Florida Music Director September 2025

Moving Beyond the Traditional Boundaries:

Intersecting Music and Art With Robert Rauschenberg

Teach Manners, Then Teach Music: A Practical Guide to the First Two Weeks of School

PLUS:

The Future of Funding Florida Education Prelude to the 2026 Conference Fun Friday Favorites SEPTEMBER 2025

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FLORIDA MUSIC DIRECTOR

Contents

SEPTEMBER 2025

VOLUME 79

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)

NUMBER 2

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) Alice-Ann Darrow, PhD (alifsu@mac.com) 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)

Circulation & Copy Manager

Valeria Anderson, (800) 301-3632

Copy Editor

Susan Trainor

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F E AT U R E S

FSMA: Leading With Purpose, Passion, and Patience. . . . . . . . . . . . . . . . . . . . . 8 How do I get to the conference?.. . . . . . . . . . . . . 20 Teach Manners, Then Teach Music: A Practical Guide to the First Two Weeks of School. . . . . . . . . . . . . . . . . . . . . . . 24 Moving Beyond the Traditional Boundaries: Intersecting Music and Art With Robert Rauschenberg. . . . . . . . . . . . . . . . . . . 32 D E PA R T M E N T S President’s Message. . . . . . . . . . 5 Advocacy Report. . . . . . . . . . . . 6 FMEA Donors. . . . . . . . . . .

22-23

Council News. . . . . . . . . . . . . 38

Committee News.. . . . . . . . . . 40 Component News. . . . . . . . . . 44 Academic Partners.. . . . . . . . .

49

Corporate Partners . . . . . . . 50-51 Research Puzzles.. . . . . . . . . .

52

Advertiser Index. . . . . . . . . . . 53

Executive Director’s Notes. . . . 54 Officers and Directors. . . . . . .

55

CONFERENCE Prelude to the Conference. . . . . . 9 Policies & Procedures. . . . . . . .

Important Conference Dates . . .

10

13

Tickets. . . . . . . . . . . . . . . . . . . 14

Conference Hotels. . . . . . . . . . . 16

All-State Rehearsals. . . . . . . . .

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Florida Music Director (USPS 368560) is published monthly except JAN, JUN & JUL with combined FEB/MAR by Florida Music Education Association, 402 Office Plaza Dr, Tallahassee, FL 32301. Periodicals postage paid at Tallahassee, FL. POSTMASTERS: send change of address to Florida Music Education Association, 402 Office Plaza Dr, Tallahassee, FL 32301.

SEPTEMBER 2025

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FLORIDA MUSIC DIRECTOR

President’s

Harry “Skip” Pardee, EdD

MESSAGE

President Florida Music Education Association

Happy September, FMEA!

I

hope this message finds you enjoying the start to

another tremendous school year with your deserving

students. A big congratulations to our component

and partner organizations that hosted outstanding

professional learning conferences this past summer! As

usual, our leaders in these organizations have provided world-class professional learning opportunities to ring

in another amazing school year ahead. Looking forward

haul. Please know your FMEA Executive Committee and Board of Directors are working hard to address

these things in procedure and practice so your voice as

a member in FMEA and a music education professional is heard, understood, and supported moving forward.

We look forward to this important work, which is now beginning to take shape in a positive way!

As we look ahead to the 2026 Professional Learning

through this fall, FMEA is working hard preparing

Conference and All-State Concerts in Tampa, January

which already has an agenda that is jam-packed with

will be planning to join us! This conference will be a

for our upcoming fall board of directors meeting, important issues in and for our profession. Once

again, our component, council, and committee leaders have assembled an impactful agenda so our FMEA

community can be enriched through the decisions we make as a team.

As you may recall, one of my tasks as president is to

help oversee the marketing, branding, and communica-

14–17, 2026, we hope you have already made plans or

phenomenal opportunity to reconnect with colleagues,

take in some outstanding clinic sessions, and hear worldclass ensembles under the direction of the world’s best clinicians/conductors! In my view, the conference is

perfectly timed to recharge our batteries before what is undoubtedly a very busy spring semester.

If you or any of our music educator colleagues from

tions programs in FMEA. These initiatives cast our mis-

across the state would like to connect with me personal-

communication methods. Thanks to a comprehensive

ing or a phone call by emailing me at

sion forward to all our stakeholders through thoughtful

needs-assessment audit provided by Galloway-Gonzalez Consulting, the FMEA Board has been working through the next steps, as suggested by that report, to bring our association forward into the future. Naturally, some

systems require only minor tweaks—and some systems require a complete “frame-off restoration” and over-

ly, you are welcome to arrange a time for a virtual meetSkip.Pardee@

FMEA.org. I am committed to providing time for you

to speak with your FMEA leadership about our associa-

tion, the health of it, and your vision for our profession’s future. I look forward to hearing from you! On behalf of the FMEA Board of Directors, we hope you have a wonderful September.

Always musically,

Harry “Skip” Pardee, EdD, President

Florida Music Education Association

SEPTEMBER 2025

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Advocacy

Advocacy Committee Co-Chairpersons

REPORT

The Future of Funding Florida Education

Jeanne W. Reynolds

Angela Hartvigsen

Funding High-Quality

Comprehensive Music Education

Do your eyes glaze over

when the conversation turns to financial matters? This is simply not of great interest to many music educators.

And yet, we no longer have the luxury of tuning out

when education financing is discussed. We must be

knowledgeable and proactive.

Pay attention.

Summer Impoundment of Education Funds

On June 30, the Trump

administration informed

states that approximately $6.8 billion in approved

federal education grants

administration cited a review

political spectrum contacted

there is still great power

with the White House Office

elected officials to express

speaking with one voice.

as the reason for the delay,

of Management and Budget later mentioning concerns about misuse of federal dollars.

Since the fiscal year

would not be released as

begins on July 1 for Florida

July 1 disbursement date.

funds on June 30 caused

scheduled, just before the Congress had already

appropriated these funds,

school districts, impounding tremendous turmoil.

And then something

their local, state, and federal their concerns. Then local, state, and federal elected

officials from across the political spectrum penned letters and

contacted the administration

political spectrum for high-

quality education. (See Florida Constitution exerpt below left.)

Action Item – Please act

when NAfME contacts you.

July 25, the impounded funds

fiscal year begins October

release of these funds. On were released.

I reviewed this story for a

positive happened.

reason. It is easy to become

on that information. The

the country and across the

But this story clearly indicates

Constituents from across

There is support across the

to voice their support for the

and school districts had

built their budgets based

in working together and

discouraged and disengaged.

The Florida Constitution states: (Note: word emphasis is mine.)

SECTION 1. Public education.—

(a) The education of children is a fundamental value of the people of the State of Florida.

The federal government’s

1. Congress will be working on and finalizing budget plans this month. This is

an example of a campaign related to fiscal year 2026 funding:

CLICK HERE

Florida Education Funding Federal funds represent

It is, therefore, a paramount duty of the state to make adequate provision for the education

only 17% of all Florida

uniform, efficient, safe, secure, and high quality system of free public schools that allows

important work we can do

operation of institutions of higher learning and other public education programs that the

state level. States bear the

of all children residing within its borders. Adequate provision shall be made by law for a

school funding, so the most

students to obtain a high quality education and for the establishment, maintenance, and

is to address funding at the

needs of the people may require.

responsibility for funding

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FLORIDA MUSIC DIRECTOR

education.

Florida funds its schools

through the Florida

Education Finance Program, (FEFP). It is a formula

established in 1973 to ensure equitable and adequate

funding for all public school

students, regardless of where they live in the state. The

w Equalize educational

goals of the FEFP are:

funding across counties with varying property

w Adjust funding based on wealth.

student needs (e.g., special education, English learn-

w Incorporate state and ers).

local resources into a unified funding model.

w Federal dollars discussed

level for adequate education

modest additional funding

Vouchers

the most part, local referenda

vouchers has complicated

above.

Districts can generate only

beyond these sources, but for and grants represent a very small fraction of district

funding. In general, most school district revenue is completely outside their

control, and in some cases,

revenue must be spent in very prescriptive ways.

Because of this, I am

If you’d like to delve more

consistently perplexed by

CLICK HERE or look at

wagons and shoot inward

into this complex formula,

calculations for the 2025–26 school year here: HERE.

CLICK

To vastly oversimplify for

purposes of this discussion, Florida schools are funded

w State funds, most typically generated by sales tax; w Local Required Effort by:

(LRE), which involves local property taxes (this varies by district); and

teachers who circle the

and blame districts for lack of adequate funding. This

makes no sense. Certainly,

you can and should advocate

funding.

other programs, but the most effective use of your time is advocating at the state

Action Item: Contact your

about the importance of

the state spent approximately $3.9 billion on vouchers. $2.8 billion came directly from the FEFP and $1.1 billion

came out of the Florida Tax Credit Scholarship. Most

students accessing vouchers are students never before

enrolled in public schools.

In other words, the majority of the $2.8 billion dollars is

or October. Talk to them

robust funding for education in Florida. Give specific

examples of the positive impact of your music

program. Explain how this is a strong return on their investment.

Find your State Senator Find your State House Representative

We can’t afford to have

a new expense to the FEFP

any FMEA member sit this

revenue funds to offset it.

discouraged and to think

without corresponding

high-quality music education

than percentage cuts for

programs).

education funding. Last year

high-quality music education.

NEVER suffer cuts greater

raise all boats (and music

state legislators in September

FMEA for ALL

And music programs should

A rising (funding) tide will

Florida’s embrace of school

for how funds are allocated in your district to ensure

education in all schools.

The FMEA advocates for in all Florida schools;

public, charter, private, and home school coalitions. It is apparent that we will

need greater funds from the state to ensure high-quality

one out. It is easy to become your voice doesn’t matter.

This past summer people

of all political stripes came

together to voice support for education funding, and it

made a difference. It’s past

time to speak up for funding

to support high-quality music education in ALL Florida schools.

SEPTEMBER 2025

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Benny L. Bolden, Jr., EdD

President

N O T E S

FLORIDA SCHOOL MUSIC AS SO CIATION

Florida School Music Association

Leading With Purpose, Passion, and Patience D

ear colleagues and friends, by now, the rhythm of the school year is well underway.

Rehearsals are in full swing, routines are forming, and students are beginning to find their

voices—sometimes literally—in your classrooms, rehearsal spaces, and performance halls. As we move into this pivotal month, I want to take a moment to recognize and affirm the remarkable work you do each and every day.

At the Florida School Music Association, we remain committed to supporting you in delivering

high-quality music education experiences that are both equitable and inspiring. Whether you’re preparing your ensembles for their first performance or beginning the journey toward music

performance assessments later in the year, please know that FSMA is here as a partner, advocate, and resource.

This month is often where we see the turning point—where potential starts to become progress,

and students begin to take ownership of the artistry you’ve introduced. It’s in this space, between foundation and flourish, that your leadership is most profound. Your ability to cultivate not only

musicianship, but also confidence, collaboration, and character in young people is nothing short of extraordinary.

Let this serve as a reminder: your impact cannot be measured solely in notes or scores. It’s

measured in the students who choose to stay, who find community, and who begin to believe in themselves because of what you’ve nurtured.

As we look ahead to the remainder of the season, I encourage you to keep leading with purpose,

passion, and patience. FSMA will continue to champion your work and uphold the standards that make Florida a national model for music education.

Thank you for what you do. Keep going. You’re making more of a difference than you know.

In harmony and hope,

Benny L. Bolden, Jr., EdD, President Florida School Music Association

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FLORIDA MUSIC DIRECTOR

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

The FMEA Professional Learning Conference is one of

the largest music education professional development events in the United States. In addition to approximately

250 clinic sessions and concerts, it is host to 24 all-state ensembles featuring Florida’s top band, orchestra, cho-

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

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

secondary music directors, elementary music teachers,

music supervisors, college students, college music teach-

ers, school administrators, K–12 students performing in the all-state ensembles, students and professional musi-

cians performing with invited performing ensembles, exhibitors, and parents and family members of performing students.

So many reasons to participate:

w An exhibition 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 Approximately 250 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

SEPTEMBER 2025

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Policies & Procedures

Conference Policies

To take advantage of early discounted rates, you must

register and pay before the early registration deadline. If

director’s preregistration packet and supervise the students at all times.

6. Student observers are not allowed to attend the

you are mailing a check to the FMEA office to pay for your

conference. If any student observers are brought to the

Registration Deadline and arrive in our office before the

conference may be eliminated the following year. Tri-M

registration, it must be postmarked on or before the Earlyholiday break.

conference, the offending school’s participation in the

students or those approved for the “Student Experience”

1. All participants—directors, students, chaperones, and

program who are registered and participating in sessions

2. Only directors may register their groups or pick up

rule. Chaperones or other attendees are not allowed

3. All participating students must be chaperoned. As

state ensemble or student experience. Only registered

guests—must be registered for the conference.

or working for the all-state concerts are exempt from this

registration materials if preregistered.

to bring children who are not participating in an all-

required by FSMA, at least one chaperone, other than

students, teachers, and chaperones wearing a conference

fraction thereof. However, FMEA policy allows one free

conference areas. Please make babysitting arrangements

a director, is required for every ten (10) students or a

chaperone for every six (6) all-state students or a fraction thereof.

w each six (6) students registered, or w each all-state rehearsal site where registered students

4. An additional paid chaperone may be registered for

are rehearsing.

