss (insert last name) were used in my classroom to greet my students. It is essential to respect your students’ pre-

ferred pronouns and address them accordingly. Always ask your students what they want to be called (Mr., Miss, Mx., etc.).

to practice these skills. Student-teacher partnerships will

Establishing Rapport With Parents

ization. Allowing students to select repertoire for your

your school’s community is vital to the culture of any

enhance class engagement, participation, and social-

concert does not mean students should be choosing the

music for the entire program. I suggest allowing students to choose one or two pieces of music from a few options you have selected for the year.

Creating a partnership with parents and members of music classroom. Having the support of your parents and

community can increase student attendance and desired behavior, promote diversity and growth, and strengthen

continued on page 38

September 2024

37

Urban Music Classrooms continued from page 37

bonds with all involved. One way to establish rapport

should be prepared for all types of feedback. Feel free

by learning their names. At the beginning of each year,

all feedback, but please be considerate of your tone and

with your parents is by constantly communicating and parents, students, and I met to talk about the goals for the

year and ways they could assist in accomplishing those

goals. After the meeting, light refreshments were provid-

ed. (Who doesn’t like food?) It was a priority of mine to speak with every parent, show my smiling face, and learn their names. Meeting with your parents at the beginning of the year with positivity can increase parental support

and participation. Your first interaction with your parents should not be when there are disciplinary issues in your class. Instead, make phone calls or send emails early in the year to establish a positive relationship. That way, when you call them later in the year, your expectations are already set.

Many of the students we teach have parents with

musical training. Allowing parents to perform with your

students or creating a separate parent ensemble can be exciting. Once that rapport is established with parents, they will be the first to chaperone on field trips, help with

to state your non-negotiables. For example, “I welcome delivery.” Every opinion matters, and if a student says

anything you know is not valid, you should request to have another conversation with that student individually.

Open dialogue with your students will create a safe and

inclusive environment while impacting how students

perform music. Teachers should consider sharing with their students any moments of failure they have experienced and appropriate painful experiences. Teachers

should assume that the students they teach may experience traumatizing events while in school. Reminding

your students that you, too, have experienced hardships will open their hearts and make them more likely to

come to you if there isn’t anyone else they can trust. My

students saw every emotion imaginable, including my

tears. My vulnerability did not result in students acting out, but you should have a positive rapport and a relationship established first.

Keep in mind that cultivating culture in an urban

fundraisers, or help fund an out-of-town trip. In my last

music classroom requires consistency, patience, and

the finance department at the board of education and

list of how to create culture in the classroom, these strat-

year teaching high school, one of my parents worked for secured a $65,000 donation to fund a competition for my choir.

Embrace Being Vulnerable

When I was studying to become a music educator, my professors encouraged me to be strong and not show any weakness to my future students. This approach was inef-

fective during my first semester of teaching. To establish

persistence. Although this is by no means an exhaustive egies proved to be effective in my classroom. It may take

months to gain the trust and respect of your students.

However, trust the process. Do not allow time to deter

your efforts to reach your students. You may be the one

person to change the trajectory of a student’s life simply by creating an environment that is safe and grounded in love and respect.

an authentic relationship with students and facilitate

Danté Webb, PhD, is an assistant professor of

fortable with being vulnerable. The more vulnerable you

He earned a PhD from Florida State University

meaningful learning experiences, teachers must be com-

are, the stronger your connection with your students will be. Frequently in the semester, you should have days where you check in with your students and ask for their feedback. Ask simple questions like “What has been your

choral music education at Wingate University. in 2023, writing a dissertation on the demo-

graphics of composers studied in graduate choral literature courses. He is an active clinician, presenter, and chorister.

experience in this class?” “Have any of my actions caused

References

uncomfortable?” “Is there anything I’ve said or done to

Elpus, K., & Abril, C. R. (2011). High school music ensemble students in the United States: A demographic profile.

Journal of Research in Music Education, 59(2), 128–145. https://doi.org/10.1177/0022429411405207

you to be disinterested in the course or made you feel make you feel unappreciated?” There is one caveat: when you ask for feedback, it is imperative that you listen,

acknowledge, and apply. It would be best if you do not use that time to disagree with your students or challenge

their feelings. As the facilitator of this conversation, you

38 F l o r i d a M u s i c D i r e c t o r

Fitzpatrick-Harnish, K. (2015). Urban music education: A practical guide for teachers. Oxford University Press.

Frierson-Campbell, C. (Ed.). (2006). Teaching music in the urban classroom: Vol. 2. A guide to leadership, teacher education, and reform. Rowman & Littlefield Education.

Fall Professional Development Conference

Ignite Your Inner Champion Presented by and

October 10-11, 2024 • Hilton Orlando CLICK HERE To Register FOA & FL ASTA MEMBERS

RESERVATION DEADLINE: September 24, 2024

SPOUSES & RETIRED MEMBERS

Preregistration

$80

Preregistration

$45

On-Site

$105

On-Site

$50

FIRST-YEAR TEACHERS

COLLEGE STUDENTS

Preregistration

$50

Preregistration

$20

On-Site

$80

On-Site

$25

Hotel Information Hilton Orlando 6001 Destination Parkway Orlando FL, 32819

$181/night – single or double occupancy $206/night – triple occupancy

Keynote Speaker: Creston Herron

$231/night – quad occupancy 50% off self-parking $20/night resort fee includes: • • • • • •

Basic WiFi Free local and toll-free calls 15% discount on hotel restaurants and lounges (except Tropics pool bar & grill) 24-hour access to fitness center 10% discount on spa treatments 25% discount on pool cabanas

CLICK HERE

To Reserve your hotel room

RESERVATION DEADLINE: September 27, 2024 September 2024

39

ComponentNews s your FOA president for another

FLORIDA ORCHESTRA ASSOCIATION

Laurie Bitters President

A big thank you to all our district

volunteering to assist with this event. We

successful year. Remember, your district

on October 12 at the Hilton Orlando.

year, I’m excited to continue lead-

chairpersons for setting the stage for a

year has arrived, and we’ve been busy

chairperson is your resource for any FOA

ing our organization. The 2024-25 school preparing during our district chairperson training in July. It’s my pleasure to welcome our new district chairpersons:

questions or suggestions throughout the year.

