Capoeira Especial!
A New Approach to Teaching Special Education Music
Cultivating a Cooperative Learning Environment
June M. Hinckley Music Education Scholarship
Call for Applications
Take Care of Yourself
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2 F l o r i d a
Music Director
Executive Director Florida Music Education Association Kathleen D. Sanz, PhD
Hinckley Center for Fine Arts Education
402 Office Plaza Tallahassee, FL 32301 (850) 878-6844 or (800) 301-3632 (kdsanz@fmea.org)
Editor-in-Chief
Mark A. Belfast, Jr., PhD Southeastern University College of Arts & Media 1000 Longfellow Blvd. Lakeland, FL 33801 (863) 667-5104 (office) (mabelfast@seu.edu)
Editorial Committee Terice Allen (850) 245-8700, Tallahassee (tallen1962@hotmail.com)
Contents April 2019
Volume 72
•
Number 7
F E AT U R E S
FMEA 2020: Call for Session Proposals & Performing Ensembles.. . . . . . . . 4 Cultivating a Cooperative Learning Environment. . . . . . . . . . . . . . . . . 6 Capoeira Especial! A New Approach to Teaching Special Education Music. . . . . . . . . . . . . . .
10
Alice-Ann Darrow, PhD College of Music, FSU, Tallahassee (850) 645-1438; (aadarrow@fsu.edu)
2019 NAfME Collegiate Advocacy Summit Scholarship Opportunity . . . . . . . . . . . . . .
15
Jeanne Reynolds Pinellas County Schools, Largo (727) 588-6055; (reynoldsj@pcsb.org)
Take Care of Yourself. . . . . . . . . . . . . . . . .
18
Judy Arthur, PhD Florida State University, KMU 222 (850) 644-3005 (jrarthur@fsu.edu) William Bauer, PhD University of Florida, Gainesville (352) 273-3182; (wbauer@ufl.edu)
John K. Southall, PhD Indian River State College, Fort Pierce (772) 462-7810; (johnsouthall@fmea.org)
Advertising Sales Valeria Anderson (val@fmea.org)
Director of Finance and Client Relations
Richard Brown (richard@fmea.org) 402 Office Plaza, Tallahassee, FL 32301 (850) 878-6844
Official FMEA and FMD Photographers
Bob O’Lary
Debby Stubing
Art Director & Production Manager
Lori Danello Roberts, LDR Design Inc. (lori@flmusiced.org)
June M. Hinckley Music Education Scholarship Call for Applications. . . . . . . . . . . . . . . . . 34 D E PA R T M E N T S Advertiser Index. . . . . . . . . . . 2 Executive Director’s Notes. . . . . 5 2018-19 FMEA Donors. . . . 16-17 Component News.. . . . . . . . . 20
Circulation & Copy Manager
Research Puzzles. . . . . . . . . . 24
Copy Editor
Committee Reports. . . . . . . . 25
Valeria Anderson, (800) 301-3632 Susan Trainor
Academic Partners. . . . . . . . . 31 Corporate Partners. . . . . . . 32-33 Officers and Directors.. . . . . . 35
April 2019
3
2020 F M E A P RO F E SS I O N A L D E V E LO P M E N T CO N F E R E N CE
Call for Session Proposals & Performing Ensembles The Florida Music Education Association is seeking proposals for clinic sessions and performing ensembles for the 2020 Professional Development Conference to be held January 8-11. The 2020 conference theme is Celebrating Musical Excellence: Past, Present & Future. Each proposal will be submitted to the FMEA Conference Committee for consideration. Session proposals and ensemble performance applications must be submitted online by Apr. 30, 2019. Notification of acceptance will be made by mid-June 2019. NOTE: Only three (3) submissions per person. CLICK HERE
to submit your session proposal or performance application.
4 F l o r i d a
Music Director
ExecutiveDirector’sNotes It’s Advocacy Season!
FMEA Executive Director
LEGISLATION & ADVOCACY
The 2019 Legislative Session began on March 4 and will continue until May 3. Numerous bills have been
Kathleen D. Sanz, PhD
put forward for legislative consideration. The FMEA Government Relations Committee, chaired by Jeanne Reynolds, will be looking carefully at each bill and will send out notifications and alerts to members. Please be sure you act when necessary on a bill. Know your legislators and meet with them so you can express the importance of music education for all students as part of their well-rounded education.