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 director from attending,

and must be submitted with registration materials. The

school will be notified of approval. This does not release the director from the requirement that they must be registered for the conference. If approved,

the person designated in the letter will pick up the

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FLORIDA MUSIC DIRECTOR

badge are allowed in and around the rehearsals and before attending the conference.

w All Florida school music teachers must register for

7. FMEA & NAfME Membership Requirements:

the conference as FMEA members and be current members of FMEA and NAfME. This includes

session presenters, all-state conductors, and directors of all-state students, invited performing groups, and

w All-state conductors from Florida schools, colleges, or universities must also be FMEA members. w No current music teacher may register as a chaperone. w Collegiate students must be collegiate members of FMEA and NAfME. w Attendees who live outside of Florida must be mini-concerts.

current members of NAfME. Attendees living

outside the United States may contact our office for registration instructions.

Chaperone Registration

Chaperone registration is based on the following rules:

w For each elementary student registered, Elementary Students

one free chaperone and one paid

w Any additional attendees must purchase chaperone may be registered.

a “Guest Pass” at on-site registration for entry into the convention center.

Refund Policies

cancellation requests made through December 15, 2025.

w For every six students registered, one free

after December 15, 2025, except for emergency situations

be registered until the seventh student is

1. If you cannot attend the conference and do not have students participating, full registration refunds are available for

2. No registration refunds will be made for cancellations made (see

below). These will be reviewed on a case-by-case basis.

3. Refunds must be requested in writing, or through our CONTACT US page.

4. All requests for emergency refunds must be received no later

than January 31, 2026. Requests received after that date will be denied.

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

6. There are no refunds for concert tickets or membership dues.

Middle School and High School Students

chaperone and one paid chaperone may be registered. No other chaperones may

w Any additional attendees (chaperones registered.

or guests) must purchase a “Guest Pass” at on-site registration for entry into the

w EXCEPTIONS

convention center.

— If you have students in more than one performing ensemble, you may pay

for a chaperone for each performing ensemble in which you have

If you test positive for COVID-19 or

w If you have symptoms of COVID-19, the flu, or anything develop symptoms before the conference:

that may be contagious, or if you test positive within

five days before your planned arrival at the conference, please follow these procedures:

— If you have all-state students: You will need to find another teacher to supervise your students and pick

up your badges in accordance with conference policy #5 on the previous page. Because director conference registration is a requirement for all-state student participation, you are not eligible for a refund.

— If you do NOT have all-state students: Send an email using our

CONTACT US page describing

your symptoms or test results to request a refund in

w If you are not showing symptoms, get re-tested a few days accordance with the policies above.

later. If the subsequent test(s) are negative and you still do not have symptoms, research has found that you are most likely not contagious, so you are welcome to attend the conference.

registered students.

— If you have students from different

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

— Clarification: these are not additional “free” chaperones; these exceptions only allow you to register an

additional paid chaperone in addition to the one free and one paid chaperone per six students normally allowed.

Chaperones are not allowed to bring other children who are not participating in an

all-state ensemble or student conference experience. 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 and make babysitting arrangements for their other children before agreeing to serve as chaperones.

SEPTEMBER 2025

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Policies & Procedures Indemnity Clause

FMEA reserves the right to change the conference/workshop

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

postponed or cancelled due to acts of terrorism, war, extreme weather

conditions, industrial action, fewer than 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 responsible 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 of situations. FMEA is not responsible for any registrant’s personal

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

damages while attending an FMEA conference 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.

Photographic Release

By attending the conference and/or

associated 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 activities

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

Code of Conduct

is working with the Tampa Police

environment of respect and civility for all

The Florida Music Education Association Department and Allied Security at the Tampa Convention Center (TCC) to

enhance the conference experience for the students and attendees.

Great News!

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

the TCC and at various hotels. All entrances to

the TCC will be patrolled by uniformed officers of the Tampa Police Department and uniformed Allied Security 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, chaperones, and

student participants) must wear their conference badge during the conference once the authorized registrant obtains the conference packet.

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

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

Enjoy the Conference Experience.

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FLORIDA MUSIC DIRECTOR

FMEA is dedicated to providing a positive attendees, including members, students, 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.

Session Attendance Verification Reports

Provide proof of the sessions you attended to your administration

Important Conference Dates & Information (subject to change)

with Session Attendance Verification Reports!

Early registration opens.

Each of our presenters will be

provided a QR code and asked to

display it on the last slide of their

September 12, 2025

presentation. Scan that QR code to confirm your attendance and add the session to your Verification Report.

September 27, 2025

Hotels begin taking reservations at 9:00 am.

October 1, 2025

Presenters’ deadline for editing session details and requesting A/V equipment.

October 24, 2025

Popular Music Collective submission deadline ( FMEA.org/programs/all-state/popular-musiccollective/).

October 30, 2025

Student Conference Experience nomination deadline ( FMEA.org/conference/student-experience/).

November 3, 2025

Hotel room cancellation deadline is 5:00 pm.

November 7, 2025

Digital Music Showcase submission deadline ( FMEA.org/programs/digital-music-showcase/).

November 11, 2025

Hotels will charge your credit card a nonrefundable deposit for the first night of each room that was not cancelled by the deadline.

Requirements

Register for the conference, either via preregistration or on site.

Make sure you can log in to

the FMEA website using the web browser on your phone. Use the username and password you

chose when you renewed your

membership. If you are from outside of Florida, you should have

chosen your username and pass-

word when you registered for the conference.

Learn how to scan a QR code

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

with your phone. With iPhones and newer Androids, you just

need to open your camera, point it at the code, and a box will appear

December 12, 2025

for you to click.

FMEA does NOT automatical-

ly submit your hours for you. It

is up to you to follow the process

outlined by your school or school district to apply for the profes-

sional development points toward your certificate renewal.

Nominations open for Student Conference Experience ( FMEA.org/conference/studentexperience/) and Tri-M Experience ( FMEA.org/conference/tri-m-experience/).

December 15, 2025

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 2025

13

Concert Ticket Reservation and Payment

CLICK TO

Ticket Policies & Procedures Purchase All-State Tickets

NO TICKETS WILL BE AVAILABLE FOR SALE AT THE MARRIOTT. To attend a concert at the Marriott Water Street, you must pre-purchase electronic tickets online using the button above, or plan to visit the second floor of the Tampa Convention Center to purchase your tickets before walking to the Marriott.

Ticket Frequently Asked Questions 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 hours Thursday through Saturday.

Can I buy tickets on site at the Marriott?

No, on-site paper ticket sales are only available at Tampa Convention Center in the secondfloor registration area. If your concert is in the Marriott Water Street, you must prepurchase your tickets online or make plans to first visit the convention center to buy tickets and then walk over to the Marriott.

Does my young child need to buy a ticket?

Everyone who will be taking up a seat will need a ticket. Babies that are being held by a parent or sitting on a parent’s lap for the duration of the concert are welcome without a ticket, but children who are old enough to sit in their own seat will need a ticket.

14

FLORIDA MUSIC DIRECTOR

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

on Thursday morning and continue Friday and Saturday

members, directors’ non-teaching spouses, performing

that the director or any other registered attendee be the

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 conference,

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 may purchase tickets using their smartphones. Anyone who wishes to

attend a concert can purchase an electronic ticket online anytime up until 30 minutes after the concert’s pub-

lished 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

to purchase tickets should take care to correctly enter the names and email addresses of the people who will be

at the FMEA registration desk. There is no requirement

person purchasing these tickets. If a concert starts after the registration desk is closed, only electronic tickets

will continue to be sold before that concert. No tickets will be available for sale at the Marriott. To attend a

concert at the Marriott Water Street, you must pre-pur-

chase electronic tickets online or plan to visit the Tampa Convention Center’s second floor to purchase your tickets before walking to the Marriott.

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.

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

is defined as the pair or group of ensembles that are

performing in the same venue in a common, defined

block of time. An example of a “concert” for purposes

of entrance and ticketing would be the 5:30 pm concert

that features both the Treble Chorus and Mixed Chorus,

or the 2:30 pm concert that features the Middle, Concert, and Symphonic Bands.

Concert Re-Entry Procedure

Once a ticket’s barcode is scanned to gain entry, that ticket

is marked as “used” and will no longer be eligible for another entry into the concert. Attendees who need to exit and

re-enter the concert should be prepared to show their ticket

and a photo I.D. to confirm they are the ticket owner to gain

using the tickets into the online sales portal, or transfer

re-entry.

their correct name and email address in the online ticket

All-Ticket Sales are Final. No Refunds.

the tickets to those who will be using the tickets using sales portal.

6. Paper tickets will be on sale at the FMEA 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

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.

SEPTEMBER 2025

15

Conference Hotels FMEA has contracted with several Tampa hotels to provide you with the best rates possible.

w If calling, be sure to request the “Florida Music Education Hotel Policies w A maximum of five (5) guest rooms may be reserved per Association” room block rate and confirm the guest room name/credit card. rate posted online. w Directors should try to reserve rooms for all-state w Credit cards are required for online reservations, and the students and chaperones in the hotel where they are credit card name must match the name on the reservation. w If paying by check, reservations must be made over the rehearsing. w FMEA is not offering a housing bureau service. All phone, and a check for the full amount must be mailed participants MUST reserve online or call the hotel directly to the hotel to arrive no later than December 15. w directly to secure reservations.

You do not need to register for the conference before w Room blocks will open on Saturday, September 27, at reserving your hotel rooms, but this is something we are 9:00 am Eastern Time. The hotels will be listed online considering for future conferences. w Each hotel will have contract terms, such as parking at that time, along with the reservation links and phone numbers for each hotel.

charges, etc., on its reservation link.

Hotel 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, it is less than half their normal rates.

When the blocks first open, everyone tries to get as many rooms as they can in case they Why is it so hard to get a room?

need them for all-state students and chaperones, so they fill up very fast. If you wait until after the all-state results come out, many people will have cancelled their rooms and it’s much easier for everyone else to get a reservation.

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

I tried calling, but it was busy or they put me on hold forever.

Our hotel partners are uncomfortable waiting until we are so close to the start of the conference to book room reservations.

We recommend booking online instead. Otherwise, try again in early November after the all-state results are released. Many people will cancel rooms they no longer need if their students aren’t accepted.

No, as long as you cancel all the rooms you no longer need by the listed cancellation Is there a cancellation fee?

deadline, you will not be charged any type of cancellation fee. After the cancellation

deadline, a deposit of one night per room in your reservation will be charged to your credit card, and 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?

The price on the hotel’s booking

Only after December 15. Before that date, all the cancelled hotel rooms in the FMEA blocks will be returned to the FMEA blocks and can be reserved by other FMEA conference attendees at the low FMEA rate.

If the FMEA block is full at that hotel, they may be showing you available full-price rooms

outside of the FMEA block. Try again in November after all-state results come out to see if listed on the FMEA’s hotel page. anyone cancelled rooms in the FMEA block. page doesn’t match the price

16

FLORIDA MUSIC DIRECTOR

Beware of Room Block Scams The hotels listed on the FMEA Hotel List are the only official housing providers for the FMEA conference.

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 3, 2025, and you must secure a cancellation confirmation number. This courtesy will

make surplus rooms available to other FMEA members and conference attendees.

iated with any third-party hotel brokers. If you are

contacted by someone claiming to represent the FMEA offering discounted housing or alternative housing arrangements, be aware it is a scam. If you receive

such communication, please contact Val Anderson at

val@FMEA.org. The only way to ensure you

have a valid hotel reservation is to book your room

Nonrefundable Deposit On November 11, each room reserved and not cancelled by

November 3 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.

Transportation Not Provided Not all hotels are within walking distance of the convention center. FMEA does not provide any transportation.

Transportation and

The Florida Music Education Association is not affil-

PARKING are the responsibility of each

attendee. Directors are asked to share this with their chaperones and students.

If Hotels Are Full

with one of the listed hotels and mention group code

FMEA, or if you are an exhibitor, please use the Hotel Reservation Form on the page.

Exhibitor Information

Credit Card Scams at the Hotels Imagine this scenario: You arrive at your hotel and check in at the front desk. When checking in, you give the front desk your credit card information (for all the

charges for your room or just incidentals). You get to

your room and settle in. Someone calls the front desk and asks for room 620 (which happens to be your

room). Your phone rings in your room. You answer, and the person on the other end says the following: “This is the front desk. When checking in, we came

Every year, the hotel blocks fill up almost immediately upon

across a problem with your charge card information.

will need for all-state students and chaperones. They cancel the

the three-digit number on the reverse side of your

w Try again in late October or early November after all-state

person your information since the call seems to come

opening due to teachers overestimating how many rooms they

Please re-read me your credit card number and verify

rooms they don’t need after the audition results are released

charge card.”

(late October and early November).

results are released and teachers cancel rooms for students

w Try again after the cancellation deadline. All cancelled rooms will return to the FMEA blocks until December 15. w Please do not reserve a room outside of the FMEA blocks! who don’t need them.