District 6: Victoria Senko

Upcoming Events and

District 8: Lisa Coyne

The all-state audition window is quickly

District 7: Alli Howard

District 10: Michelle Eggen

District 12: Andrew Beckner District 16: Richard Yaklich

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Ashley Peek President

If you’re interested, please contact your district chairperson. A special thanks to Brian Hellhake and all those assisting in this process.

Opportunities

FOA/FLASTA Fall Conference

approaching, scheduled for September

Conference

16-22. Please check your district calendar

for specific audition dates and consider

& FMEA Professional Learning The 2024 Fall Conference is scheduled

for October 10-11 at the Hilton Orlando.

Registration is now open on our FOA website (myfoa.org

“ Teachers who love teaching, teach children to love learning.”

– Unknown

G

reetings, colleagues! As we move into September, I hope you are feeling settled in your routine and are having a joyous time teaching!

One of my goals for this teaching year (a continual goal for each year, really) is

to exhibit joy and to share that joyous feeling of music with my students. When

we are loving what we are doing, it’s impossible for our students not to see that.

Think about your “why” and let that passion speak. Let your students feel your

excitement and then feel it within themselves! Feel your love of music, and pass that along so it continues to reach more and more people.

Another quote that resonated with me at this point of the school year is from

Walt Disney:

also need volunteers for all-state judging

“All of our dreams can come true— if we have the courage to pursue them.”

As teachers, we have great power to encourage our students to be their best

and to encourage them when they feel they are not enough. We can lift them up to be willing to try new things and to have the courage to fail.

The last quote I’d like to leave here is from Steven Anderson:

“Alone we are smart. Together we are brilliant.”

). We are thrilled to

welcome Creston Herron as our keynote

speaker. The full schedule, featuring a range of exciting sessions, is available

on the website. The conference is an excellent opportunity to reconnect with

colleagues, network with other educators, and gather new ideas for your classroom.

Don’t forget to bring your instrument

and music stand for our music reading sessions to help with your music selec-

tions for the year. There’s something for everyone, and we look forward to seeing you there!

FMEA

Conference

Professional room

blocks

Learning

open

on

Saturday, September 28, at 9 am EDT. Details, including the hotel list, reser-

vation links, and phone numbers, will be available then. Please remember to release any unneeded rooms to allow

others to book. Note that a non-refund-

able deposit will be charged for rooms not cancelled by November 9.

Please stay engaged in your district,

Let’s encourage our students to be the best of their own personal abilities,

and don’t hesitate to share your sugges-

achieve our goals; we can be there for each other. There’s so much happening in

here to support you. As we navigate the

them lift each other up and build community within our classrooms and schools.

to take care of yourself and your family.

and let’s cultivate a strong team atmosphere. Not only can we work together to

tions or seek assistance. Your FOA is

the lives of our students. As teachers, we can instill values in our students to help

challenges and changes ahead, remember

40 F l o r i d a M u s i c D i r e c t o r

Wishing you all the best for a fantastic school year!

FLORIDA MUSIC SUPERVISION ASSOCIATION

Christopher Burns, PhD President

H

appy new school year to all of our dedicated music

integration with civics in the dance curriculum. Please send an

Association (FMSA) is thrilled to welcome you back for another

be delighted to come and share their expertise. This is an excel-

teachers and supervisors! The Florida Music Supervision

year of inspiring young musicians and fostering a love for music

across our state. We hope your summer was filled with rest, rejuvenation, and perhaps a few exciting musical endeavors.

As we embark on this new academic year, we want to take a

email invitation to the FDOE with proposed dates, and they will

lent opportunity to enhance your district’s fine and performing

arts programs and provide valuable learning experiences for your students and educators.

moment to celebrate the incredible achievements of our music programs from the previous year. From securing essential funding to participating in prestigious events like the Jimmy Awards

and the FMEA President’s Concert,

your dedication to music education is truly making a difference in the lives

of countless students. We extend our heartfelt congratulations to Volusia County for their outstanding FMEA performances and

recognition as one of the Best Communities in Schools, Pinellas

Supervisors – We encourage you to mark your calendars for

County for their participation in the Jimmy Awards and the

October 20, 2024, and join us at the University of North Florida

being selected to represent Florida at the National Christmas

educators to help them navigate the amazing journey that is

Ignite Program, Marion County and Shady Hill Elementary on Tree Lighting Ceremony, and Seminole County for having two ensembles selected to perform at the FMEA President’s Concert.

These accomplishments are a testament to the hard work and passion that you pour into your programs every day.

for our fall meeting. We will also be meeting with future music music education. Together, we can ensure that music education

continues to thrive in Florida, enriching the lives of our students and communities for years to come.

We’re also excited about the progress being

We also recognize the challenges that come with our profes-

made on the Florida Seal of Fine Arts. This

port and professional development opportunities. We encourage

to high school graduates who have demon-

sion. That’s why FMSA is committed to providing ongoing sup-

you to take advantage of the resources available through FMEA,

including sessions on advocacy, curriculum development, and more.

We encourage all districts to reach out

prestigious recognition will soon be available

strated exceptional achievement in the arts.

The guidelines for students to meet are currently

under review at the state, and we anticipate information to be

sent out from the state in the near future. This is a fantastic

to Amanda El Shemi, fine arts education

opportunity to showcase the value of arts education and cele-

specialist at the Florida Department of

brate the accomplishments of our talented students.