The mission
of The Florida Music
Legislative Platform
The advocacy committee has met and will continue to meet throughout the session. Along with the
«« Increase the value of arts education for Florida’s students «« Invest in Florida’s students and schools «« Student engagement «« Keep students and schools safe «« Early childhood education
Florida School Music Association, we are working on specific strategies for these areas:
Education
Association is to promote quality, comprehensive
music education for all Florida students as a part of their complete
Collegiate Advocacy Day
By the time you read this article, we will have had our fourth annual Collegiate Music Education Day at
education.
the Capitol, on March 27. This event provides an opportunity for our collegiate students to step up and
talk with their legislators. Be sure to see the next issue of the FMD for pictures and information about the success of this day.
Spring Performances
The majority of our schools are gearing up for their spring performances. Don’t forget to take this
opportunity to advocate for music education for all students. Review the CFAE website (https://cfaefl. org/advocacy
) for advocacy materials.
MEMBERSHIP RENEWAL TIME
Each year beginning April 1, we open the membership registration process. The membership year for FMEA is July 1 to June 30 of the following year. Joining is easy and online. If you need assistance, please call the FMEA
office. This year as you join, call a colleague and encourage him or her to join along with you to enjoy the many
«« FMEA represents K-20 music education through advocacy. «« FMEA provides professional development to members. «« FMEA provides scholarships to students. «« FMEA conducts and promotes research. «« FMEA submits and receives grants for projects. «« FMEA works with industry. benefits FMEA has to offer. For example:
These are just a few of the ways that FMEA supports music educators and students in Florida. So again, as
you renew, please ask a friend to join you in the association.
Please let the FMEA office or the FMEA Board of Directors know how we can continue to serve you and
the profession.
Thank you so very much for everything you do for Florida’s children.
Kathleen D. Sanz, PhD
April 2019
5
6 F l o r i d a
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Cultivating a Cooperative Learning Environment
I
by Marina McLerran
It is a widely held truth among educators
begin presenting children with opportu-
ability to self-assess and act will be more
working toward eventual autonomy. Leah
that students who are provided with the
nities to make decisions in order to begin
successful than those who are completely
Shafer of the Harvard Graduate School of
dependent on their teachers. To support a
Education believes that “the process of
child’s development, it is important that
becoming engaged as active partners can
directors view students as contributing
give young people a set of strategies they
members of the ensemble rather than as
can use to create positive change in future
merely empty vessels in need of educat-
classrooms or communities” (Shafer,
ing. Students should be actively involved
2016). She encourages developing positive
in decisions that directly affect them in
and authentic partnerships between stu-
order to develop critical thinking skills
dents and school administrators in order
and the ability to advocate for themselves
to teach children how to voice an opinion
as independent entities. By being open to
and improve the learning environment
feedback and making small concessions
(Shafer, 2016). Shafer concedes that “lis-
to student leadership, educators can fos-
tening to young people doesn’t mean uni-
ter a cooperative rehearsal experience
laterally” agreeing to their suggestions
and encourage the development of each
(which at times might be slightly off base),
student’s voice.
but instead asserts that students should
be viewed as “stakeholders in their own
learning” and be encouraged to provide
Viewing Students as
an educated perspective (Shafer, 2016).
Active Contributors
While it is true that the decision-making
This philosophy is also supported by
portion of the brain does not fully develop
medical research that shows a correlation Continued on page 8
until the mid-twenties, it is necessary to
April 2019
7
Cultivating a Cooperative Learning Environment Continued from page 7
between a child’s self-worth and his or her relationship with adults in positions of authority. Dr. Imelda Coyne, in her 2006
study Giving Children a Voice: Investigation
of children’s experiences of participation in consultation and decision-making in Irish
hospitals, concluded that children who
experienced a “lack of involvement in the
communication process” about their own
treatment resulted in the subjects “feel-
ing unimportant and uncertain” (Coyne,
2006, p. 34). The results of the study
indicated that allotting adequate time
to inform children enabled the patients to prepare themselves for procedures and encouraged cooperation, which in turn saved time (Coyne, 2006). Dr. Coyne
urges health professionals to treat young patients “as an active participant with
an important contribution to make to the communication process” in order to
minimize stress and build the children’s self-confidence (Coyne, 2006).
To develop critical thinking abilities,
students must have opportunities to evaluate situations without the teacher’s
input. In a 2016 study from the University of Illinois titled Improving Children’s
Competence as Decision Makers: Contrasting Effects of Collaborative Interaction and Direct
Instruction, researchers compared “the
efficacy of collaborative group work with conventional direct instruction at promoting students’ ability to make reasoned decisions” (Forrest, 2016). Nearly
800 fifth-grade students were selected to participate in the six-week study in
which they were presented with two
unrelated tasks; making a decision about a local wolf population and considering
consequences of their decisions (Forrest,
their own but instead were allowed to be
“The Pinewood Derby” (Forrest, 2016).
groups produced results similar to the
ronment. This study further reinforces
a moral dilemma based on the story
Researchers found that the children who worked on the wolf project in groups were more likely to recognize a variety of viewpoints and to evaluate the potential
8 F l o r i d a
Music Director
2016). In sharp contrast, the teacher-led control groups (Forrest, 2016). This is
likely because individuals in the dependent (teacher-led) group did not have the
opportunity to evaluate the situation on
passive learners in an unengaging envi-
the theory that students must be actively involved in the learning process in order
to develop critical thinking abilities and autonomous thought.