Not thinking anything unusual, you might give this

from the front desk. But actually, it is a scam. Someone is calling from someplace other than the hotel’s front

desk. They ask for a random room number, and then, sounding very professional, they ask you for credit

card information and address information. They are

We must fill most of our allotted room blocks to receive

so smooth, you will think you are talking to a hotel

If we do not meet our required minimum number of hotel

If you ever encounter this problem, tell the caller you

discounts for the ballrooms we use for all-state rehearsals.

employee at the front desk.

nights sold, we will need to raise conference registration

will come down to the front desk to clear up any prob-

w If the price listed on the hotel’s website is not the same as space.

problem. If there was none, inform the manager of the

the price listed on the FMEA hotel page, the FMEA block

called to scam you of your credit card information.

price rooms instead. Try again in November after all-state

charges. Be alert!

rates to compensate for the added cost of the rehearsal

for that hotel may be full, and they are showing you full-

lems. Then, go to the front desk and ask if there was a hotel that someone acting like a front desk employee

This type of scam may also happen with room service

results come out.

SEPTEMBER 2025

17

All-State Rehearsals All-State Concert Band

Concert – Tampa Convention Center, Ballroom A

All-State Elementary Chorus Concert – Tampa Convention Center, Ballroom A

Saturday, January 17, 2026.............2:30pm

Thursday, January 15, 2026...........1:30 pm

Reseating Auditions Hotel Tampa Riverwalk, Riverwalk Ballroom

Rehearsals – Tampa Convention Center, Room 111 Wednesday........ 12noon-1pm, Registration Wednesday.................................. 1pm-6pm Thursday..........................7:45am-12:45pm

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

All-State Concert Chorus

Concert – Tampa Convention Center, Ballroom A Saturday, January 17, 2026................ 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

All-State Concert Orchestra

Concert – Tampa Convention Center, Ballroom A Saturday, January 17, 2026.............6:30pm Reseating Auditions – Marriott Water Street, Florida Ballroom, Salons 5-6 Thursday...........7:30am-8am, Registration Thursday...............................8am-11:30am Rehearsals – Marriott Water Street, Florida Ballroom, Salons 5-6 Thursday...........9am-9:30am, Registration Thursday..........................9:30am-11:30am Thursday..................................... 1pm-5pm Thursday..................................... 7pm-9pm Friday................................8:30am-11:30am Friday........................................... 1pm-5pm

18

FLORIDA MUSIC DIRECTOR

All-State Elementary Orff Ensemble

Concert – Tampa Convention Center, Ballroom A Friday, January 16, 2026......................1pm Rehearsals – Tampa Convention Center, West Hall B Thursday.............10am-11am, Registration Thursday................................... 11am-6pm Friday.....................................8am-11:30am

All-State High School Guitar Ensemble

Concert – Marriott Water Street, Grand Ballroom Thursday, January 15, 2026..........12:30pm Rehearsals Tuesday....................................... 7pm-9pm Marriott Water Street, Meeting Room 10 Wednesday............................. 8:30am-5pm Marriott Water Street, Meeting Room 8 Thursday..........................8:30am-10:30am Marriott Water Street, Grand Ballroom Thursday........................ 10:30am-11:30am Marriott Water Street, Meeting Room 5

All-State High School Jazz Band

Concert – Marriott Water Street, Grand Ballroom Friday, January 16, 2026.................8:30pm 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 16, 2026......................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 17, 2026.............2:30pm 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

All-State Middle School Guitar Ensemble

Concert – Marriott Water Street, Grand Ballroom Thursday, January 15, 2026..........12:30pm Rehearsals Tuesday....................................... 7pm-9pm Marriott Water Street, Meeting Room 8 Wednesday............................. 8:30am-5pm Marriott Water Street, Meeting Room 5 Thursday..........................8:30am-10:30am Marriott Water Street, Meeting Room 5 Thursday........................ 10:30am-11:30am Marriott Water Street, Grand Ballroom

All-State Rehearsals All-State Middle School Jazz Band

Concert – Marriott Water Street, Grand Ballroom

All-State Middle School Treble Chorus

Concert – Tampa Convention Center, Ballroom A

Friday, January 16, 2026.................7:30pm

Friday, January 16, 2026.................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 16, 2026.................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 17, 2026.............6:30pm 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

All-State Popular Music Collective

Concert – Marriott Water Street, Grand Ballroom Thursday, January 15, 2026................ 6pm Rehearsal – Tampa Convention Center, Room 403 Wednesday.................................. 8am-6pm

All-State Reading Chorus

Concert – Tampa Convention Center, Ballroom A Saturday, January 17, 2026.............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...................................4:15pm-5:15pm Tampa Convention Center, Room 120

All-State SSAA Chorus

Concert – Tampa Convention Center, Ballroom A Friday, January 16, 2026.................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 17, 2026.............2:30pm 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

All-State Symphonic Orchestra

Concert – Tampa Convention Center, Ballroom A Saturday, January 17, 2026.............6:30pm Reseating Auditions – Tampa Convention Center, Room 124 Thursday...........8am-8:30am, Registration Thursday..........................8:30am-11:30am Rehearsals – Tampa Convention Center, Room 124 Thursday..........................8:30am-11:30am Thursday..................................... 1pm-5pm Thursday..................................... 7pm-9pm Friday................................8:30am-11:30am Friday........................................... 1pm-5pm

Continued on page 21 SEPTEMBER 2025

19

How do I get to the conference?

All-State Rehearsals

G

Making your case to attend the 2026 FMEA Professional Learning Conference

Music Education Association Professional w Write down three of the most Getting approval to attend the Florida

Learning Conference may require devel-

oping 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 stu-

Develop Your Case

important goals and strategies being

w Think about how you personally conaddressed in your school’s plan.

tribute to those three goals and strate-

gies. How does your work as a music educator affect the overall mission of

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 performances you will observe and from which you

will learn. You can download the conference app from the FMEA’s website

sonal contributions to your school’s w Write down your case for how attendyour school? Make a list of your per-

ing your administrators are aware of the w Review the conference’s professional

and bookmark your sessions.

goals and strategies.

ing the FMEA Professional Learning

critical importance of you professionally

learning schedule to better under-

there will help you contribute to your

consider submitting a formal proposal.

will support your school’s goals. Mark

dents in your school. Rather than assum-

benefitting from content-specific sessions,

Through this proposal, you can demon-

strate 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.

20

FLORIDA MUSIC DIRECTOR

stand how the information provided meetings that relate to your list of

personal contributions to the attain-

ment of those goals and strategies,

Conference and meeting the people

school’s goals and strategies, and use

this case with your administrators when making your request to attend the conference.

All-State Rehearsals Continued from page 19

All-State TTBB Chorus

Concert – Tampa Convention Center, Ballroom A When you create your proposal, in

Saturday, January 17, 2026............8:45 am

cific sessions you plan to attend. Also, list

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-4:30pm

opportunity to observe during rehearsals

High School Honors Band

addition to providing a summary of the funding you will need, detail your case

for attending. List your school’s goals,

download the conference schedule, list the sessions and the clinicians and presenters who will be there, and list the spe-

the performing groups you will have the with national clinicians as well as the performances by these well-known conduc-

Concert – Marriott Water Street, Grand Ballroom

tors (from whom you can gain program-

Saturday, January 17, 2026................ 11am

let your administrators know that this

Reseating Auditions – Hotel Tampa Riverwalk, Bayshore Ballroom

ming and conducting ideas). Additionally, conference has more than 10,000 teachers, administrators, students, and parents in

attendance, the second largest music education conference in the nation.

Finally, ask your administrators to sup-

port you to attend the FMEA Professional Learning Conference in Tampa, Florida, January 14–17, 2026.

Thursday....................................9am-11am

High School Honors Orchestra

Concert – Marriott Water Street, Grand Ballroom Saturday, January 17, 2026.............2:30pm 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

Middle School Honors Band

Concert – Marriott Water Street, Grand Ballroom Saturday, January 17, 2026................ 11am Reseating Auditions – Hilton Tampa Downtown, Esplanade Suite Thursday....................................9am-11am

Rehearsals – Hotel Tampa Riverwalk, Bayshore Ballroom Thursday..................................... 1pm-5pm Thursday................................ 7pm-9:30pm Friday................................8:30am-11:30am Friday........................................... 2pm-5pm

Rehearsals – Hilton Tampa Downtown, Esplanade Suite Thursday..................................... 1pm-5pm Thursday................................ 7pm-9:30pm Friday................................8:30am-11:30am Friday........................................... 2pm-5pm

High School Honors Big Band

Middle School Honors Orchestra

Concert – Marriott Water Street, Grand Ballroom

Friday, January 16, 2026..................... 8pm 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

Concert – Marriott Water Street, Grand Ballroom Saturday, January 17, 2026.............2:30pm 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 SEPTEMBER 2025

21

FLORIDA MUSIC EDUCATION ASSOCIATION 2025-2026 DONORS

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

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

June M. Hinckley Scholarship

Music Education Advocacy

Professional Development for Members

General Fund

Mel & Sally Schiff Music Education Relief Fund

The following have graciously donated to FMEA from April 1, 2025, through August 4, 2025.

MAESTRO’S CIRCLE

ARTIST’S CIRCLE

No current donors at this time.

No current donors at this time.

$10,000 and up

$1,000 – $9,999

SUSTAINERS $100 – $999

Carlos Abril In Honor of Ms. Terry Paulen Dale Choate In Memory of Dr. Colleen Kirk Dayna Cole In Memory of Linda Mann Michael Dye In Honor of Michelle R. Tredway William Fredrickson Sheila & John King Deborah Mar In Memory of Barbara Kingman

22

FLORIDA MUSIC DIRECTOR

David Martinez-Cooley

D. Gregory Springer

John Nista In Memory of Stanley Dmitrenko

Jeannine Stemmer In Memory of Barbara Kingman & Lauren Alonso

Mary Palmer Douglas Phillips In Memory of Dr. Bobby Adams Jeanne Reynolds In Honor of Pinellas County Performing Arts Teachers Alicia Romero-Sardinas In Memory of John Rose Kathleen Sanz In Memory of June M. Hinckley

Leiland Theriot In Memory of Clayton Krehbiel Richard Uhler Kenneth Williams Anonymous (1) In Memory of Joan Lee Alkyer

PATRONS $25 – $99

Judith Evans

Christine Lapka

Bradley Franks In Memory of Gary W. Rivenbark

Amelita McGrath

Tina Gill In Honor of Gary Rivenbark

Katie McGuire Menges Terry Pattishall

Marie Radloff In Memory of Charles F. Ulrey

Eddie Steadman

Diana Rollo

Andrea Szarowicz On Behalf of Byrdie L. Jackson

William Rose

Valerie Terry

Susan Smith

FRIENDS up to $24

James Bruce

Jeff Cayer

Lisa Hewitt

Ian Schwindt

Jamie Bryan

Angela Hartvigsen

John Parris

Anonymous (2)

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.

ONLINE MASTERS IN MUSIC EDUCATION

$1,000 Scholarships Available Keep your current job!

Full-time and part-time enrollment options Small class sizes, personal attention and tutoring Encouraging, supportive faculty to help you reach your goals 10910 SW 17th St., Miami, FL 33199 | music@fiu.edu | music.fiu.edu/musiceducation SEPTEMBER 2025

23

F E AT U R E

Teach Manne Then Teach M A Practical Guide to the First Two Weeks of School

T

The first two weeks of the school year are arguably the most important for any K–12 music educator. These initial days set the tone for everything that follows—not only in terms of musical achievement but also in behavior, classroom culture, and student-teacher relationships. While content delivery and performance goals can dominate our thinking, many seasoned educators know that a successful year starts with teaching something else first: manners.

This article outlines a three-phase framework that music

educators can use to prepare for and systematically manage the first two weeks of school: (1) Summer Planning, (2) Pre-Planning, and (3) After Students Arrive. Drawing from foundational texts and real-world classroom strategies, this approach emphasizes positive behavior reinforcement, structured routines, and the power of teacher presence. continued on page 26

24

FLORIDA MUSIC DIRECTOR

ers, Music:

BY G R E G O RY W. L E F I L S , J R . , P H D

SEPTEMBER 2025

25

Teach Manners continued from page 24

Phase 1:

Summer Planning – Vision, Reflection, and Planning The most effective classroom cultures begin long before

enter your room? Safe? Curious? Motivated? Putting

the time and space to clarify their values and prepare a

throughout the year.

students arrive—during summer, when educators have plan for success. Effective teachers don’t leave structure to chance. They envision it. They prepare it.

Prepare to Co-Create a Classroom Constitution

What classroom management issues repeated themselves?

dents once the school year begins, summer is the time to

Start by journaling reflections on the previous year.

What musical goals were reached, and which fell short? A high school band director, for instance, might reflect that

discipline issues spiked during transitions. That single

observation can drive intentional change in procedure planning.

Next, draft a vision for your classroom—not just the

musical outcomes, but the environment you want to cultivate. What do you want students to feel when they

26

those values on paper sharpens your awareness of them

FLORIDA MUSIC DIRECTOR

Although classroom constitutions are created with studecide how you will lead that process. Reflect on which shared values matter most to you and how you’ll invite

students into a discussion about those values on Day 1.

Draft possible prompts such as: “What do we need from each other to have a great music experience?” or “What

behaviors help us grow as musicians?” Pre-planning these conversations helps ensure that the first days are meaningful and organized.

Draft Visual Norms and a Classroom Vision

Map the Year: Curriculum and Culture Planning

tifying three to five core behavioral norms. While you

events, assessments, and musical milestones. Select early

Spend time drafting a class vision statement and idenwon’t post them yet, planning their language in advance ensures consistency later. Use student-friendly phrasing

like “We take care of each other.” Over the summer, consider how you might adapt your core norms into language

that resonates with your students. Later, during pre-planning or the first week, you can co-author or edit these norms with your classes and post them in shared spaces.