Education (FDOE). She offers free profes-

As we navigate the complexities of education in the 21st cen-

sional learning during district visits, cov-

tury, remember that you are not alone. We are here to support

slide decks with presentations, sight-read-

community of passionate music educators who believe in the

ering various topics such as preapproving

you every step of the way. The Florida music supervisors are a

ing preparation for MPA, integrating strat-

egies with cross-curricular connections, Amanda El Shemi, visual art pouring techniques, and dance

FDOE

power of music to transform lives. Let’s continue to advocate for our programs, inspire our students, and make a lasting impact on the future of music education in Florida.

September 2024

41

ComponentNews

O

FLORIDA VOCAL ASSOCIATION

David Pletincks President

ne of our main events every year

not high enough to make the cutoff for

student who passed all three auditions

we are just about to get into the thick of

who auditioned on SSAA repertoire, only

choir.

is the Florida all-state choirs, and

it. As we approach this all-state season, I would like to talk numbers with you to let you know how our students did last year. Some of these statistics you’ll need

to read several times to fully grasp the context and the results of the audition process.

Let’s look first at the high school choir

the concert chorus. Of the 315 singers 38 received one of the initial 200 seats.

for the treble chorus was selected for this

Eleven years ago in 2013, there were

Eighty-one percent of the SSAA chorus

677 singers registered for mixed choir

only 12% of the students who auditioned

two rounds of auditions (65% last year).

did not audition on that repertoire, and

on the SSAA music received a spot in the initial 200. In addition, 51 singers were added, after no one from their school was

selected for any all-state chorus, receiving

(486 last year) with 59% passing the first

The treble chorus in 2013 had 643 regis-

tered (548 last year) with 52% passing the first two rounds (52% last year).

Although our high school numbers are

a representative seat.

pretty much back to pre-COVID numbers,

two rounds. The concert chorus is 300

set size limit; it’s mostly based on how

in middle school. The cutoff scores for

part (37 on part one and 38 on part two).

choir. Just like the tenors and basses in

auditions for 2024 All-State. We had 1,835

registrations with 65% passing the first singers made up of the top 75 per voice

Seven hundred thirty-three singers went on to audition on the concert chorus

music, vying for those 300 spots. All remaining singers who passed the VQ

The high school TTBB chorus has no

many tenor 1s are available to balance the middle school, any singers who can pass

all three rounds of auditions have a very good chance at being placed.

Last year in the middle school mixed

audition, beyond the 300, were moved

chorus, we had 486 students registered

composite scores would stand against all

were left with 316 singers auditioning on

to the SSAA or TTBB choirs where their

students auditioning for those respective choirs.

The SSAA chorus selects the top 50

and 65% passed the first two rounds. We vocal quality for a choir we usually seat up to 300. This year, we wound up with

279 singers, being very short in alto and

we need to get our audition numbers up middle school treble are much lower than

the mixed chorus, so keep that in mind as you register your students. Also, avoid putting your singers all on one voice part.

Spread them out amongst the two choirs

in middle school and all four voice parts in high school. And finally, there were

100 fewer auditions on alto 2 than alto

1, and bass 2 than bass 1. Be sure to use those voice parts if you have students who can sing the range.

Hopefully this gives you a peek inside

bass numbers.

the numbers of the Florida all-state choirs

had 251 singers. Of those initial 200 spots,

548 registered, and 52% passed the first

dents for the 2025 round of auditions,

chorus repertoire and were moved into

VQ for a choir we usually seat up to 300.

final composite scores per voice part for a

base of 200 singers. The 2024 SSAA chorus 162 singers had auditioned on the concert

the SSAA chorus when their scores were

42 F l o r i d a M u s i c D i r e c t o r

The middle school treble chorus had

two rounds giving us 284 auditioning on This choir was short on treble 3. Every

and can help as you prepare your stuwhich will be starting any day now. Best

of luck to you and all your students auditioning.

FLORIDA NAfME COLLEGIATE

FLORIDA NAfME COLLEGIATE

Mark A. Belfast, Jr., PhD Advisor

Megan Robichaud President

What’s it worth to you?

W

elcome back! I hope your transition back to school was smooth and your

schedule this fall will enable you to achieve your personal goals. I also

hope you’re able to have valuable teaching experiences and receive mentorship in your local school districts, time to develop your personal musicianship, oppor-

tunities to party and enjoy being a college student, and LOTS of time to rest! The

time we have is a gift with no refunds or returns. It’s essential we learn to prioritize that which is most important and set boundaries to ensure we’re devoting

our resources (e.g., time, energy, money, and emotional capacity) to that which we hold most dear. My high school biology teacher, Mrs. Freeman, used to say, “Life is a series of choices.” Let that marinate for a bit …

In every moment of our lives, we are faced with making a choice. Should I get

out of bed today? It’s blazing hot outside but freezing in that theory room, do I feel like

carrying a hoodie all day? I’m going to skip breakfast. What is this professor even saying?

Lemme see what’s happening over on TikTok. College algebra, practice études, or Chipotle with friends? The holes in these jeans have gotten out of hand, should I still wear them?

You will. I’ve seen you.

The point is, when making those choices, we must always measure the value of

our intended outcome. In other words, we ask ourselves, “What’s it worth to me?”

As you’re aware, once the semester gets going … it doesn’t let up. So, let’s roll up our sleeves and get a running start! Here are some things for you to remember

this month. Measure how important each is in relation to achieving your personal and professional goals:

2024 NAfME Collegiate Kickoff Week (September 16-20) Visit nafme.org/event/2024-collegiate-kickoff-week/

to learn how your chap-

ter can participate in this national initiative. Let’s show everyone why Florida has the largest MEA and the best institutions in which to study music education in the country.