What Does This Look Like in
mined by the trained professionals, stu-
must be viewed as active participants in
Cultivating a participatory learning envi-
about everyday events like suggesting
with immediate feedback about the qual-
Rehearsals?
ronment is not something that can be
accomplished in a single rehearsal, but the students who will be most success-
ful in reaching this goal are those with the greatest number of opportunities
to practice. In the 2009 study Watching
Learners Learn, executed by Dr. Robert Duke and Janice J. Buckner of the Center
for Music Learning (University of Texas at Austin), the lessons of 20 experienced
piano teachers were observed in order to determine the pedagogical differenc-
es between successful and unsuccessful
educators (Duke, 2009). For the purposes
of this research, success was defined as reaching the target goals of the lesson. Of the 20 educators, the five deemed
most successful were those whose students “performed approximately 38 percent more student performance trials per
rehearsal frame” than the students of the 15 remaining teachers (Duke, 2009, p. 22). Dr. Duke indicated that the most
successful educators in the sample identi-
fied target concepts and reinforced them before moving on with the lesson (Duke, 2009). The enormous disparity in the two
subgroups of educators illuminates the
importance of providing students with ample opportunities to attempt new concepts and to receive immediate feedback during rehearsals.
Educators can facilitate the creation of
dents can be involved in small decisions a piece for a (non-contest) concert, giv-
order to provide students with opportu-
nities to express their level of satisfaction with rehearsals (Shafer, 2016). While long-
term strategies and goals should be deter-
ment of problem-solving abilities and
to Gerison Lansdown in his UNICEF-
self-confidence.
sponsored study Every Child’s Right to Be
Heard, several countries have taken mea-
Marina McLerran
implementing a “complaints procedure”
Stephen F. Austin
is an alumna of the
sures to empower students with acts like
State
(Denmark, est. 1998) or allowing every
University
School of Music in
pupil to attend “a hearing before any
Nacogdoches, Texas,
disciplinary decision” is made (Germany,
and is an assistant
est. 1996) (Lansdown, 2011). Through
band
these small concessions of power, edu-
director
for
Center ISD. In addi-
cators can elevate students from depen-
tion to teaching, Ms.
dent recipients to valued members of the
McLerran is the editor for the McLerran
music program. To encourage students to
Journal and a member of the East Texas
express opinions on the quality of music
Chamber Winds.
being made in rehearsals, directors can
incorporate questioning into the lesson plan. Asking students whether they think
References
the articulation is the same across the
Coyne, I. (2006). Giving Children a Voice: Investigation of children’s experiences of participation in consultation and decision-making in Irish hospitals (pp. 34-40). School of Nursing. Dublin City University. Office of the Minister for Children. Dublin, Ireland. Available at https://www.dcya.gov.ie/documents/research/Giving_Children_a_Voice. pdf
ensemble, if the volume is appropriate or if they hear a section that is not quite in
tune can inspire participation and aid in the development of aural skills. By imple-
menting a “variety of interactive learning
methodologies,” Lansdown believes that
Duke, R. A., & Buckner, J. J. (2009). Watching Learners Learn. MTNA e-Journal, 1, 17-28. Available at https://cml.music.utexas.edu/ assets/pdf/DukeBuckner2009.pdf
educators can fulfill their role in facili-
tating “participatory learning” instead of
only transmitting knowledge (Lansdown,
Forrest, S. (2016). Group learning makes children better decision-makers, study finds. Illinois News Bureau. University of Illinois at UrbanaChampaign. Champaign, IL. Available at https://news.illinois.edu/view/6367/313225
2011, p. 102).