Design a PBIS-Inspired Framework for Your Classroom

Finally, draft a year-at-a-glance calendar, noting major

repertoire that is engaging and achievable while foster-

ing ensemble identity. Just as important, plan classroom systems that support your values—bell work routines, behavior incentives, and entry/exit procedures. When

students walk in on Day 1, your systems should reflect intentionality, not improvisation.

Phase 2:

During Pre-Planning– Interventions and Supports (PBIS) specifically for your Designing the music classroom (PBIS.org, n.d.). Review PBIS strate- Environment, Culture, gies and decide which systems will best fit your setting and Systems (National Association for Music Education [NAfME], n.d.).

Summer is an ideal time to adapt Positive Behavior

For example, plan how you will clearly define behavioral

expectations, recognize positive actions, and apply con-

sistent consequences. Develop ready-to-use templates for

behavior reflections, parent communications, and tiered

interventions. Having a well-prepared PBIS framework in place will make implementation much smoother once students arrive.

Set Professional SMART Goals

Setting your own SMART goals—Specific, Measurable,

Achievable, Relevant, and Time-bound—is an essential step during summer planning. Your goals might include raising ensemble assessment scores, launching a new

student leadership system, or reaching out to 90% of your

prospective students by the end of September. Whatever the target, clearly defined goals provide focus and help guide your daily priorities once the school year begins.

As part of your early relationship-building with stu-

dents, consider when and how you’ll introduce SMART

goal-setting in your classroom. The second week of school can be a natural time for students to set their own goals

after they’ve learned classroom expectations (SmartMusic

Blog, n.d.). While goal-setting works well with advanced ensembles and classes, it may be helpful to delay this

process with less experienced students. Give them time

to understand your classroom culture, routines, and

expectations first. Start with short-term goals early in the year and gradually transition to more long-term goals as students gain confidence and clarity.

Before students walk through the door, use pre-planning

to intentionally shape the environment, culture, and sys-

tems that will guide your first two weeks—and beyond.

As Madsen (1974) reminds us, “You control the environment,

which in turn, controls you.” Thoughtful setup now reduces chaos later.

1. Define and Display Core Expectations

Begin by preparing a short set of clear, positive expectations that reflect your values—think: Respect, Effort,

Focus, Excellence. Post them prominently in your room

and include them in your welcome materials for families.

Consistent language and visible reminders build trust

and clarity from Day 1 (Wong & Wong, 1991; Madsen & Madsen, 1974).

2. Script and Rehearse Classroom Procedures

Invest time in scripting every key routine: how students

enter, where they sit, how they transition, and what happens when they need help. Use this time to rehearse those

procedures yourself—or even with a colleague. The more precise your plan, the easier it will be to teach it confidently and consistently (Marzano & Marzano, 2003).

If you haven’t yet, map out a welcoming routine: How

will you greet students at the door? How will you introduce them to the space? Think through the first five minutes as intentionally as you plan your repertoire.

continued on page 28 SEPTEMBER 2025

27

Teach Manners continued from page 27

3. Prepare the Physical Environment for Engagement

Your space communicates your expectations before you

even speak. Arrange seating to minimize blind spots and

behavioral hot spots. Use visual cues like taped pathways, welcome signage, or labeled materials bins to reduce confusion and promote independence. Ensure your tech setup (projector, speakers, whiteboard) is ready for use on

Day 1. A well-organized room isn’t just efficient—it’s an act of care that tells students: You matter here.

4. Build Systems for Connection and Communication

Strong relationships begin before the first bell. Create systems to learn student names quickly—name tags, seating charts, or musical name games. Prepare a “Getting

to Know You” survey or musical autobiography form

that students complete in Week 1. These activities build belonging and help you tailor repertoire and instruction to student interests (Gamboa-Kroesen, 2019).

Prepare a welcome message for families that includes

key information—your contact details, rehearsal expectations, and important dates. Share this through both digi-

tal tools (like email, Remind, or Band) and a print-friendly handout. If possible, host a casual meet-and-greet or “New Student Night” to begin building relationships face-to-face. Stick with the communication platforms your

school already uses to make it easy for families to stay connected.

5. Map the Curriculum and Select “Quick Win” Music

Planning your year begins with the first few days. One effective strategy is to start with “quick win” music—

short, accessible songs or activities that build confidence,

foster community, and set a joyful tone in your music classroom. These early experiences don’t need to be per-

fect; they just need to get everyone making music together right away. Below are practical examples of quick-start pieces and activities organized by classroom type.

Quick Win Repertoire Ideas Classroom Type General Music (K–5)

Day 1–Week 1 Music-Making Ideas

w Simple folk songs: “Engine Engine Number 9,” “Bow Wow Wow” w Call-and-response songs: “Who Has Seen the Wind?” w Movement songs: “Let Us Chase the Squirrel,” “Tideo” w Rounds: “Row, Row, Row Your Boat,” “Are You Sleeping?” w Rhythmic chants and body percussion echoes w Popular music loops using classroom instruments (e.g., Boomwhackers on a chorus)

Choral/Vocal (6–12)

Instrumental (Band/Orchestra)

28

w Rounds: “Shalom Chaverim,” “Hey Ho, Nobody Home,” “I Love the Mountains” w Partner songs: “Frère Jacques,” “Three Blind Mice” w Short folk melodies: “Waters of Babylon,” “Who Can Sail?” w Simple call and response: “Zum Gali Gali,” “Siyahamba” w Layered pop a cappella riffs: “Lean on Me,” “Don’t Worry Be Happy” w Easy unison folk tunes: “Hot Cross Buns,” “Mary Had a Little Lamb,” “African Noel” w Two-note or three-note pentatonic improvisation w Section-based ostinato grooves w First ensemble rounds: “When the Saints Go Marching In,” “London’s Burning” w Body percussion or simple pop song play-alongs

FLORIDA MUSIC DIRECTOR

Tips for Making the Most of Quick Wins

Phase 3:

w Keep it short and successful. Choose music that stu- After Students Arrive– Managing Behavior matters more than perfection. & Building a Positive w Echo and move. Call-and-response and simple Culture dents can learn in 5–10 minutes. Joyful participation

motions help students of all readiness levels engage

w Layer and loop. Build momentum by stacking simple dures, predictability, and positive interactions. Teach and right away.

The first days set the tone for the year. Prioritize proce-

w Use familiar material. Songs students may already passage. w Entering and exiting: Teach students where to put know will lower the barrier to participation and boost rhythms or melodic lines for quick ensemble sound.

w Offer choice. Let students choose from two or three confidence.

w Celebrate every success. Take a moment to recognize activities, or co-create a simple groove together.

effort and enthusiasm—early wins help set a positive classroom tone.

rehearse specific routines, just like you would a musical

belongings, how to enter quietly, and what to do while waiting for rehearsal to start. Practice it daily until it’s

w Asking questions: Model when it’s appropriate to automatic.

raise a hand, use a signal, or wait until a break in the

w Group work: Walk students through expectations for music.

small ensemble rehearsals—voice levels, roles, and

w Transitions: Rehearse moving from singing to writing, or from chairs to risers, with clarity and urgency. w Turning in music/forms/money: Show students how to give peer feedback.

exactly where to turn in materials—have labeled bins

w Office visits: If students need to see you privately and demo how to use them.

(e.g., about a grade or an issue), establish a protocol like writing a note or seeing you after rehearsal.

Also introduce and rehearse a short, memorable list of

w Respect yourself and others w Be on task w Do your very best w Make good choices w Be a musician

core behavioral expectations. One example:

These should be more than words on a wall. Discuss

what each means in your room, and then model, role-

play, and reinforce them consistently. For instance, after practicing “Be a musician,” ask: How does it affect us as an

ensemble when your folder’s missing? When your neighbor’s off-task?

continued on page 30 SEPTEMBER 2025

29

Teach Manners continued from page 29

Classroom Management in Practice

Once routines are in place, consistency becomes your

strongest tool. Draw on the idea of contingent relationships—students quickly learn what behaviors result in

w “If you return your form on time, you’ll be eligible for the field trip.” w “If you talk during the warm-up, we’ll restart the exerwhat outcomes:

cise and lose rehearsal time.”

Catch students doing the right thing—aim for a 4:1

ratio of approval to disapproval. Acknowledge students

w “I saw how you stacked chairs without being asked— thank you.” w “Thanks for keeping your eyes on me during that

who follow procedures without prompting:

transition. It helped the group stay focused.”

Avoid sarcasm, embarrassment, or public correction

when a private word will do. A quick, quiet redirect (“Check your posture, thank you”) is far more effective than calling out a student mid-song. Never “zap” students—discipline should guide, not shame.

Focus on What to Start, Not What to Stop

When addressing off-task behavior, think about what you want students to do, not just what you want them to stop.

w Instead of “Stop talking!” try, “Let’s hum the pitch together while we wait.” w Instead of “Stop tapping your stand,” try, “Can you

Replace disruptive behavior with a musical alternative:

keep that rhythm going on your body silently?”

Students would often rather be corrected than

ignored—so be intentional about acknowledging posi-

tive participation. A nod, a gesture, or even a brief “Nice catch!” helps reinforce behaviors you want to see again.

Teaching Manners as Context-Specific Behavior

“Manners” in music class aren’t the same as manners in the cafeteria. Teach what respect looks and sounds like in

your space. Expectations should shift depending on the

w In rehearsals: No talking during tuning. Pencils out during feedback. w In practice rooms: Use time efficiently. Leave the room cleaner than you found it. w On trips: Respect chaperones. Be early to call times. w At performances: Stay still during others’ perfor-

setting:

mances. Exit the stage with professionalism.

30

FLORIDA MUSIC DIRECTOR

Have students rehearse each of these scenarios. Use

skits, examples, or even video clips of past students to illustrate what “on-brand” behavior looks like.

Managing New and Returning Students

Recognize that students come with different levels of experience. New students may feel overwhelmed, while returning students understand the routines and can even support their peers.

If you’re new to the program, avoid making major

changes all at once. You’re not just managing behavior—

respond with kindness and consistency.

cargo ship, change should be gradual and should take

they’re about empowerment. By focusing your energy

Be open and clear about your expectations, and allow

environment from Day 1, you set the stage for a successful

you’re shaping the classroom culture. Like a turning large time to avoid losing valuable “cargo.”

students time to adjust. Only revise procedures after you’ve established trust and credibility with your students.

Use Rehearsal Planning as a Management Tool

Remember, the first two weeks aren’t about control—

on creating a structured, welcoming, and musically rich

year where you get to do what you love most: teaching music. Your intentional leadership during this crucial time can inspire a culture of respect, enthusiasm, and growth that lasts all year.

Well-planned music-making can prevent many off-task

Gregory W. LeFils, Jr., PhD, is a visiting

only maximize learning but also minimize the opportuni-

tion at Stetson University in Florida, hold-

behaviors before they start. Engaging, clear rehearsals not

assistant professor of choral music educa-

w Post rehearsal goals where students can see them— State University. His experience encompasses directing choral music programs, conducting, and check them off together as you go. w Start with a musical task immediately—even on presenting at state and national music education conferences,

ty for misbehavior.

Day 1. A simple call-and-response warm-up with

body percussion can make students feel like musi-

ing a PhD in music education from Florida

and maintaining an active agenda as a speaker, clinician, and adjudicator.

w Balance rigor and success: Include something stu- References cians from the first moment.

dents can nail early in each class. Momentum builds

Gamboa-Kroesen, J. S. (2019). These are my people: Music teacher instructional practice and school connectedness [Doctoral dissertation, University of California, Los Angeles]. eScholarship. https://escholarship.org/uc/item/9132f2v6

than sitting? Are you catching behavior problems

Marzano, R. J., Marzano, J. S., & Pickering, D. (2003). Classroom management that works: Research-based strategies for every teacher.

Association for Supervision and Curriculum Development.

w Assess your plan weekly: Are students singing more morale.

early or reacting late?

By embedding expectations into your music-making,

students learn that good behavior is just part of being in your ensemble—not a separate system.

Final Thoughts

Behavior is situational, and students bring a variety of

experiences, habits, and expectations. Your role as a music

educator extends beyond teaching content—it’s about teaching context. Help students understand how behavior

in a music room differs from behavior in a gymnasium,

cafeteria, or other classrooms. When students fall short,

Madsen, C. H., & Madsen, C. K. (1974). Teaching/discipline: A positive approach for educational development.

Allyn and Bacon, Inc. National Association for Music Education. (n.d.). https://nafme.org PBIS.org. (n.d.). https://www.pbis.org Peterson, C. (2016). Resonance: The art of the choral music educator.

Pavane Publishing.

Responsive Classroom. (n.d.). https://www.responsiveclassroom.org SmartMusic Blog. (n.d.). https://www.smartmusic.com/blog Wong, H. K., & Wong, R. T. (1991). The first days of school.

Sunnyvale, CA: Harry K. Wong Publications.