Voter Registration

In many places, the voter registration deadline is at the beginning of October.

Are you registered to vote? Are the members of your NAfME Collegiate chap-

ter? Remember, you can only vote in the state/district where you are registered, so your chapter members may need to request absentee ballots. Check out usa.gov/how-to-vote registration drive?

for specifics. What can you do to help facilitate a voter

NAfME Collegiate Fall Conference

Now’s the time to hype it up for the music education majors on your campus.

We’ll convene October 19-20 at UNF. Be sure your members know how beneficial and fun the conference can be. Plan to carpool. Ask your advisor to rent a van and drive you! Make it a bonding experience for your members! Keep an eye on

your inboxes, our website (flnafmecollegiate.com ), follow @flnafmecollegiate on socials, and join our Discord (discord.com/invite/P387qeV2gb

up-to-date.

Have a great month!

), to stay

T

he semester has begun! It may have only been a few weeks, but the blueprint of the next few months is beginning to take shape. Now is the time to ask yourself—what are you hoping to get out of this semester? Maybe you’re excited to get better at conducting or wondering how you’re going to survive your flute techniques class. Maybe you are considering running for your chapter’s e-board (or preparing to run for state board in January). Perhaps it’s not school related at all, and there’s a more personal goal you’re pursuing. It doesn’t matter what goal you have, as long as you make a plan to achieve it. We talk about setting goals a lot, but it is vital that we take actual, concrete steps to get there. Once you know what your goal is, ask yourself— what steps do I need to take to reach this?

When will those steps be taken?

While setting goals in school is essential to make the most of each semester, our personal goals should be just as important.

Most of us go through each semester trying to stay on top of everything asked of us. The thought of adding an item of your own to your to-do list may seem impossible. However, it’s not only possible, but necessary. It is just important that we fill ourselves up during the semester, in addition to pursuing our degree. An argument can be made that pursuing our degree counts as “filling ourselves up,” but I disagree. In the present moment, our degree is our career. In order to prevent burnout, we must have aspects of our life outside of our degree that bring us joy. Work-life balance should be present—even as a college student. When you take the time to find something you genuinely enjoy, you’ll feel more energetic and prepared to take on your classes.

This semester, I challenge us all to make two goals—one for ourselves and one for our career. Write them down, make a plan, and follow it.

September 2024

43

ResearchPuzzles FOR MUSIC TEACHERS

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

Micropolitical Literacy in Music Education recent Journal of Research in Music Education article titled

2. Operational Literacy: This refers to the strategies and tac-

by Ryan D. Shaw (2023) explores the micropolitical literacy of

litical landscape. It encompasses the practical skills needed

“A Beginning Music Teacher’s Micropolitical Literacy”

a novice music educator named George. Micropolitics in edu-

cation refers to the use of formal and informal strategies by

tics individuals use to navigate and influence the micropoto manage interactions, build alliances, and achieve desired outcomes within the school’s power structure.

individuals or groups within a school to influence decisions,

3. Experiential Literacy: This aspect focuses on the emotional

goals. It involves navigating the interests, relationships, and

ing in micropolitical activities. It includes managing the

negotiate power dynamics, and achieve personal or collective

conflicts that arise within the educational environment, including interactions among teachers, administrators, students, and

other stakeholders. Shaw’s study delves into George’s experi-

ences, the strategies he employs, and his emotional responses to the micropolitical challenges he faces.

Background

Schools are particularly susceptible to micropolitical activity

responses and personal experiences that arise from engagstress, frustration, and satisfaction that come from dealing with power dynamics and conflicts in the school setting.

Additionally, Kelchtermans and Ballet identified five cat-

egories of professional interests: material, organizational,

socio-professional, cultural-ideological, and self-interest. These categories help define the specific content of teachers’ micropolitical worlds.

due to their public nature and complex internal and external

Purpose and Research Questions

tions, meaning they have unclear goals, inputs, outputs, and

teacher’s micropolitical literacy in an urban school district. The

pressures. They are considered “loosely coupled” organizaevaluation mechanisms. This loose coupling leads to ambigu-

ous leadership structures and uneven policy implementation.

In music education, micropolitical literacy is crucial due to the unique challenges music teachers face, such as isolation, the

need for special resources, and vulnerability to program cuts.

Music education researchers have focused on both beginning and experienced music teachers, highlighting the different strategies they use to navigate micropolitics.

Theoretical Framework

Shaw (2023) utilized the theoretical framework of Kelchtermans

and Ballet (2002) to understand how George navigates the mic-

ropolitical landscape of his school. Kelchtermans and Ballet’s theory of micropolitical literacy consists of three key aspects:

1. Knowledge Literacy: This involves understanding the power dynamics, interests, and relationships within the

school environment. It includes awareness of how decisions are made, who holds influence, and the underlying motivations of various stakeholders.

44 F l o r i d a M u s i c D i r e c t o r

The purpose of this study was to explore a beginning music research questions focused on how the participant described their micropolitical understanding, strategies, and feelings

about their micropolitical literacy. This exploration was intended to provide insights for early-career music teachers and

teacher educators, potentially influencing policies related to mentoring, professional development, and preservice teacher education.

Method

Shaw (2023) utilized a single case study approach, centering on George, a novice music educator. The analysis is based

on George’s experiences during his initial years of teaching.

George was chosen due to his challenging circumstances in an urban district that faced multiple issues, including declining student enrollment, financial difficulties, and leadership transitions, all worsened by the COVID-19 pandemic. Shaw selected

George because of his strong motivation and reform-minded attitude, which made him an intriguing subject for examining the development of micropolitical literacy.

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

Email your questions and feedback to wbauer@ufl.edu with a subject heading Research Puzzles.