In addition to training future musi-
musicians be able to independently devel-
or forming a team of class officers in
and educators is critical to the develop-
for tardiness (Coyne, 2006). According
feedback or including student represen-
implementing periodic class discussions
culture of cooperation between students
deciding on the appropriate punishment
cians, educators are also grooming future
tation on leadership teams. Shafer advises
ity of their contributions. Developing a
ing feedback on the warm-up routine or
this cooperative learning environment with simple acts like soliciting students’
the learning process and be provided
citizens. It is imperative that student
Lansdown, G. (2011). Every Child’s Right to Be Heard: A Resource Guide on the UN Committee on the Rights of the Child General Comment No. 12 (pp. 100-102). Save the Children UK. UNICEF. London, England. Available at https://www. unicef.org/french/adolescence/files/Every_ Childs_Right_to_be_Heard.pdf
op a quality musical opinion and advocate for themselves by the time they
graduate. To facilitate this type of growth, directors must provide opportunities for
Shafer, L. (2016). Giving Students a Voice. Usable Knowledge. Harvard Graduate School of Education. Cambridge, MA. Available at https://www.gse.harvard.edu/news/ uk/16/08/giving-students-voice
regular student involvement in rehearsal procedures and minor leadership oppor-
tunities within the program. Students
April 2019
9
Capoeira Especial!
S
A New Approach to Teaching Special Education Music
by Edwin L. Anderson
Special education music is gaining more and more atten-
outside of the classroom and adapt them for these excep-
some teachers are afraid of it. Some teachers include ESE
Special education music has always been near and dear
tion in the general music classroom. Let’s be honest,
tional students.
students in the classroom just enough to satisfy their
to my heart. Earlier in my career, I created a program that
als available, to give these students an education they
my steel drum program at Space Coast Jr./Sr. High School
administrators. Others do their best, with the materi-
deserve. It is our solemn mandate as music educators to make sure that all students, especially our ESE kids,
have an enjoyable and memorable musical experience in our classrooms. While more resources are becoming
available, it is still a field that, in my opinion, is in its infant stages. This article will chronicle a new approach
to a special education music program that has begun at Triangle Elementary School in Mt. Dora, Florida, using
successfully integrated students with special needs into in Port St. John, Florida. This program was the subject
of a previously published article entitled “Hesitations and Realizations: A Journey of Inclusion” (Florida Music Director, November 2008). Later, it took on a very special
meaning to me when my eldest son was diagnosed with autism. I have always made sure students with special needs were included in my classroom.
At the beginning of my 21st year of teaching, I was
capoeira, a martial art created by slaves in Brazil.
blessed to join the staff of Triangle Elementary School.
I heard Dr. Omar Camenates, the associate professor
the musical opportunities in the steel band and gen-
Years ago, in a clinic at the Florida Day of Percussion,
of percussion at Furman University, use an expression
called “arrows in the quiver.” When I asked him what it meant, he said that the more resources (arrows) you
have available in your teaching repertoire (quiver), the
better success you will have in teaching your students. Over the years, I have found this to be true; however, when it comes to teaching self-contained special education music, that quiver may not be as full as the one we
The principal, Marlene Straughan, was excited about eral music curriculum she had tasked me to create at the school. I discovered that I would be teaching two
self-contained ESE classes. When it came to inclusion in my classrooms, I was entirely comfortable. My “quiver,” however, was not as full when it came to teaching a
self-contained classroom. To be honest, this would be my first time.
I tried using some of the materials from my regular
use with our mainstream students. So, the question then
classroom repertoire. While I was having moderate suc-
you have to do the unexpected and unorthodox to fill the
could be done. Something special could be created that
becomes: What do you do? The answer is that sometimes
quiver! Sometimes we have to draw from our experiences
10 F l o r i d a
Music Director
cess with the students, it was clear that something more
Continued on page 12
April 2019
11
Capoeira Especial! Continued from page 10
would be perfect for these kids. It was
songs. Under Mestre George’s supervi-
recalled these experiences and memories
some “arrows” from another part of my
program for the Kabloom After-School
for the self-contained students I teach at
time to think outside the box and pull life: capoeira!
I began studying the martial art of
capoeira in 1997. Capoeira was created
by the slaves of Salvador, Bahia, Brazil, as a method of self-defense, which
they disguised as a dance. At first, my
sion, I taught an after-school capoeira
Arts Program in Celebration, Florida, with Cindy Bohn, a talented art teacher.
We graduated nine students from that program with their first and second cordels, or cords, in capoeira.
I remember a conversation with Mestre
involvement was more of a hobby, but in
George about his experiences teaching
ly, especially in regard to its cultural
He taught capoeira to students with vary-
2015, I began to study capoeira intensefoundations. In 2016, I joined Capoeira Angola Palmares and began studying with Mestre George “Palmares” Carneiro.
With Mestre George, I had the opportunity to delve into the rich musical tra-
dition of capoeira and intensely study the Brazilian percussion and corridos, or
capoeira to special education children.
as I began adding arrows to my quiver
Triangle Elementary School. In researching further, I discovered evidence of others using capoeira to teach students with special needs, but only in private classes
or capoeira academies. To my knowledge, it had never been used in a public school
music class. Could it be done? Would I be allowed to do it?