SEPTEMBER 2025

31

F E AT U R E

Intersectin With Robert Rauschenberg at the Rauschenberg Gallery, Florida SouthWestern State College

Moving Beyond the Traditional Boundaries

BY S C OT T C O U R T N E Y, P H D

32

FLORIDA MUSIC DIRECTOR

ng Music and Art Robert Rauschenberg

A

As we mark the centennial of Robert

Rauschenberg’s birth in 2025, his

enduring legacy reminds us that creativity thrives through con-

nection, not isolation. Best known as an avant-garde visual artist,

Rauschenberg blurred the bound-

aries between painting, sculpture, performance, and sound (Joseph & Rauschenberg, 2003). His interdisciplinary approach offers both

a philosophical foundation and

a practical model for 21st century

teaching. In today’s music classrooms, where virtual tools, multimedia integration, and hybrid perfor-

mances are increasingly the norm, Rauschenberg’s vision feels more

relevant than ever. From choral con-

certs enhanced with visual art to marching ensembles that fully merge sound and spectacle, we see how collaborative, cross-disciplinary work

deepens learning. After providing a brief background of Rauschenberg,

Retroactive II, 1963 (oil and silkscreen ink on canvas)

this article explores three key take-

aways from Rauschenberg’s legacy: the artist as collaborator, the process

as performance, and art as a mirror of ourselves and our world.

continued on page 34

SEPTEMBER 2025

33

Intersecting Music and Art continued from page 33

art. The gallery continues his spirit through exhibitions Background: The Person and His Work

Robert Rauschenberg (1925–2008) was a groundbreaking American artist who redefined boundaries between disci-

plines through a lifelong commitment to collaboration and experimentation. From his early days at Black Mountain

College, where he worked with John Cage and Merce

Cunningham, to his pioneering “combines” that merged

and performers across genres, from experimental jazz

to punk rock. For FSW students and faculty, his influence underscores the value of interdisciplinary creativity, encouraging us to think beyond rehearsal rooms and into

immersive, collaborative spaces where sound, image, and movement converge.

I realize performance art may not always connect with

painting, sculpture, and found objects, Rauschenberg

musicians. I vividly recall my initial confusion when first

and performance. His approach laid the groundwork

sculptures such as exhaust pipes and car doors. I slowly

blurred the lines between visual art, music, movement, for today’s multimedia and interdisciplinary practices, particularly relevant in music and arts education where creative integration is increasingly central.

In the 1970s, Rauschenberg established a studio on

Captiva Island, Florida, as a hub for collaborative inno-

vation. His legacy lives on at Florida SouthWestern State College through the Bob Rauschenberg Gallery, which he personally named to reflect his accessible approach to

Oracle, 1962-65 34

and performances that unite visual artists, musicians,

FLORIDA MUSIC DIRECTOR

exposed to his 1962 work Oracle, which combined sound grasped that his work emphasized the transformative

power of combining disparate elements, which chal-

lenged our perception of art and life. As quoted by his

son Chris, “He rewrote the rules of the game, where we don’t disregard everyday objects” (BBC, 2016). He was our equivalent of Debussy, Stravinsky, and Schoenberg, com-

posers who respected the established practices yet forged their own paths.

Rauschenberg’s message remains especially relevant

today, as we increasingly find ourselves in a world defined by interactive experiences, where art and life are not sepa-

thought process of transformation becomes the primary point of intersection with music education.

In our classrooms, we often aim to connect historical

rate but intricately interwoven. From Frank Zappa to Andy

concepts with modern relevance. For instance, we teach

and footprint. I was recently updating some research

rules were deconstructed and transformed. Yet, while we

Warhol, you will consistently find Rauschenberg’s name on the relationship between Antônio Carlos Jobim and Sérgio Mendes. Despite their roots in Rio de Janeiro, both

artists worked with Rauschenberg in Florida. The path begins to appear; all roads seem to intersect with Robert Rauschenberg.

To celebrate the centennial of his birth in 2025 is to

revisit a body of work that still challenges, provokes, and

inspires. For music educators, Rauschenberg offers more

Bach’s counterpoint rules but then later explore how those emphasize core skills like ear training, we might struggle

to apply them in real-world context, such as blending a

piccolo or an oboe with a timpani roll. Application is often the hardest part for students and teachers alike. Under pressure to meet performance goals, we lose the space for

experimentation and discovery. With limited instructional time, the idea of “transformation” seems impractical.

The world around us suggests that integration and

than artistic admiration; he offers a model. One where the

collaboration are the path of the future. Attending the

art reflects the world we live in. As we prepare students

these interdisciplinary experiences have become, from

artist is a collaborator, the process is the performance, and for an increasingly interdisciplinary future, his example remains a powerful guide.

The Connection to Music Education

Robert Rauschenberg’s connection to music was central

to his artistic vision. His collaboration with avant-garde

composer John Cage, particularly in Theater Piece No. 1 (1952), marks one of his most notable intersections of

visual art and sound (Peters, 1980). This partnership

Immersive Van Gogh exhibit reminded me how common The Prince Experience and The Beatles LOVE by Cirque du

Soleil to Maria Finkelmeier’s movement-based percussion and David Garibaldi’s live painting on the Kiss Farewell

Tour. Nigel Stanford’s cymatics videos and projects like Fist City (with Kara Walker and Pharrell Williams) continue this fusion of sound and image. These works reflect

the same spirit Rauschenberg championed: integration, innovation, and collaboration.

So, what’s the next step for our music classrooms? Many

extended to choreographer Merce Cunningham, with

of us operate within a rehearse/perform model with little

redefined traditional performance (Potter, 1993). This

continued on page 36

Rauschenberg designing experimental stage sets that

room for reactive risk, but even small shifts can open

SEPTEMBER 2025

35

Intersecting Music and Art continued from page 35

the doors. The practical application of Rauschenberg’s

score a short story in English class? Pair history and music

and innovation. In our music classrooms, we can bring

music? Start small, but start. Collaboration builds own-

legacy lies in fostering collaboration, critical thinking, his approach to life by encouraging interdisciplinary projects, visual interpretations of music, multimedia performances, and assignments that value process over

product. These experiences enrich student learning and reflect the growing trend of immersive, cross-disciplinary

art. When music and visuals come together, chances are Rauschenberg’s influence is not far behind.

This brings us to three ways to put his philosophy into

practice.

to trace American identity through American popular

ership and confidence. When students realize that their musical voice connects to something beyond the music

room, they begin to see themselves not just as students of music, but as creators in a broader artistic landscape.

The Process Is the Performance

Rauschenberg believed there was no truly finished prod-

uct. Art was always fluid, layered, and in motion. This philosophy deeply resonates with how we teach ensem-

ble music. After an adjudicated performance, we often

The Artist as Collaborator

Music is part of a larger educational picture, and as edu-

cators, we know our work goes beyond teaching notes and rhythms. We build core life skills: listening, respond-

ing, and adapting through artistic collaboration. Robert

Rauschenberg’s partnerships with Merce Cunningham and John Cage serve as prime examples of how art is not

a solitary act, but a shared, interdisciplinary experience.

In their work, sound, movement, and image were interdependent, creating immersive, multisensory performances.

reflect and note the many areas still ripe for development.

These reflections are not regrets; they are proof of the ongoing nature of our work. Rauschenberg’s mindset

reinforces the value of creating, reflecting, revising, and experimenting. Too often, we chase polish over process,

discouraging risk in favor of predictability. We encourage improvisation in jazz band but are hesitant to welcome

experimentation elsewhere. Students begin to fear “getting it wrong,” rather than embracing creative discovery.

This year, challenge yourself to create space for artistic

This mindset speaks to a broader advocacy for the arts in

risk-taking and reflection. Consider tools like reflective

time and coordination, but it builds bridges between dis-

or score annotations, where students describe and justi-

schools. Cross-curricular collaboration may demand extra ciplines and deepens student engagement.

The challenge? Find one opportunity this year to col-

laborate across content areas. Could your students com-

pose rhythms for a PE class drill? Use music software to

Links

journals, self-assessments, in-progress video submissions,

fy musical choices. The video or audio submissions are always a great tool where we can guide experimenta-

tion in a low-risk assessment process. Asking them to play or sing a passage slower, softer, in a different style

Videos

Garibaldi, D. (2019, February 13). Garibaldi opens for Kiss in Anaheim.

Rauschenberg at Rauschenberg at

Finelmeier, M. (2023, April 26). Superhero Butterfly.

The Museum of Contemporary Art. (2015, September 24).

Robert Rauschenberg.

Stanford, N. J. (2014, November 12).

Cymatics: Chladni plate–Sound, vibration and sand.

YouTube. (2016). Robert Rauschenberg – Pop Art Pioneer Full BBC Documentary 2016.

ZKM | Karlsruhe. (2015, July 16).

GLOBALE: Ryoji Ikeda. micro | macro ZKM | Karlsruhe.

36

FLORIDA MUSIC DIRECTOR

helps them explore possibilities. Students are not just

Rauschenberg’s work. As educators, we are more than just

imagination. When the process becomes the performance,

nurturing young creators and thinkers who we hope will

performers but instead become guided by inquiry and students learn that growth isn’t about perfection; it’s about exploration.

Art as a Mirror

Rauschenberg believed that art should reflect the world

around us, our environments, cultures, memories, and

conductors of sound; we are the facilitators of meaning, contribute to the world around them.

If searching for some specific ideas for inspiration by

w Pair visual art with music of similar textures –

Rauschenberg’s approach:

Rauschenberg’s “Erased de Kooning” (the nearly

blank drawing) with sparse minimalism of Steve

er that music should not be separate from students but w Digital gallery or visual slideshows – run before a conpersonal histories. This concept offers a critical remindshaped by them. Too often, we chase a “polished” sound,

where the oboe should blend just so, and the intonation

must be exact. While important, this focus can disconnect the learner from the experience. When we allow music to reflect the students’ world, it becomes more personal, authentic, and meaningful.

Rauschenberg’s “combines” mixed media, including

painting, sculpture, photography, and found objects.

Reich or Arvo Pärt.

cert or during a piece that synch visuals to the mood

w Reflective prompts during class or rehearsal – “What or rhythm of the music.

do you see when you play/sing this?” “If this music were a painting, what colors would it use and why?” and “What

w Collaborate with other departments – use technology does this story tell?”

like Canvas, Soundtrap, or Noteflight to create multi-

often ask our students, “What do you see when you play this? w Adaptive assignments are essential for inclusive These became visual collages that mirrored real life. We

media reflections and define a visual identity.

What story are you telling?” Music educators can take a sim-

learning, and strategies like audio journaling or

showcases where students explore what a piece means to

dents engage more deeply with interdisciplinary

ilar approach by integrating journals, portfolios, or digital them personally. Perhaps it’s the addition of video or visual art to a performance or finding that process to combine

partner-based collaborative responses can help stuapproaches.

various media such as a digital storybook, where they

Scott Courtney, PhD, serves as music fac-

embedded for our use; go explore the combined mindset.

teaching jazz, theory, and world music. A

add images to our music. Many school districts have tools

These connections not only enhance understanding, they validate students’ perspectives, allowing music to become a mirror of their lived experience.

Final Thoughts

As we celebrate the centennial of Robert Rauschenberg’s

birth, his legacy is rooted in collaboration, exploration,

ulty at Florida SouthWestern State College,

Fulbright fellow and global presenter, he

remains active in the marching arts and researches the intersection of world music, Zen, and the human experience.

References

and reflection as the path toward creativity. These princi-

BBC. (2016). Robert Rauschenberg – Pop art pioneer: Full BBC documentary 2016 [Video]. YouTube. https://www.youtube.com/ watch?v=yElmPbQNx9M

and curriculum goals, yet in the bustle of performances,

Joseph, B. W., & Rauschenberg, R. (2003). Random order: Robert Rauschenberg and the neo-avant-garde. MIT Press.

ples were once embedded in our music education training deadlines, and assessments, they can slip from view.

Rauschenberg Foundation. (2025). Robert Rauschenberg’s Florida studio. https://www.rauschenbergfoundation.org

music gains strength when shared. When we teach the

Rose, B. (2008). “Seeing Rauschenberg Seeing”: Artforum International, 47(1), 432–438.

and that learning is not always about getting it right.

Peters, S. R. (1980). Robert Rauschenberg, John Cage: Performance (Master’s thesis, California State University, Northridge).

When we teach music as collaboration, we teach how

process, we must reinforce the concept of discovery Life doesn’t have a rubric, yet we continue to live in that

world of absolution. Music as a mirror allows students to reflect their world, which became the thesis statement of

Potter, M. (1993). “A license to do anything”: Robert Rauschenberg and the Merce Cunningham dance company. Dance Chronicle, 16(1), 1–43.

SEPTEMBER 2025

37

MULTICULTURAL NETWORK

Arnekua Jackson, PhD Chairperson

Back to the Baton:

Remixing Culture, Connection, and Creativity s the school year begins and rehearsal rooms

reopen, it is time to focus

on what matters most: the music we make together.

September signals more than the start of a new academic term. It represents a return to purpose, a renewal of

passion, and a reconnection with people: our students, our colleagues, and the

communities that shape and inspire us. Whether you

are greeting familiar faces or welcoming new ones,

this is an opportunity to

reimagine your classroom,

your curriculum, and your approach.

Music is not only what we

teach. It is how we affirm

identity, promote healing,

energy. Start each class

Now is the time to consider

whether it is a quote, a

and build understanding.

how we can amplify every voice and foster inclusive

excellence in every rehearsal and classroom.

Let’s Try a New Track

w Center Culture This Year

Let your curriculum

reflect your students.

Make room for their

heritage, hometowns, and hidden talents.

w Lead With Light

Representation is rhythm.