Data Collection and Analysis

Data was collected through a series of 10 semi-structured inter-

views with George, conducted from June 2021 to May 2022.

These interviews, lasting 45–60 minutes each, were recorded, transcribed, and supplemented with informal field notes from a day-long observation of George’s professional environment.

Shaw used an open-coding approach to analyze the transcripts, attaching codes that represented the content and mapped them

onto the knowledge, operational, and experiential aspects of Kelchtermans and Ballet’s (2002) framework. This approach allowed for a flexible yet theoretically grounded analysis.

Findings

Shaw’s (2023) findings revealed that George had a sophisticated understanding of the power dynamics and interests within

his school. He employed various strategies to navigate these dynamics, such as building alliances and leveraging his per-

sonal qualities to influence decision-making. However, he also experienced significant emotional responses to these interactions, including frustration and disillusionment.

Discussion and Implications for Music Educators

In discussing the implications of George’s experiences for understanding the micropolitical landscape of urban schools,

educators should be supported in managing the emotional

cy for beginning teachers, particularly in challenging environ-

micropolitical dynamics of schools, music teachers can better

include components that prepare teachers for the micropolitical

programs effectively.

for ongoing professional development and support to help

as part of your FMEA/NAfME membership at https://tinyurl.

Shaw (2023) highlighted the importance of micropolitical litera-

challenges that come with their roles. By understanding the

ments. He suggested that teacher education programs should

navigate their professional landscapes and advocate for their

aspects of their roles. Additionally, there appears to be a need

To learn more, read the full article, which can be accessed

teachers navigate these challenges effectively.

com/journal-jrme.

of developing micropolitical literacy to advocate for their

References

For music educators, the study underscores the necessity

programs and navigate the complexities of their school envi-

ronments. It suggests that music educators should be equipped with strategies to build alliances, negotiate resources, and

influence policy decisions. Furthermore, the emotional aspect

of micropolitical literacy should not be overlooked, and music

Kelchtermans, G., & Ballet, K. (2002). Micropolitical literacy: Reconstructing a neglected dimension in teacher development.

International Journal of Educational Research, 37(8), 755–767. https://doi. org/10.1016/s0883-0355(03)00069-7 Shaw, R. D. (2023). A beginning music teacher’s micropolitical literacy development. Journal of Research in Music Education, Advance online publication. https://doi.org/10.1177/00224294231190404

September 2024

45

CommitteeReports Embracing the New Year With a Global Mindset s the new academic year begins, we

stand on the brink of endless possi-

bilities. To our returning music educators,

welcome back. To our new colleagues,

welcome to our music family. The world of music education is a vibrant tapestry of

MULTICULTURAL NETWORK COMMITTEE

Arnekua Jackson, PhD Chairperson

cultures, rhythms, and melodies, and it is

commitment to excellence and your pas-

the hearts and minds of our students.

students and peers. Remember to embrace

our privilege to weave these threads into

The Joy of Teaching Music

Teaching music is more than a profession;

sion for music continue to inspire both new ideas and approaches, as the world of music is ever-evolving.

To our new colleagues, welcome to a

it is a calling. There is an unparalleled joy

profession filled with creativity, inspira-

when they master a new piece or discover

ahead will be challenging, but it will also

in witnessing a student’s eyes light up

a new genre. This joy is amplified when

we see them embrace music from cultures

different than their own. As educators, we

are not just teaching notes and rhythms; we are nurturing a lifelong love for music and fostering a global perspective.

Encouragement for the

Journey Ahead

To our returning colleagues, your experi-

ence and dedication are invaluable. Your

tion, and profound impact. The journey be incredibly rewarding. Seek out men-

torship, collaborate with your peers, and never stop learning.

In closing, let us carry forward the

spirit of unity and diversity in our teaching. May we inspire our students not

only to become skilled performers but also compassionate musicians. Here’s to a

year filled with melody, harmony, and the boundless joy of music.

Have an amazing year!

Partners Make It Possible Call today for our back to school specials and be sure to check out the For more information, visit:

FMEA.org/partners

46 F l o r i d a M u s i c D i r e c t o r

New Beginnings for Contemporary Media in Florida!

CONTEMPORARY MEDIA COMMITTEE

Clint Randles, PhD Chairperson

I

t’s a new school year—another

opportunity to grow in the area of

contemporary media.

In Florida we have the Digital Music Showcase

to

help music teachers

spotlight their students in the area of

contemporary music-making and music production. We have the FMEA AllState Popular Music Collective

to

showcase gifted students from around

the state in this area. And in Florida we

have the FMEA Crossover Festivals

for you to showcase your contemporary ensembles. We are leading the music education landscape nationwide

in offering expanded versions of

music education that focus on students’

creative potential. I am also blessed to be working with my

colleague Kenrick Wagner to recruit students for a degree in contemporary commercial music at USF.

We believe in

the power of music to break boundaries and to be something that unites people to work toward a common good. In what ways can you grow your school’s contemporary media footprint in this growing area of study?

September 2024

47

CommitteeReports

Helping Students With a Social Story and Music

DIVERSE LEARNERS COMMITTEE

Christine Lapka, EdD Chairperson

S

everal years ago, while I was teach-

ing a self-contained elementary music

class, a program assistant took a student aside and went through a series of pictures. After the assistant whispered to

the student and pointed to the pictures, the student returned to class with an increased focus. After class I asked about the laminated sheet they had used. The

teaching assistant explained that the student had a social story that reminded

them to look at the teacher. They further explained how repetition is part of the strategy so you might read the story

before, during, and after the class and on multiple days. This assistant was assertive yet gentle, and I thanked them for their work in helping the class run smoothly.

Since that time, so many practicing

teachers have asked me for advice with

teaching tricky students. I always suggest a social story. When needed, I suggest

adding an external reward, like sensory play or adding in a favorite song/activity.