I approached my principal, Ms.
ing exceptionalities and with physical
Straughan, about the idea. She had
ing Contra-Mestre Renaldo “Cibolinha”
after-school capoeira program at Triangle
disabilities. I also had the honor of meetBorges, who operates the Brazilian
Cultural Center of Newark, New Jersey,
and teaches specialized capoeira class-
es for children with special needs. I
already supported the creation of an
Elementary School, and that program included 45 students. When I finished my pitch for the special education capoeira
program, she smiled and said only three
words: “Go for it!” I called every single parent of my self-contained ESE classes
and arranged for a meeting with them. I showed them a video of Contra-Mestre Cibolinha teaching capoeira to his stu-
dents with special needs, as well as video of their own children, in an earlier class
I had experimented with, playing drums
and singing in Portuguese, the native
language of Brazil. The parents were very enthusiastic about the program, and we were set to begin.
I had been observing the videos of
Contra-Mestre Cibolinha’s special education classes on Facebook and had consult-
ed with Mestre George about techniques
and movements to concentrate on in the class. These movements would help to
fixate on musical concepts I wanted the students to experience and appreciate.
With this consultation, I settled on the
ginga, the main dance movement, esqui-
va (dodge), bênção (front kick), cocorinha (squatting guard), armada de frente (passing front kick), martelo (side kick), rolê (roll) and aú (cartwheel) movements.
These movements not only would focus
12 F l o r i d a
on the concept of tempo and steady beat Music Director
The traditional Angola toque is notated below: but would give the students a sense of spatial awareness as well. An added benefit would be that these movements
would help our ESE students with the development of their gross motor skills.
For the first class, I played a recording
of traditional Capoeira Angola music and demonstrated the ginga, moving to the
slow, steady beat of the music. The ESE students began to imitate my movement. For those who were having difficulty, I
took their hands in mine and asked them to “dance” with me. The ESE teacher
assistants went around the room and supported the students as well. By the
school resource officer. We matched the
aques and four pandeiros. If another instru-
a fair amount of success while moving to
dynamic levels. To teach this concept, the
bells. Since the berimbau takes a little more
third class, they could do the ginga with the tempo of the music. It was so gratify-
ing to see these students’ smiles brighten
as they achieved more control of their ginga and began to move with the beat
of the music. We then began to practice the esquiva, which is a low-to-the-ground stretching move, and the cocorinha, a squatting guard position. Once again,
kicks with the concepts of loud and soft
ment was needed, we used the agogo
volume level of the music was altered in
fine-motor control to play, the students
class. When the music was loud, the stu-
used the stick to hit the string and did not
dents kicked with greater force through
use the coin.
the shapes or over the cones. When the
In the first step of the instrumental
music was soft, the students kicked with
process, I played simple four-beat rhythm
sense of the concept of dynamics.
dents echo the patterns. When they could
less force. This gave the students a tactile
patterns on my berimbau and had the stu-
Every third class, we concentrated on
perform this task with reasonable suc-
the kids imitated my movement and the
the instrumental and vocal traditions of
port. We constantly stressed and mod-
primarily on three instruments: 1) the ber-
education students,. Each of the instru-
is played with a stick and manipulated
note pattern of the atabaque and the pan-
teacher assistants offered additional sup-
eled the execution of each movement to the beat of the Capoeira Angola music throughout the class.
Next, we moved on to the kicks. It
is important to note that capoeira is a
martial art that does not emphasize phys-
ical contact. It is more of a conversation
with movement, due to its African dance origins. The kicks in capoeira are some of the main movements and expression of the art. We strongly affirmed this
with the students before any instruction
legs over traffic cones provided by our
the string with the stick while I played
a tall hand drum; and 3) the pandeiro, a
the actual berimbau pattern. To help them
small frame drum similar to a tambou-
internalize the ostinato pattern, I had
rine. Capoeira music is perfect for an
them say An-GO-la while they played the
ESE music class because of its call-and-
three-beat quarter note pattern.
response nature and ostinato rhythmic
Teaching the corridos, or songs, was
patterns on the instruments. Thanks to a
surprisingly easier than anticipated. As
had enough berimbaus for the students to
primarily call-and-response. A typical
generous donation by Kabloom Arts, we
atabaques and pandeiros.
frente) by having the students pass their
diero. The berimbaus played the pattern on
pressing on the string; 2) the atabaque,
me by our pre-K class, and having the taught the passing side kick (armada de
mental groups played the three quarter
to change notes with a stone or a coin
use in class. We substituted conga drums
kids put their feet through the shapes. I
This toque was modified for the special
imbau, a single-string chordophone that
began. I taught the straight kick (bênção)
by using large shape cutouts, loaned to
cess, we moved on to the Angola toque.
capoeira. Capoeira music is performed
and tambourines for the We divided the students
into three equal groups, with
approximately
mentioned before, capoeira songs are capoeira corrido is shown below:
Sim Sim Sim Solo
Oi sim sim sim, Oi não não não
Response
Oi sim sim sim, Oi não não não
Pronunciation
Oh seem-seem-seem, Oh now-now-now Continued on page 14
four berimbaus, four atab
April 2019
13
Capoeira Especial! Continued from page 13
I believed my primary challenge
other and create a visual conversation.