Your students mirror your

38

with a positive spark,

song, or a simple “I’m glad

w Build a Harmonious you’re here.”

w Check Your Tempo

Remember to pause.

Breathe. Reflect. Reset.

Your wellness matters as

much as your lesson plans.

Network

A Call to Action

buzzword; it is the foun-

Multicultural Network, we

Collaboration is not just a dation of success. Lean

into your colleagues, your

local community, and your

w Encourage Creative Risks MCN family.

Make space for students to compose, improvise, and

move. Growth often lives on the edge of comfort zones.

FLORIDA MUSIC DIRECTOR

As members of the

are uniquely positioned to lead with vision,

authenticity, and purpose.

Our work is not only about curriculum and concerts.

It is about cultivating

empathy, fostering cultural

Let us step boldly into this

academic year with renewed energy and unwavering

commitment. Share your

stories, your wins, and your insights with us. Encourage

your colleagues. Inspire your students. Together, let us

raise the volume on equity,

creativity, and excellence in music education.

This is our moment to lead.

understanding, and creating

This is our time to inspire.

thrive.

baton.

safe spaces for all students to

Let us begin back at the

FLORIDA NAfME COLLEGIATE

Mark A. Belfast, Jr., PhD Advisor

NAfME Collegiate Kickoff Week and FMEA Component Memberships

W

FMEA Component

pays NAfME dues and

the components (i.e., FBA,

successful and relatively

Students

college or university, NAfME

said, each of those component

new semester. As NAfME

Florida, your primary

elcome back, everyone!

I hope you had a

Memberships for College

stress-free launch to the

As a college student in

Collegiate chapters across

connection to the Florida

the state kick into high gear, I want to ensure you are

aware of two very important opportunities.

Music Education Association (FMEA) and the National

chapter (regardless of how

active the chapter might be).

Florida NAfME Collegiate

through your membership in

but there are also content area

Education (NAfME) is

Florida NAfME Collegiate.

This year, Kickoff Week

to FMEA ($60), a portion of

When you pay your dues

will take place September

those dues covers your dues

each day’s theme and follow

have a NAfME Collegiate

is classified as a “council”

NAfME Collegiate

the Kickoff Week website for

considers that institution to

Association for Music

Kickoff Week

22–26. Be sure to check out

identifies with a specific

for the national association.

As long as a single student

FEMEA, FOA, or FVA). That organizations also provides membership opportunities

while you are still in college.

This year, when you activate (or reactivate) your

FMEA membership

under the FMEA umbrella,

and join Florida NAfME

focused “components” that

you to add a component

are also governed by FMEA. When you graduate from

college, you will transition out of Florida NAfME

Collegiate and into one of

Collegiate, I encourage

membership to your FMEA account and explore all

the components have to

offer as you continue your educational journey.

NAfME Collegiate Official

COMPONENT

information. I hope you and

Florida Bandmasters Association (FBA) Florida Elementary Music Educators Association (FEMEA) Florida Orchestra Association (FOA) Florida Vocal Association (FVA)

on socials for all the latest

your fellow music education majors will participate and show the world the great things you are doing.

(*music education majors only)

College Student Membership * FREE $10 $15 $10

START OR RENEW YOUR CHAPTER TODAY! Join the only national music honor society for students in grades 6-12 Learn more about this program: nafme.org/Tri-M Contact us: Tri-M@nafme.org SEPTEMBER 2025

39

CONTEMPORARY MEDIA COMMITTEE

Clint Randles, PhD Chairperson

FMEA All-State Popular Music Collective The Contemporary Media

home education

announce that the FMEA

virtual school, and be

Music Collective will

member teacher from

Professional Learning

education students

Committee is excited to

music cooperative, or

Florida All-State Popular

sponsored by an FMEA

return as part of the 2026

that school. Home

Conference in January.

must be sponsored by

on, and perform, mostly

member teacher from that

the students, and it will be

cooperative. In addition, the

pedagogical approach where

participating member of a

significant autonomy over the

that is sponsored by an active

The Collective will focus

their FMEA/component

original music created by

home education music

run using a learner-centered

student must be a regularly

the students will have

school-based music program

choice of literature performed.

FMEA member.

expected to participate in pre-

Academic Eligibility

to begin the planning process

requires students to maintain

Students will also be

conference communications

Florida Statute 1006.15 (3)(a)

of creating literature.

a grade point average of 2.0

through video recordings,

equivalent.

FMEA website by October

Participant Contract

will be made by members

contract must be completed

Committee, and results will

for all-state groups. These

October or early November.

for the teacher to print when

Eligibility

online, and must be included

participating in the Florida

the FMEA office.

(FMEA) All-State Popular

Participants

be enrolled/registered at

up of one DJ, one VJ, two

school, public charter school,

artists, two or three vocalists,

Auditions will occur

with links submitted to the

or above on a 4.0 scale, or its

23, 2025. Personnel selections

An all-state participant’s

of the Contemporary Media

for every student auditioning

be communicated in late

contracts will be generated

Any student, grades 9–12,

Music Education Association

the students are entered

with the entry forms sent to

Music Collective must

The collective will be made

a public school, private

or three rappers/hip-hop

40

FLORIDA MUSIC DIRECTOR

two or three guitarists,

Audition Requirements

keyboardists, two drummers,

submitted as video recordings

one bass guitarist, two

and potentially a few other instrumentalists. Staff will include a director, vocal

coach, and sound technician.

FMEA Conference

Rehearsals and performances will be part of the

FMEA

Professional Learning Conference in January.

Accepted students,

sponsoring teachers, and necessary chaperones of

accepted all-state students

are required to register and

attend the FMEA conference.

See the

Conference Policies

for details and the

Conference Registration

page for prices.

Students will also be

expected to participate in preconference Zoom meetings to

begin the planning process of creating music. The schedule for both conference and

pre-conference activities

will be distributed with the announcement of selected students.

All auditions will be

and should include ONLY

the student’s part. Except for

DJ and VJ auditions, students

should record their part while listening to the supplied

backing track on headphones.

DJ and VJ auditions should be a video recording of the student performing their mix. Quality sound will

be the responsibility of the student and sponsoring teacher. In addition to

musicality, students will also

be evaluated on performance theatrics. The importance of

musical creativity cannot be overstated. It is critical that students demonstrate their creative selves, especially with audition material

containing a supplied backing track. Creative performance, that remains stylistically

appropriate, is preferable to

simply replicating a recorded version of the student’s part.

Learn more about the

FMEA All-State Popular Music Collective

HERE.

DIVERSE LEARNERS COMMITTEE

Christine Lapka, EdD Chairperson

Duets That Support: Peer Strategies for Diverse Learners in Ensembles s the school year begins,

“elbow partners.” You have

performing students can

directors are forming student

these peer duos. Friend and

ensure both benefit from

many ensemble

leadership teams—section leaders, group captains,

and ensemble officers. To further support students

with disabilities, consider

implementing leadership at

several options for forming Bursuck (2019) suggest the

w Pair students with sim-

following strategies:

ilar achievement levels.

Matching two high-

prevent frustration and

the experience. Similarly, pairing students with

comparable understanding fosters balanced interactions.

w Try random pairings. This method is straightforward and can encourage new

w Use reciprocal tutoring. connections.

Students alternate roles as tutor and tutee. To avoid

continued on page 42

a micro level by pairing each student with a peer—such as a “band buddy,” “choir

companion,” or “orchestra ally.”

Research supports the use

of peer-mediated instruction

(PMI). Studies show that both students with disabilities and their typically developing peers make greater gains when taught using PMI

compared to traditional

methods. Additionally, 90%

of students reported enjoying working with a partner

(Scruggs, Mastropieri, & Marshak, 2012). When

students are taught to make supportive statements, they can successfully collaborate

with peers outside their usual social circles (Baker, Gersten, Dimino, & Griffiths, 2004).

With these positive

outcomes in mind, PMI

groups are intentionally

small—just two students,

forming a duet. Instrumental ensembles are familiar with the stand partner setup, while choirs might use

SEPTEMBER 2025

41

Duets That Support continued from page 41

hierarchical dynamics,

consider assigning neutral

identifiers—such as school colors (e.g., one student is

w Explore cross-age tutor-

“gold,” the other “purple”). ing. Older students can support younger ones,

w If possible, duos are

asked to work together

for 20 minutes outside of the school day. They can

record and submit a part

of their practice for points and/or feedback.

either within the same

Provide Clear Guidance

grade levels. (pp. 394–395)

to develop curriculum and

school or across different Next, consider when and

how often these pairs should

w During rehearsal, ask stu-

work together. For example:

dents to tell their partner the starting pitch for the

w In a reciprocal model, concert A scale.

“gold” listens while

“purple” plays, then

provides feedback. Roles

w During rehearsal,

are then reversed.

duos might rotate into a

practice room for focused 10-minute sessions.

42

As educators, we’ve trained facilitate learning. Students benefit from short-term,

w Did your partner sing confidently? w Was the sound ever louder than lovely? w Can diction be improved (beginning, middle, or

w Is there a pitch or pitches ending consonants)? that need attention?

Encourage feedback and

allow a second attempt before switching roles.

Peer-mediated instruction

specific goals. For instance:

offers ensemble directors a

starting pitch and listen

strategy to foster inclusion

“Give your partner the

to them sing the last eight

measures of Valiant-for-truth*

by Ralph Vaughan Williams.

Focus on fortissimo vocal

quality, diction, and pitch accuracy at this extreme dynamic level.”

Then, guide duos with

reflective questions adapted from Shaw (2018):

FLORIDA MUSIC DIRECTOR

powerful, research-backed

and enhance learning for all students. By thoughtfully

pairing students and guiding their interactions, we create a supportive environment where every musician—

regardless of ability—can

grow, connect, and contribute meaningfully. As we begin

the school year, let’s embrace

the duet—not just as a

musical form, but as a model for learning together.

* Title format from Oxford University Press Music References Baker, S., Gersten, R., Dimino, J. A., & Griffiths, R. (2004). The sustained use of research based instructional practice: A case study of peer-assisted learning strategies in mathematics.

Remedial and Special Education, 25, 5–24.

Friend, M., & Bursuck, W. D. (2019). Including students with special needs: A practical guide for classroom teachers (8th ed.).

Pearson.

Scruggs, T. E., Mastropieri, M. A., & Marshak, L. (2012).

Peer-mediated instruction in inclusive secondary social studies learning: Direct and indirect learning effects.

Learning Disabilities Research & Practice, 27, 12–20.

Shaw, B. P. (2018). Music assessment for better ensembles. Oxford University Press.

AWARDS COMMITTEE

Sondra A. W. Collins Chairperson

RICARDO (RICK Y ) GRIMALDO,

Y

principal of Stephen Foster Elementary School in

our FMEA Awards Committee wants to recognize

Broward County Public Schools,

and empower the heroes among us who have

inspires through personal testimony.

been the light this past year, as well as continue to be the light, for their students and others. Your FMEA

Awards Program offers several awards in recognition

of the efforts and accomplishments of those who have made outstanding contributions to music education.

Please check over the award categories and take the opportunity to recognize those lights among us. It’s your turn to be their light, in recognizing them.

Are you part of a middle or high school music

program that offers dynamic music instruction

with high recruitment and retention numbers? If so, you can be a part of this year’s awards program by

applying for the FMEA Music Education Enrollment Award! To qualify, 30% at the high school level and 45% at the middle school level of the entire school’s population must be involved in a music program taught by an FMEA member.

Have you been teaching music for 25 or more

years? If so, you qualify for the Music Education

Service Award, and the application process is very simple. If this is you, submit your application so

you can be part of the exciting awards ceremony in January! FMEA also has a very special award that honors those reaching the mark of

50 years or more of service in music education.

The school enrollment awards and service awards

are typically self-nominated and take only minutes to complete online. The deadline for the Music

Education Service Award and Music Education

Middle/High School Enrollment Award categories is October 31, 2025. Please check the FMEA website for details about the nomination process: programs/awards.

FMEA.org/

T

“The success of our music program is really all to do with the

phenomenal music teacher that I have. I saw from the first moment that I met her what a dedicated music teacher she is. I will never

forget that first fall concert, where I heard songs that I had never

heard before in my life, saw the happiness of the kids and the parents, and saw and heard the unique music she put together. I was

overwhelmed by it. The very first priority for me, the following school year as I was working on the budget, was to make sure that I

could have this fantastic music teacher here 100% of the time.

Music education to me represents a very simple

I am continuing to share with you a little of the

philosophy: I believe that all kids deserve to have the same

at our FMEA Awards Ceremony during the 2025

ago, our school had the first opportunity to participate in “Christmas

words of inspiration I share with you to give you that

for me like we had finally achieved a major goal, which was to have

school year, as well as the drive to help shine a light on

anywhere throughout the district.

brilliance that this year’s awardees shared with us

opportunities, no matter what their background. Two years

FMEA Professional Learning Conference. These

on Las Olas” [a local community performing opportunity]. It felt

confidence to be the light to your own students this

the same opportunities for the students of Stephen Foster as the kids

others during this nomination period.

I am proud to be honored as the FMEA Elementary

Administrator of the Year and to represent Broward County Public Schools in this magnificent honor.”