The class referenced above loved to play the green door. If they met our objectives,

the class and program assistants would sing a tapping song while students took turns hiding behind a large door and “surprising” us by bursting through the

door at the end of the song. They loved this activity so much that the classroom

teacher asked to borrow the door so they

could use it in their classroom as a reward.

Little did students know I was assessing

their ability to sequence the form of the

song and open the door at the end of the song. I believe the children loved being

the center of attention and they loved

being surprised by the person opening the door. It is magical when we can see

how much they adore a particular song or

48 F l o r i d a M u s i c D i r e c t o r

activity.However, social stories have many

functions beyond shaping behavior. We

can use the stories to calm anxiety about going to a new room by creating a series

of pictures that show the trip to the music room, a picture of the teacher, a picture of

the room, and pictures of activities and other things to expect during the class. If you make an electronic presentation (like

a PowerPoint), you might include recordings of songs, especially the opening and

closing songs. When a self-contained class and a typical class attend music together,

you might pair students. Include a picture of each student’s new music friend to help decrease anxiety and promote social interaction.

Here are a few more areas that can be

w Problem solving w Emotional regulation w Empathy and understanding others w Self-awareness and self-esteem addressed with the social story:

From rwapsych.com.au/blog/the-ben-

efits - of- social- stor ies -for-neurodiverse-children/

In the end, we can teach how to live

in this world with a social story. That said, I should tell you that a social story might not be a research-based practice

(Camilleri et al., 2022). As they looked at studies, they found that research had var-

ious conclusions. It is possible that social

stories are great for some people and not for others. Because the strategy is associ-

ated with students on the spectrum, going

over a story may not work for the entire

spectrum. Perhaps, as recommended by developer Carol Gray, the student needs to be verbal for the story to have an effect.

In fact, we might need to adhere to Gray’s other guidelines. For more information,

Carol has a helpful website, carolgraysocialstories.com.

Even with varied empirical evidence,

I recommend social stories and using music activities as a reward for meeting

expectations. If you try these ideas, send me your results.

The social story images are used with

permission from SingPlayLearn, teacher-

START OR RENEW YOUR CHAPTER TODAY! Join the only national music honor society for students in grades 6-12

spayteachers.com/store/singplaylearn.

To purchase the social story, visit teach-

erspayteachers.com/Product/MusicClass-Social-Story-4770147.

Reference Camilleri, L. J., Maras, K. & Brosnan, M. (2022).

Autism spectrum disorder and social story research: A scoping study of published, peer-reviewed literature reviews. Review Journal of Autism Developmental Disorder, 9, (21–38). https://doi.org/10.1007/s40489-02000235-6

Learn more about this program: nafme.org/Tri-M Contact us: Tri-M@nafme.org

September 2024

49

CommitteeReports

AWARDS COMMITTEE

Sondra A. W. Collins Chairperson

Y

our FMEA Awards Committee strives

to recognize and empower the heroes

among us who have been and continue to be the light for their students and others.

Your FMEA Awards program offers sev-

eral awards in recognition of the efforts and accomplishments of those who have

made outstanding contributions to music education.

We are days away from the application

deadline for many of the FMEA award

nominations. The deadline for all categories (except the Music Education Service

and the Music Enrollment awards) is

September 11, 2024. All applications are completed and turned in online. Please check the FMEA website for details about

2024 FMEA Administrator of the Year

Lauren Limoncelli Watson

the awards and nomination process:

“Music education is super important to me. From when I started off as a youngin, I

In the coming months I will continue

academics being put over my head. So as a first-year teacher, I was at a school where

FMEA.org/programs/awards.

to share with you a little of the brilliance

that this year’s awardees shared with us at our awards ceremony during the 2024 FMEA Professional Development

Conference. These words of inspiration I

share with you to give you the confidence to be the light to your own students at the beginning of this school year, as well as

the drive to help shine a light on others during this nomination period.

Lauren Limoncelli Watson, principal of

Lake George Elementary School in Orange County Public Schools, inspires through personal testimony:

50

Florida Music Director

was in music. I played piano for years. It was a way for me to express myself without they would bring violins in and they would teach the students in my class violin. My students did not speak English very well and their academics weren’t very strong, but

man, could they play that violin and they were super proud of it! Just to see the light in their eyes after an accomplishment of something that they practiced is something that

is amazing to me. Watching kids perform and watching the amount of different instru-

ments and different exposures to different types of music they have, as well as watching them be able to accomplish something that they practice and can do, no matter what their background is and no matter what their academic level is, with their music and their

expression of who they are coming out in their music, is just absolutely overwhelming!

I will tell you that I cry every time. No matter what they’re doing: if they are playing an instrument or if they’re singing, it brings tears to my eyes. Music is such a big deal

for me because it’s something students can do, no matter what. And I will continue to support it.”

Please take time to thank and support our 2024-2025 Academic Partners.

GOLD PARTNERS

BRONZE PARTNERS Florida Gulf Coast University

Partners as of August 1, 2024.

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

September 2024

51

GOLD

Partners as of August 1, 2024.

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

52 F l o r i d a M u s i c D i r e c t o r

Please take time to thank and support our 2024-2025 Corporate Partners.

PARTNERS

BRONZE PARTNERS Eastman Music Company FloridaFundraiser.com Head’s House of Music J.W. Pepper & Son, Inc.

Mark Custom Recording Service, Inc. Music & Arts Sight Reading Factory West Music Company

September 2024

53

FLORIDA MUSIC Thank you to all of the donors who have EDUCATION shown their dedication to the improvement ASSOCIATION of music education in Florida by supporting 2024-2025 DONORS 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, 2024, through August 1, 2024.