Portuguese. How they surprised me! By
kids began to play each other on their
would be getting my students to sing in
the third attempt, the kids were singing
the song like I had heard capoeiristas
sing it in the past! By the end of class, we
And you know what? They got it! The own, all while still observing the pulse of the music in their play.
One thing I have learned over the
were all smiling and singing and having
years is that you can’t always use the
In the final phase, I introduced the
Sometimes, it takes looking at your
the best time just enjoying the music.
students to the roda, or game. In the roda, the capoeiristas form a circle. Two
players go to the center of the circle and play each other using the moves
described earlier while paying attention to the music’s tempo and characteristics.
I chose simple moves for the game that would still acquaint the students with the musical concepts. At this time, I
also introduced the aú and rolê movement. While the kids formed a circle, I
played each one myself, modeling how
the movements are meant to be a conversation between participants and particularly stressing the fact that no contact is
made. Each move is meant to counter the
14 F l o r i d a
same playbook for all of your students. students and thinking outside the box. Sometimes, it takes something that you
did not learn in college during methods class. I have had a wonderful time this
year watching these kids grow and expe-
rience music from a different perspective. I am proud to say that the kids in the
As the great capoeira Mestre Acordeon once said:
The flame of this beautiful art is now in your hands. You can dampen it, you can burn yourself or your brothers
and sisters, or, afraid of its heat, you
can let go of it. I hope that you take good care of your capoeira and kindle this fire alive and powerful, enlightening your life.
I am hopeful that these children will
keep the fire alive and forever maintain the joy I see in their eyes and smiles. Axé!
Triangle Elementary ESE Music Program
Ed “Professor” Anderson is the music
May. They are going to participate in the
Mt. Dora, Florida, and a member of Capoeira
will graduate with their first cordels in batizado, or graduation, of the Capoeira Angola Palmares Academy in Mt. Dora,
the capoeira academy that helps sponsor our program. I am excited to see them continue in their journey, not only in
capoeira but in music and life as well!
Music Director
teacher for Triangle Elementary School in Angola Palmares. He holds the rank of Monitor
in Capoeira. He currently has 45 capoeira students in his after-school program. When not
teaching or playing capoeira, Mr. Anderson
is also a professional steel drum performer, composer, arranger and educator.
2019 NAfME Collegiate Advocacy Summit
Scholarship Opportunity
The Florida Music Education Association (FMEA) will be choosing two exceptional collegiate music students to be awarded a scholarship to attend the 2019 NAfME Collegiate Advocacy Summit on Capitol Hill. The event will take place June 17-19, 2019, in Washington, D.C. Be a Force for Your Students and Your Career!
Don’t miss this opportunity to gather in Washington, D.C., this June for mentoring and professional development that
will empower you to be the advocate you need to be, for yourself and for your students. Help lead our next steps in
«« Go “behind the scenes” as we meet face-to-face with U.S. legislators and their staffs in U.S.
this new era for music education.
«« Enjoy a wonderful evening reception and awards dinner, where you will meet and network Senate and House offices on the Hill.
«« Participate in leadership and advocacy training that you can take back to share with your chapwith NAfME state and national leaders. ter and use in your career.
Please complete the scholarship application
and see its additional instructions. Applications are due Tuesday, April
30, 2019. All forms must be postmarked no later than Monday, April 22, 2019, to meet the April 30, 2019, deadline. For information regarding the event, visit hillday.nafme.org.
You can also follow #NAfMEHD19 on Instagram, Twitter and Facebook for updates.
If you have questions, please contact: Valeria Anderson val@fmea.org
(850) 878-6844 or (800) 301-3632
April 2019
15
FLORIDA MUSIC EDUCATION ASSOCIATION 2018-2019 DONORS
Thank you to all of the donors who have shown their dedication to the improvement of music education in Florida by supporting our Mission through financial contributions.
Our donors support specific causes by donating to the FMEA funds of their choice: FMEA Scholarship Fund Music Education Advocacy General Fund
June M. Hinckley Scholarship Professional Development for Members Mel & Sally Schiff Music Education Relief Fund
The following have graciously donated to FMEA from April 1, 2018, through March 1, 2019.