SEPTEMBER 2025

43

FLORIDA BANDMASTERS ASSOCIATION

Jeff Cayer, EdD President

A September Reflection s September settles in, band directors across the state

are transitioning from the excitement of the new school

year to the rhythm of daily rehearsals, football games, and the

steady march toward fall performances. Marching band shows

Our role is not only to prepare ensembles for performances

but to shape musicianship and character through consistent, thoughtful teaching.

are taking shape on the field, and preparations for concerts

Embracing Feedback as Growth

logistics, and rehearsals, it is worth pausing to reflect on a

outside perspective. The Florida Bandmasters Association

and fundraisers are in full swing. Yet amid the scheduling, deeper question: Why do we do this work?

With the novelty of the school year behind us, it is easy to let

administrative tasks, performance pressures, and assessment

preparation distract from the heart of our profession—the joy of making music. Music education is not merely about notes

on a page or scores on a rubric; it is about connecting students to something greater, inspiring creativity, fostering discipline, and building community through sound.

One of the most effective ways to grow as educators is to seek offers a valuable tool for this purpose through its mentoring initiative. Directors are encouraged to submit recordings of

both concert and jazz bands for constructive feedback from experienced mentors through the “Extra Ears” program.

w Concert Band mentoring@fba.flmusiced.org w Jazz Band jazz@fba.flmusiced.org Recordings can be submitted to:

Too often, directors hesitate to submit recordings with the

It is during this time of year, when routines solidify and

thought, “My band isn’t ready yet.” In truth, no ensemble is

our students—of the value in the process, not just the product.

The feedback you receive may challenge your assumptions,

expectations mount, that we must remind ourselves—and

ever truly finished or perfect—and that is precisely the point. reshape your rehearsal priorities, or offer fresh insight into your ensemble’s tone, balance, or articulation.

Early and regular feedback empowers directors to make

meaningful adjustments throughout the year rather than waiting for performance assessments to reveal areas of

growth. Take advantage of this free and confidential service, an invaluable opportunity for professional development and student improvement.

Assessments and Beyond

To our high school directors preparing for upcoming

music performance assessments: good luck. These events are milestones, certainly, but they are not the end goal.

The assessment is a snapshot—not the full story—of your

ensemble’s progress. As you strive for excellence, don’t lose

sight of the relationships you’re building and the lifelong love of music you are instilling in your students.

Remember: The process is more important than the product.

Put on a great show—but have fun along the way.

As we navigate the busy months ahead, may we continue to

lead with purpose, teach with passion, and remain grounded

in the joy that brought us to music education in the first place.

The journey is long, but deeply rewarding. Let us support one

another, seek growth, and always keep our “why” at the center of what we do.

44

FLORIDA MUSIC DIRECTOR

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION

Meghan Alfaro President

H

ello, FEMEA! As we begin a new school year, we know

it can sometimes feel like you’re on your own—juggling

lessons, behaviors, and performances—without much time to

connect. But you are not alone. You are part of a vibrant educa-

tional community, and this year FEMEA is focused on building that connection stronger than ever.

The consolidation of our member districts is complete. With

the district realignments, we were able to create two brand

new chair positions created with YOU and your students in

mind: the Member Engagement Chairperson and the Student

Engagement Chairperson. Here are a few ways the new chairs will work to support you.

Member Engagement Committee Chairperson: Jess Gronberg –

jess@femea.flmusiced.org

Short, practical virtual sessions focused on real topics like

w Sunday Scaries Resources

work/life balance, tech tools, inclusive repertoire, and more.

Weekly lesson ideas and tips to help you start your week

w Teacher Spotlights

feeling prepared and confident.

A highlight of outstanding members each month—because your work deserves to be seen and celebrated.

Supporting Students:

Student Engagement Committee

w Ask an Expert

Chairperson: Christine Marr –

christine@femea.flmusiced.org

Quick access to experienced educators who can offer advice

w 3 Post-It Plans

A NEW summer student symposium is in the works for

w … and more to come!

students. Stay tuned for details!

These committees are just one way that FEMEA is working

to uplift educators and bring joyful, high-quality music

w Workshop Wallets

experiences to all students. We are also offering:

Our Janice Lancaster Professional Development Fund is

now offering Workshop Wallets! Three members from each district will be selected to receive $50 for attending a local

w Text Messaging

workshop. Apply on our website at

Supporting Teachers:

w Thriving Thursdays!

w Summer Student Symposium Coming 2026!

and solutions for student-related challenges.

Simple, effective ideas for lesson plans and managing behaviors that keep music fun and focused.

femeamember.org.

Sign up on the website to receive text messages from FEMEA for real time updates and information.

And finally, we need you! If you would like to serve on one of these new committees, email me at

meghan@femea.

flmusiced.org. Additionally, 2026-28 FEMEA District Chairs

2, 4, and 5/6 are up for election this January. The Nomination Committee is accepting nomination forms for the 2026-28

FEMEA District Chairs 2, 4, and 5/6 until December 1, 2025.

Finally, we encourage you to reach out to your county contact and/or district chairperson to share your ideas and input.

District 1, South Florida – Emerson Oliver District 2, Central South – Laura Allgood District 3, Central West – Katie Thomas

District 4, Central North – Madison Kerr District 5, North Florida – Dan Browne

Whether you’re looking for fresh ideas, support, or a

stronger sense of community, we are here for you. You are the foundation of music education in Florida. Let’s keep growing, connecting, and making a difference!

SEPTEMBER 2025

45

FLORIDA VOCAL ASSOCIATION

Jeannine Stemmer President

F U N F R I D AY S :

Out-of-the-Box Strategies for Active Music Learning

W

e all know the benefits

of getting our students

moving and engaging in cre-

Fun Friday Favorites

Still, it’s easy to get caught up

1. IPA Twister During our three-week International Phonetic Alphabet (IPA) unit—covering pure vowels (Week 1), diphthongs (Week 2), and

ative, out-of-the-box learning. in delivering all the content we’ve planned, hoping our students absorb it all. The

truth is, just because we say it doesn’t mean they retain it.

Singing is a physical

activity, and rehearsals should always include

movement—but we can go even further. That’s where Fun Fridays come in.

Originally born out of the

need to lift spirits during

COVID, Fun Fridays stuck

around—and now they’re a

staple in my classroom. Each Friday, we reserve the last

20 minutes of rehearsal for

wacky, creative activities that promote learning through

movement, teamwork, and

fun. Some of these ideas were created by me, and others were inspired by brilliant colleagues.

PRO TIP: If you’re even a little bit competitive (like me), set clear rules before you begin.

Also, remember: these activities require just as much planning as a traditional lesson.

46

consonants (Week 3)—we cap things off with a game of IPA Twister.

Set up three Twister mats or cre-

w

w w w

ate your own using painter’s tape and printed symbols.

Assign each color to a different IPA sound.

Use an online spinner to call out “left leg,” “right hand,” etc., and then say a word.

Students must find the corresponding IPA symbol for that word.

Best with small groups. Keep the board large to avoid awkward proximity. Students can choose to play, coach, or observe.

2. Body Percussion Rhythm Challenge After our rhythm unit, students work in small groups to create a two-measure body percussion sequence using patterns they’ve learned.

NOTE: The most creative and cleanly executed routine gets video recorded and showcased at our end-of-year awards assembly.

3. Small Melodic Compositions In groups of four, students compose and perform a four-measure melodic exercise.

NOTE: They’re encouraged to rehearse and present their piece to the class.

4. Scary Story Dynamics To reinforce the importance of dynamics, I tell a scary story with a loud scare at the end.

NOTES: 1. Delivery matters—this takes performance chops, so practice it!

2. It’s a fun and memorable way to reinforce dynamics and expression.

5. Vocabulary Charades Simple and fun! Students act out music vocabulary terms.

NOTE: Be creative and adapt the rules to fit your classroom culture.

FLORIDA MUSIC DIRECTOR

Ideas from the wonderful mu sic educator Carol Krueger

Source: carolkruegermusic.com

w Improvised Pattern Singing w

Students sing short patterns in grou ps based on criteria you set.

For example, improvise using the tonic triad—but each student must start on the last note sung by the previous person.

Spheres of Success Using racquetballs, students bou nce the ball on the beat while speaking rhythms. Level up: Bounce on the offbeat or add rhythmic speech whi le bouncing!

at Vocal Youth Miami Ideas from my friends The Ultimate Fun Friday:

Choir Wars Our biggest event is the annual Choir Wars, a wild celebration that happens

after our MPA season. It’s not educational—it’s just plain fun. And it’s a hit.

w

Important Notes: Requires administrative approval, calendar

w Each choir class

reservations, and facilities. participates during their class period and must clean up and change before the next class begins.

Source: vocalyouth.org

Beach Ball Game ball. w-you questions on a beach Write review or get-to-kno ir right thumb. rs the question closest to the we ans t den stu the ; und Toss the ball aro

w

Vocabulary Puzzle Pieces er with the definition. side with the word, the oth one rs— pai zle puz ate Cre find their match. m. Students pick one and Scatter them around the roo !

Bonus round: Do it silently

w w

ree Rounds: w FooTh d Coloring Water Wars The

Using water squirters, bu ckets, and food coloring (mostly from the dollar store), students go wild.

Flour Tissue Bombs Once they’re wet, we up the chaos—flour-filled tiss ue bombs get thrown like sno wballs.

Blueberry Mush Wars Clearance berries + flour + water = a disgusting, glorious mess.

We do this on the school field, and it’s become a po werful recruitment tool—students passing by want in.

w

w

Final Thoughts

Our colleagues across the state are full of creative, movementbased learning ideas. Reach out to each other. Share what works. Make it a topic at your next district meeting.

Most of all, have fun crafting meaningful, memorable

experiences that your students will carry with them forever.

SEPTEMBER 2025

47

FLORIDA ORCHESTRA ASSOCIATION

Andrea Szarowicz President

Welcome to the 2025–26 School Year!

D

ear FOA members, as

your FOA president, I

am thrilled to welcome you to the 2025–26 school year!

Over the summer, the FOA Executive Committee and

FOA Board have been hard at work preparing our new dis-

trict chairpersons, organizing committee efforts, and con-

A sincere thank you to all

Additionally, we are

seeking volunteers for all-

a successful year ahead.

the Hilton Orlando. If you are

FMEA Professional

district chairperson. Special

Room blocks for the FMEA

for setting the stage for

Remember, your district chair is your primary resource

for FOA-related questions, guidance, or suggestions throughout the year.

state judging on October 18 at interested, please contact your thanks to Brian Hellhake

and all those assisting in this important process.

All-State Auditions

FOA/FLASTA Fall

Orchestra Association. It is

window is scheduled for

Mark your calendar for the

truly an honor to lead this outstanding organization

alongside such a dedicated and passionate team.

Please join me in

welcoming our new district chairpersons and all-state coordinators:

The all-state audition

September 15–21. Please

consult your district calendar for specific audition dates.

We encourage everyone to

consider volunteering—your

support makes a meaningful difference for our students and community.

District 3

Samantha Grice

District 7

Justin Swaim

District 9

Jacob King

District 11

Thomas Durante

District 14

Jeff Adkins

District 17

Yelena Dumais

7/8 Concert Orchestra

Jennifer Erickson

11/12 Symphonic Orchestra

Steven Bossert

Conference

2025 FOA/FLASTA Fall

Conference, taking place

October 16–17 at the Hilton

Orlando. Registration is now open at

myfoa.org. We are

excited to welcome Creston

Herron and Dr. David Pope as our keynote speakers, along

with a featured performance

48

FLMusicEd

FLORIDA MUSIC DIRECTOR

Learning Conference

conference are tentatively scheduled to open on

Saturday, September 27 at 9:00 am ET. At that time,

full details, including hotel lists, reservation links, and phone numbers will be

available. Please remember to release any unneeded

rooms to help accommodate

fellow attendees. Note that a nonrefundable deposit will

apply to rooms not cancelled by the official November deadline.

Please stay actively

by the Boone High School

involved in your district, and

The full schedule—

ideas or seek assistance. FOA

Chamber Orchestra.

designed to inspire, educate, and support orchestra

don’t hesitate to share your is here to support you.

As we begin this new

educators at every level—

school year together, I

website. Be sure to bring your

of yourselves and your loved

is available on the FOA

instrument and music stand to participate in our music

reading sessions, which offer

CONNECT FLMusicEd

new repertoire for the year.

of our district chairpersons

tinuing to uphold the excel-

lence that defines the Florida

a great opportunity to explore

FLMusicEd

encourage you to take care

ones. Wishing you all the best for a fulfilling and successful 2025–26!

FLMusicEd

Please take time to thank and support our 2025-2026 Academic Partners.

GOLD PARTNERS

SILVER PARTNERS The College of Idaho

BRONZE PARTNERS Florida Southern College Partners as of August 4, 2025.

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

SEPTEMBER 2025

49

GOLD

SILVER PARTNERS Mark Custom Recording Service, Inc. Music & Arts Partners as of August 4, 2025.

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

50

FLORIDA MUSIC DIRECTOR

Please take time to thank and support our 2025-2026 Corporate Partners.

PARTNERS

BRONZE PARTNERS Head’s House of Music J.W. Pepper & Son, Inc. MusicFirst

PACE Travel Sight Reading Factory

SEPTEMBER 2025

51

Research Puzzles

FMEA RESEARCH COMMITTEE

D. Gregory Springer, PhD, Chairperson Florida State University

FOR MUSIC TEACHERS

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

Enrollment in High School Music Ensembles

M

usic teachers often talk about enrollments in their music classes, and at the high school level, there

are some students who do not participate in music class-

es. Understanding why some students choose to participate in music is important, but it is difficult to explore because there are many possible causes. Dr. Kenneth

Elpus (University of Maryland, College Park) and Dr.