MAESTRO’S CIRCLE $10,000 and up

No current donors at this time.

ARTIST’S CIRCLE $1,000 – $9,999

Frank Howes In Memory of Vashti Jordan Howes Louis Schiff

SUSTAINERS $100 – $999

Carlos Abril In Honor of Dr. Alice-Ann Darrow Lucinda Balistreri In Honor of Sarasota County Music Educators Trent Brown In Honor of J. Mark Scott Dale Choate In Honor of R. Wayne Bailey Virginia Dickert In Memory of Debbie Liles & Lindsay Keller William Fredrickson Sheila King Deborah Mar In Memory of Barbara Kingman John Nista In Memory of Stanley Dmitrenko Douglas Phillips In Memory of Dr. Bobby Adams 54 F l o r i d a M u s i c D i r e c t o r

David Pletincks In Honor of My Children Clinton Randles Jeanne Reynolds In Honor of Pinellas County Performing Arts Teachers Mary Catherine Salo In Memory of Gary Rivenbark & Wes Rainer Kathleen Sanz In Memory of June M. Hinckley J. Mark Scott In Honor of Jason Locker, Dr. Andre Thomas, Dr. Judy Bowers, & Dr. Judy Arthur Harry Spyker In Honor of Fred & Marlene Miller Jeannine Stemmer In Memory of Barbara Kingman & Lauren Alonso Leiland Theriot In Memory of Clayton Krehbiel

SUSTAINERS continued Rebecca Traenkner On Behalf of the Hillsborough County Elementary Music Educators Council Richard Uhler Howard Weinstein In Memory of Barry Weinstein

Kenneth Williams Anonymous (1) In Memory of Claude Dobbins

PATRONS $25 – $99 Meghan Alfaro Kasia Bugaj Dayna Cole In Memory of Linda Mann Bradley Franks In Memory of Gary W. Rivenbark Rebecca Hammac Marsha Kindall-Smith Craig Lilly Katie McGuire Menges

Mark Morette Marie Radloff In Memory of Charles F. Ulrey Rudolf Radocy Diana Rollo Eddie Steadman Mark Stevens In Honor of Dr. Clifford K. Madsen Phil Tempkins In Memory ofSue McCray

Valerie Terry David Verdoni

William Hazlett Yangqian Hu Lu Anne Leone Anthony Moore Ian Schwindt

Gary Smith Andrea Szarowicz

Anonymous (3) In Honor of Columbia County Music Teachers

FRIENDS up to $24 Crystal Berner Ernesta Chicklowski On Behalf of Roosevelt Elementary Musicians Debbie Fahmie Angela Hartvigsen

Anonymous (4)

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 2024

55

ExecutiveDirector’sNotes The mission of The Florida Music Education Association is to promote

FMEA Executive Director Kathleen D. Sanz, PhD

quality, comprehensive music education for all Florida students as a part of their complete education.

New Opportunities

W

e are almost one month into the 2024-25 school

The Florida Seal of Fine Arts Program (HB 523) passed

year. We hope the beginning of the school year has

unanimously through the Florida Senate and House and

opportunities for you and your students. You will have

uating seniors at the end of the 2024-25 school year. The

brought forth a new and invigorating search for learning the opportunity to interact with new students, early

career teachers, and new teachers to Florida. Reach out to your colleagues and invite them into your circle. If you

are a new teacher, please know that your colleagues and the Florida Music Education Association are here to help

was signed by the governor to become effective for grad-

state of Florida is developing procedures for implemen-

tation. Each school district may have some nuances to the implementation, so be sure to be in touch with your school district departments.

you adjust to your new role of teaching Florida students.

Professional Learning Opportunities for

VOTE! VOTE! VOTE!

Members

This is election season. Use your voice to vote—please

and All-State Concerts, Music Education Begins with

elections in November.

Registration for the 2025 FMEA Professional Learning ME, begins on September 13, 2024. We look forward to coming together January 8-11, 2025, in Tampa.

Now is the time for you to develop your plan to request

professional learning leave and financial assistance from your school administrator. Please look for information

in this edition of Florida Music Director for suggestions

about requesting your leave, including information on the importance of the conference to your personal profes-

sional learning for the 2024-25 school year. For additional

information, see “How do I get to the conference?” on page 29.

All-State Auditions

The all-state auditions take place during September. Please be sure you are aware of the eligibility requirements for

students to audition, in particular the requirement for the

student to be a regularly participating member of a school ensemble. Encourage your eligible students to audition for this musical opportunity.

Legislative Session/Government Relations

The 2025 Legislative Session will begin on March 4, 2025, and will end on May 2, 2025. If you are interested in being

involved in the advocacy process for FMEA, please sign up on the Advocacy page at FMEA.org/advocacy/.

56 F l o r i d a M u s i c D i r e c t o r

register and vote in the upcoming local, state, and federal

w Deadline to register to vote: October 7, 2024 (no deadline to change party affiliation) w Deadline to request a mail-in ballot: October 24, 2024 w Early voting period (mandatory period): October 26–November 2, 2024 w Election Day: November 5, 2024

General Election 2024

Quality Music Education for Florida Schools

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

Florida schools. FMEA works closely with public, charter,

private, virtual, and home education music cooperatives

to provide opportunities for students to succeed within their school music programs.

FMEA is working diligently for our members, and we

are looking forward to a very productive 2024-25 school year. If you have questions, please reach out to the FMEA Executive Board and the FMEA staff.