MAESTRO’S CIRCLE
ARTIST’S CIRCLE
All County Music, Inc.
Clifford Madsen
$10,000 and up
$1,000 – $9,999
Anonymous SUSTAINERS $100 – $999
Andre Arrouet Artie Almeida In Memory of June Audrey Grace Richard Brown Anthony Chiarito Alice-Ann Darrow Virginia Densmore Jay Hicks Cynthia Johnson Carlton Kilpatrick Sheila King In Memory of John W. King Jason Locker In Memory of June M. Hinckley Robert McCormick Carolyn Minear Jeanne Reynolds In Honor of Pinellas Performing & Visual Arts Team 16 F l o r i d a
Music Director
Russell Robinson In Honor of Charles R. Hoffer Mary Catherine Salo In Memory of Gary Rivenbark & Sally Schiff Steven Salo In Honor of John “Buck” Jamison & Dr. Bill Prince Kathleen Sanz In Memory of June M. Hinckley Kristopher Schave John Sinclair Leiland Theriot Richard Tremper Richard Uhler David Williams Kenneth Williams Matthew Workman Anonymous On Behalf of LungTrainers.com
PATRONS
$25 – $99
Carlos Abril Steven Amowitz Judy Arthur In Memory of Ray Kickliter Lucinda Balistreri Richard Beckford Mark Belfast In Memory of Dr. Mark A. Belfast, Sr. Shelton Berg Lindsay Blanc In Memory of Juan Rios Karen Bradley In Memory of Harold Bradley Gordon Brock Jamie Bryan In Memory of Wes Rainer Katarzyna (Kasia) Bugaj Dana Burt Seth Carlson Carol Casey Ron Castonguay David Chandler In Memory of Harry E. Grant Dale Choate Don Coffman Virginia Dickert Michael Dye In Honor of Phyllis Merritt & Anne Folsom
Edward Prasse Marie Radloff In Memory of Charles F. Ulrey Katherine Reynard In Memory of Caroline Sine Alicia Romero-Sardinas In Memory of John Rose Gabrielle Schrack Christopher Shultz In Memory of Kevin Frye Susan Skidmore John Southall Harry Spyker In Honor of Fred J. & Marlene Miller Valerie Terry Susan Throm-White Robert Todd In Memory of Gary Rivenbark Gary Ulrich John Watkins Howard Weinstein In Memory of Barry Weinstein Julian White In Memory of Ken Tolbert Richard Yaklich
Curtis Edwards Judith Evans Debbie Fahmie Patricia Flowers Cynthia Heidel John Henderson Stanley Hoch Dennis Holt Llewellyn Humphrey Jon Hutchison Alexander Jiménez Rolanda Jones In Memory of June Hinckley Marsha Juday Steven & Beth Kelly Pauline Latorre Joseph Luechauer Tyler Marais On Behalf of Florida Collegiate NAfME Victor Mongillo Woodrow Nail Ree Nathan In Memory of Dr. Sarah Crumpacker John Nista Mary Palmer In Memory of June Hinckley Galen Peters Hank Phillips
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up to $24
John Anderson Alicia Austin In Memory of Kim Dentz D’Angelo Braun Balsai David Bayardelle In Honor of Matthew Jensen Ernesto Bayola Judith Berger Hannah Bergstrom Donna Blyden Richard Bradford Alexandra Carminati Ella Carr Tyler Chaney Shelby Chipman Blair Clawson In Memory of Shirley Kirwin Fernando Collar Sherry Cross David Cruiz Dennis Demaree Jodie Donahoo Denise Dumala In Memory of Lindsay Keller & Deborah Liles Christopher Dunn
Jenny Eckenrode Juan Fernandez Bradley Franks In Memory of Gary W. Rivenbark Alfred Gershfeld Tina Gill In Memory of Gary W. Rivenbark Walter Halil Harold Hankerson Robert Hansbrough Jesse Hariton Angela Hartvigsen Megan Hutera Jason Jerald Kathleen Kerstetter Michelle King Reco Knight Katie Kovalsky Anthony Lichtenberg Patricia Losada Claudia Lusararian Kevin Lusk Mari Mennel-Bell Mary Morrow Randy Nataraj-Allen
Kristy Pagan Caleb Pena Audrey Pilafian Rosemary Pilonero Katherine Plank Nathan Ree Paul Rigolini Stacie Rossow Jack Salley Donald Scott Nicholas Stefanic Zenda Swearengin In Memory of Mrs. Doris B. Swearengin Phil Tempkins Kathleen Thompson Ashley Viera Billy Williamson Christin Woodrow Sirenna Zorbis In Honor of All Past Music Educators Who Have Inspired My Career Anonymous (20) In Memory of Tom Damato
April 2019
17
FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION DISTRICT 7
Take Care of Yourself! by Lesleigh Howard-Zeno
What is self-care?