Carlos R. Abril (University of Miami) recently published

students. They analyzed data using a zero-inflated

Poisson (ZIP) model, which is a sophisticated approach that is useful with data that have an excess number of zeros. Although the specifics of the data analysis are

beyond the scope of this brief article, it is important to mention that the authors used thorough and rigorous approaches to analyze their data.

Elpus and Abril reported many important results in

a study in the Journal of Research in Music Education

this study. In general, the authors found that the same

high school elective music ensembles and what factors

2019) were also associated with greater persistence in

(JRME). In that study, they explored who participated in influenced participation (Elpus & Abril, 2025). This study was an extension of some of their previous work. In an earlier study, those same authors explored factors that

influenced participation in high school music classes, but they used a binary measure of participation, comparing

those who participated in music at any point with those who did not participate in music at any point (Elpus & Abril, 2019). In their more recent study, they extended

their prior work by also investigating persistence in high

school music ensembles—that is, considering how many years students were enrolled in ensemble courses. They explained that the purpose of the study was “to understand the characteristics associated with greater per-

sistence in high school music ensemble courses” (Elpus

factors identified in their previous study (Elpus & Abril, high school ensembles in the current study. That is,

parental influence, socioeconomic status, race, ethnicity, prior academic achievement, and other factors were

predictors of persistence in high school ensembles. These results allow for a more nuanced understanding of what factors influence students’ decision not only to enroll in music, but also to persist in music for multiple years at

the high school level. I encourage readers to spend some time reading Elpus and Abril’s (2025) important study because the researchers reported many other related

and important findings. To stay up-to-date with current

research, I encourage you to sign up for free email alerts on the JRME website.

& Abril, 2025, p. 24).

References

data from the U.S. Department of Education’s High

Elpus, K., & Abril, C. R. (2019). Who enrolls in high school music? A national profile of U.S. students, 2009–2013. Journal of Research in Music Education, 67(3), 323–338. https://doi. org/10.1177/0022429419862837

For this study, Elpus and Abril (2025) analyzed

School Longitudinal Study of 2009, which was a project overseen by the National Center for Educational

Statistics. This dataset was longitudinal and included a representative sample of high schools from around the

Elpus, K., & Abril, C. R. (2025). Participation and persistence in high school elective music ensembles. Journal of Research in Music Education, 73(1), 21–41. https://doi. org/10.1177/00224294241247267

United States, including data from more than 25,000

Email your questions and feedback to 52

FLORIDA MUSIC DIRECTOR

dgspringer@fsu.edu with a subject heading Research Puzzles.

2026 FMEA Professional Learning Conference January 14-17, 2026

2025–26 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.

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.

CALL FOR EXHIBITORS

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.

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tions that advertise with us. 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 the following advertisement 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 ser-

CONTACT US (850) 878-6844 Toll-Free 1-800-301-FMEA exhibits@FMEA.org

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the content of any advertisement and reserves the right to accept or refuse any advertisement submitted for publication. Information for advertisers

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ad not prepared to the correct specifications OR to rework the ad as needed with fees applied.

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FMEA.org/conference/exhibitor-information

Boston Conservatory at Berklee.................................................................................... 4

Booth Discount for Corporate and Academic Partners

Florida State University............................................................................................ IFC

Florida International University...............................................................................23

The advertisers shown in bold provide additional support to FMEA members through

membership in the Corporate and Academic Partners (FCAP) program. FCAP partners deserve your special recognition and attention.

SEPTEMBER 2025

53

Executive Director’s

FMEA Executive Director Kathleen D. Sanz, PhD

NOTES

The mission of The Florida Music Education Association is to promote quality, comprehensive music education in all Florida schools.

The Best Year Ever

G

reetings and welcome back. Let’s make the 2025–26

school year the best ever! By this time, you have been

back in the classroom for almost one month. Please know

you can contact the FMEA Board of Directors for assistance during the school year. Experienced teachers, please con-

and clinicians. In addition, let them know there is a

“Session Attendance Verification Report” to record your

participation in key sessions, based on the areas of growth you identify in your request.

Let FMEA know how we can assist in your discussions

tact your colleagues, especially our early career teachers

and participation in this professional learning experience.

ers, please remember that your colleagues were first-year

All-State Auditions

helpful tips to make your year successful. You may also

be sure you are aware of the eligibility requirements for

and new teachers to Florida, to assist them. New teach-

teachers at one point themselves and may have some very want to develop a cohort of music teachers to check in on a bimonthly basis.

Professional Learning Opportunities for Members

The all-state auditions take place during September. Please students to audition, in particular the requirement for each student to be a regularly participating member of a school ensemble. Please encourage your students to audition

for this musical opportunity to further their future and interest in making music.

FMEA Professional Learning Conference

Legislative Session/Government Relations

We’re very excited about this year’s conference, The Power

Legislative Session on the FMEA website under the

& All-State Concerts

in Our Profession: Music Education for Collective Impact,

January 14–17, 2026, in Tampa. President Skip Pardee’s

Please review the end-of-session report on the 2025 Advocacy tab.

The 2026 Legislative Session will begin on January

conference theme will help us to have a collective impact

13 and end on March 13. If you are interested in being

music education, continuous communication, and a strong

on the Advocacy page.

by collaborating and focusing on a common agenda for

infrastructure. Be involved and volunteer to be part of the

involved in the advocacy process for FMEA, please sign up Please see Advocacy Committee Co-Chairperson Jeanne

experience.

Reynolds’ article in this edition for more details.

attending the conference, and share with them a proposal

Quality Music Education for Florida Schools

help you provide an elevated learning experience for your

to promote quality comprehensive music education in all Florida

Set up a meeting to talk with your administrator about

about how this professional learning opportunity will

students. When you develop your proposal, be thorough and make your case. Relate your school’s goals and

strategic plan to your request with specifics on the sessions you will attend and the many opportunities you will have to learn alongside your colleagues. Let them know this

The mission of the Florida Music Education Association is 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.

I hope you are off to a great start of the 2025–26 school

conference has more than 10,000 attendees, approximately

year. If you have any questions, please call the members of

will benefit from the expertise of well-known conductors

staff.

250 sessions, and 36 performing ensembles where you

the FMEA Board of Directors and the FMEA professional

54

Musically,

Kathleen D. Sanz, PhD FLORIDA MUSIC DIRECTOR

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

Harry “Skip” Pardee, EdD

Collier County Public Schools 5775 Osceola Trail; Naples, FL 34109-0919 (239) 377-0087; pardeh@collierschools.com Past President

Jason P. Locker

EX-OFFICIO MEMBERS 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

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

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

FMEA COMPONENTS

FSMA President......................................................... Benny L. Bolden, Jr., EdD laruemusic99@gmail.com

President-Elect

Bernard “Bernie” Hendricks, Jr.

Florida NAfME Collegiate Advisor.............................. Mark A. Belfast, Jr., PhD (850) 644-3424; mbelfast@fsu.edu

1925 Ocoee Crown Point Pkwy.; Orlando, FL 34761

DOE Arts Education Consultant...................................................Erin O’Connor Florida DOE, Bureau of Standards & Instructional Support 325 W. Gaines St.; Tallahassee, FL 32399-0400 (850) 245-0762; erin.o’connor@fldoe.org

FBA President

FMEA COMMITTEES & COUNCILS

Marshall Middle Magnet School 18 S. Maryland Ave.; Plant City, FL 33563-6008 (813) 757-9360; president@fba.flmusiced.org

COUNCILS

(407) 905-3009; bernard.hendricks@ocps.net

Jeff Cayer, EdD

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

Editor-in-Chief........................................................................ Kelly Miller, DMA University of Central Florida; 12488 Centaurus Blvd.; Orlando, FL 32816-8009; (407) 823-4545; kelly.miller@ucf.edu

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

Ocoee High School

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

Hall of Fame Chairperson......................................................Mary Palmer, EdD (407) 252-5172; mpalmerassoc@aol.com

FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION

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

FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION President..................................................................................... Meghan Alfaro Pinellas District Office; 301 4th St. SW; Largo, FL 33770-3536 (727) 588-6055; meghan@femea.flmusiced.org

President............................................................................. Kyle Prescott, DMA Florida Atlantic University; 777 Glades Rd.; Boca Raton, FL 33431-6424 (561) 297-3826; kpresco2@fau.edu

Past President................................................................................ Ashley Peek Holley-Navarre Intermediate; 1936 Navarre School Rd.; Navarre, FL 32566-7504; ashley@femea.flmusiced.org

Florida Atlantic University 777 Glades Rd.; Boca Raton, FL 33431-6424 (561) 297-3826; kpresco2@fau.edu

FLORIDA NAFME COLLEGIATE

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

FEMEA President

FLORIDA MUSIC SUPERVISION ASSOCIATION

Pinellas District Office 301 4th St. SW; Largo, FL 33770-3536 (727) 588-6055; meghan@femea.flmusiced.org

MULTICULTURAL NETWORK

FCMEA President

Kyle Prescott, DMA

Meghan Alfaro

Florida NAfME Collegiate President

Jason Lane

Florida A&M University jason1.lane@famu.edu FMSA President

John J. Dupuis

Volusia County Schools 200 N. Clara Ave.; DeLand, FL 32720-4207 (813) 787-6790; jjdupuis@volusia.k12.fl.us FOA President

President...........................................................................................Jason Lane Florida A&M University; jason1.lane@famu.edu President..................................................................................... John J. Dupuis Volusia County Schools; 200 N. Clara Ave.; DeLand, FL 32720-4207 (813) 787-6790; jjdupuis@volusia.k12.fl.us Chairperson................................................................... Arnekua Jackson, PhD St. Thomas University; 16401 NW 37th Ave.; Miami Gardens, FL 33054 arnekuajackson@gmail.com

COMMITTEES Advocacy.................................................Jeanne W. Reynolds, Co-Chairperson (727) 744-7252; jeannewrey@gmail.com Advocacy................................................... Angela Hartvigsen, Co-Chairperson School Board of Sarasota County; 1960 Landings Blvd.; Sarasota, FL 34231 (941) 927-9000; angela.hartvigsen@sarasotacountyschools.net All-State Eligibility.................................................... Harry “Skip” Pardee, EdD Collier County Public Schools; 5775 Osceola Trail; Naples, FL 34109-0919 (239) 377-0087; pardeh@collierschools.com

Andrea Szarowicz

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

5575 W. Lutz Lake Fern Rd.; Lutz, FL 33558-9234

Budget/Finance, Development................................. Harry “Skip” Pardee, EdD Collier County Public Schools; 5775 Osceola Trail; Naples, FL 34109-0919 (239) 377-0087; pardeh@collierschools.com

FVA President

Contemporary Media............................................................Clint Randles, PhD University of South Florida; 4202 E. Fowler Ave.; Tampa, FL 33620-9951 (813) 974-2311; randlesc@usf.edu

Florida Christian School 4200 SW 89th Ave.; Miami, FL 33165 (305) 226-8152; jeannine@fva.net

Diverse Learners...............................................................Christine Lapka, EdD University of Central Florida; 12488 Centaurus Blvd.; Orlando, FL 32816-2372; christine.lapka@ucf.edu

Steinbrenner High School

(813) 792-5131; aszarowicz@myfoa.org

Jeannine Stemmer

Member-at-Large

Steven N. Kelly, PhD

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

FLORIDA ORCHESTRA ASSOCIATION President................................................................................Andrea Szarowicz Steinbrenner High School; 5575 W. Lutz Lake Fern Rd.; Lutz, FL 33558-9234 (813) 792-5131; aszarowicz@myfoa.org Past President..............................................................................Laurie Bitters Winter Park High School; 2100 Summerfield Rd.; Winter Park, FL 32792 (407) 622-3200; laurie.bitters@gmail.com Executive Director....................................................................Cheri A. Sleeper 1915 S. 47th St.; Tampa, FL 33619; (813) 363-4139; csleeper@myfoa.org

FLORIDA VOCAL ASSOCIATION President...............................................................................Jeannine Stemmer Florida Christian School; 4200 SW 89th Ave.; Miami, FL 33165 (305) 226-8152; jeannine@fva.net Past President...........................................................................David Pletincks Powell Middle School; 4100 Barclay Ave.; Brooksville, FL 34609-0860 (352) 403-8437; david@fva.net Executive Director....................................................................... David Verdoni verdoni@fva.net Business Manager....................................................................... Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; business@fva.net

CENTER FOR FINE ARTS EDUCATION 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793

President/CEO................................. 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)

Emerging Leaders.................................... Dakeyan C. Graham, PhD, EdD, DMA Alachua County Public Schools; 3600 NE 15th St.; Gainesville, FL 32609 dregraham@gmail.com

Administrative Assistant...................................Siena Deaton (siena@fmea.org)

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

PROFESSIONAL LEARNING CONFERENCE

Professional Learning................................................................... Ajori Spencer Pinellas District Office; 301 4th St. SW; Largo, FL 33770-3536 (727) 588-6055; spencera@pcsb.org

Exhibits Manager............................................................fmeaexhibits@fmea.org Local Chairperson.............Jon Sever (813) 272-4861; jon.sever@sdhc.k12.fl.us

SEPTEMBER 2025

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FLORIDA MUSIC DIRECTOR