Musically,

Kathleen D. Sanz, PhD

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

Jason P. Locker

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

Shelby R. 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 President-Elect

Harry “Skip” Pardee

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

Jeff Cayer, EdD

president@fba.flmusiced.org FCMEA President

Sandra Sanchez Adorno, PhD Florida International University 10910 SW 17 St.; Miami, FL 33199 sadorno@fiu.edu FEMEA President

Ashley Peek

Holley-Navarre Intermediate 1936 Navarre School Rd.; Navarre, FL 32566-7504 ashley@femea.flmusiced.org Florida NAfME Collegiate President

Megan Robichaud University of North Florida n01492523@unf.edu

Florida NAfME Collegiate Advisor

Mark A. Belfast, Jr., PhD Florida State University mbelfast@fsu.edu FMSA President

Christopher Burns, PhD

School District of Osceola County (407) 870-4901; christopher.burns@ osceolaschools.net FOA President

Laurie Bitters

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

David Pletincks

Powell Middle School 4100 Barclay Ave.; Brooksville, FL 34609-0860 (352) 403-8437; david@fva.net Member-at-Large

Steven N. Kelly, PhD

Florida State University School of Music, KMU 330; Tallahassee, FL 32306 (850) 644-4069; skelly@fsu.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......................................................Sandra Sanchez Adorno, PhD Florida International University; 10910 SW 17 St.; Miami, FL 33199 sadorno@fiu.edu

Editor-in-Chief.................................................................Kelly Miller, DMA University of Central Florida; 12488 Centaurus Blvd.; Orlando, FL 32816-8009 (407) 823-4545; kelly.miller@ucf.edu Conference Planning Committee Chairperson........John K. Southall, PhD Indian River State College; 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 418-9133; johnsouthall@me.com FSMA President..................................................Benny L. Bolden, Jr., EdD laruemusic99@gmail.com Hall of Fame Chairperson...............................................Mary Palmer, EdD (407) 252-5172; mpalmerassoc@aol.com

FMEA COMMITTEE CHAIRPERSONS Advocacy..................................................................... Jeanne W. Reynolds (727) 744-7252; jeannewrey@gmail.com Awards........................................................................Sondra A. W. Collins sondra.collins@marion.k12.fl.us Budget/Finance, Development...........................................Jason P. Locker Orange County Public Schools; 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jasonlocker@fmea.org

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

FLORIDA NAFME COLLEGIATE President................................................................. Megan Robichaud University of North Florida; n01492523@unf.edu Past President..................................................................Colin Urbina University of Central Florida; co006947@ucf.edu

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION President..................................................................................Ashley Peek Holley-Navarre Intermediate; 1936 Navarre School Rd.; Navarre, FL 32566-7504; ashley@femea.flmusiced.org Past President......................................................................Joani Slawson Holy Trinity Episcopal Academy; 1720 Peachtree St.; Melbourne, FL 32901 joanislawson@gmail.com Executive Director............................................................Jennifer Sullivan 1750 Common Way Rd., Orlando, FL 32814 (321) 624-5433; slljenn@aol.com

FLORIDA MUSIC SUPERVISION ASSOCIATION

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

President............................................................... Christopher Burns, PhD School District of Osceola County (407) 870-4901; christopher.burns@osceolaschools.net

Diverse Learners....................................................... Christine Lapka, EdD University of Central Florida; 12488 Centaurus Blvd.; Orlando, FL 32816-2372; christine.lapka@ucf.edu

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

Emerging Leaders.............................Dakeyan C. Graham, PhD, EdD, DMA Alachua County Public Schools; 3600 NE 15th St.; Gainesville, FL 32609 dregraham@gmail.com

FLORIDA ORCHESTRA ASSOCIATION

Florida Corporate & Academic Partners...................................Fred Schiff All County Music; 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fred@allcountymusic.com Health & Wellness..................................................................... Aaron Kass Lake Nona High School; 12500 Narcoossee Rd.; Orlando, FL 32832-6922 (407) 956-8327; aaron.kass@ocps.net Multicultural Network............................................Arnekua Jackson, PhD Boynton Beach Community High School; 4975 Park Ridge Blvd.; Boynton Beach, FL 33426-8318 (561) 713-6851; arnekua.jackson@palmbeachschools.org

President.............................................................................. Laurie Bitters Winter Park High School; 2100 Summerfield Rd.; Winter Park, FL 32792 (407) 622-3200; laurie.bitters@gmail.com Past President................................................................ Matthew L. Davis Harrison School of the Arts; 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 393-4232 Executive Director............................................................ Cheri A. Sleeper 1915 S. 47th St.; Tampa, FL 33619 (813) 363-4139; csleeper@myfoa.org

FLORIDA VOCAL ASSOCIATION

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

President............................................................................ David Pletincks Powell Middle School; 4100 Barclay Ave.; Brooksville, FL 34609-0860 (352) 403-8437; david@fva.net

Research....................................................................William I. Bauer, PhD University of Florida; (352) 273-3182; wbauer@ufl.edu

Past President.............................................................. Jeannine Stemmer Florida Christian School, 4200 SW 89th Ave.; Miami, FL 33165 j9stemmer@floridachristian.org

Secondary General Music............................................................Ed Prasse Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net Student Engagement..............................................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 Chairperson..................................................................Jon Sever (813) 272-4861; jon.sever@sdhc.k12.fl.us

FLORIDA BANDMASTERS ASSOCIATION President.............................................................................Jeff Cayer, EdD president@fba.flmusiced.org Past President..........................................Bernard (Bernie) Hendricks, Jr. Ocoee High School; 1925 Ocoee Crown Point Pkwy.; Ocoee, FL 34761 bernard.hendricks@ocps.net 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

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 Executive Director..................... Kathleen D. Sanz, PhD (kdsanz@fmea.org) Director of Operations...................... Valeria Anderson, IOM (val@fmea.org) Technology Director....................................Josh Bula, PhD (josh@fmea.org) Marketing & Membership Coordinator.........................Jasmine VanWeelden (jasmine@fmea.org) Administrative Assistant..............................Siena Deaton (siena@fmea.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 2024

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