anxiety. There’s no need for a long workout every day, unless
plete this week: take care of my family, make sure my students
outside in the fresh air. It could be a whole personal day. Take
Did you ever stop to think, “I have X amount of tasks to comare learning and prepared for upcoming performances, check in with my grade group and see if anyone needs help with future
projects, organize this field trip/performance …,” and then realize that you haven’t taken any time to take care of yourself? Selfcare is defined as “the practice of activities that are necessary to
that’s what you’re into. Taking time off could be five minutes that time without guilt, especially if you feel yourself getting overwhelmed. Your body needs rest to be able to function. Your body and brain need that time to rejuvenate so you can return and be your best self for your students.
Find an activity outside of your work duties that gives you
sustain life and health, normally initiated and carried out by the
peace or joy when you engage in it. You will find there are many
This includes caring for our physical and mental well-being.
self for one minute of quiet in your classroom after dismissal,
individual for him- or herself” (A Dictionary of Nursing, 2019). As educators, especially music educators, we have hundreds of young people in our care at work. We give so much to our students, families and colleagues that it is easy to forget about ourselves. It’s ingrained in us as educators and musicians. Why is self-care important for us as educators?
Have you ever heard the old saying “You can’t pour from an empty vessel”? If you, the vessel, are depleted, you cannot pour
any wisdom, love, caring or kindness into your students. You will find yourself with more patience for challenging students
when you are refreshed and rejuvenated instead of rundown and tired. We need to schedule time in our busy days to take
care of ourselves, just as we take care of our students, colleagues
and loved ones. Scheduling time for yourself will ensure it happens—it’s on the schedule!
How do I practice self-care?
Lindsay Thompson lists some basics in her article for NEA
Today, Importance of Self-Care As a Teacher: “Set healthy boundaries for yourself; remind yourself that not everything is on you;
free activities that don’t take a lot of time to do. Schedule yourbefore you start setting up for the next day. Take an extra min-
ute washing your hands in the rest room at lunch time because it is the quietest room in the school. Take your lunch break to
eat lunch. Nourishing your body is a basic tenet of self-care.
Socialize with your colleagues at lunch. Have conversations.
Soak up some vitamin D by taking the outside route back to your classroom after lunch. (We do live in the Sunshine State, after all!) Read a book for fun. Exercise is a great way to relieve
stress and relax, and it’s good for your body! I have found that
taking a 20- to 30-minute walk or attending a yoga class helps me to shed the stressors from the day and be able to be present at home for my family, plus those yoga teachers have wise advice to share about taking care of ourselves. Next, schedule a
set amount of time on multiple days during your busy week to engage in your peaceful, joyful activity. Self-care practices are
not meant as something else to be added to the schedule. Rather, look for other nonessentials (scrolling through social media?) to replace with self-care activities. Stick to that schedule, just like you do with the rest of your daily/weekly schedule.
use exercise as an outlet; allow yourself to take time off when
Finally (and most important!) … play music!
school at school, acknowledge that there are things you cannot
your favorite song. Remember when you were in high school or
you feel overwhelmed” (Thompson, 2019). In other words, leave control, exercise your mind and body to help relieve stress and
take some time to refresh and rejuvenate yourself without guilt. Leaving school at school may mean staying a little later to set up
for the next day, or getting those papers graded by next week
instead of tomorrow. Realize that you cannot control everything that happens, even though, as teachers, we feel as if we need
to. Exercising your mind and body relieves stress. It does! Just taking a short walk can help blow off some steam and lessen
18 F l o r i d a
Music Director
Take a few minutes to play your instrument or sing or dance to college, and you preferred practice to homework? Remember that sense of well-being you got from a successful practice
session or playing your favorite piece? Unless we have side
gigs playing professionally, we tend to leave our own practice behind. I did. A close friend and fellow clarinet player recently convinced me to join a local community band. It took a year for
me to say, “I need to do this for me. I miss this!” Guess what? I remembered how much I enjoyed playing my instrument. I
enjoy being a part of that ensemble. I get me time and social time
Note: A quick internet search of teacher self-care will provide
all in one. It has renewed my efforts in my classroom to teach
you with a plethora of articles, books and blogs on self-care for
sible for their own parts and respectful of others in the group.
own self-care journey.
my students to play and sing as an ensemble and to be responYou know all those social skills we learned in marching band
educators. I mentioned in this article what I have learned in my
or choir? The ability to work within a group toward a common
Lesleigh Howard-Zeno is chairwoman for
carried it with us throughout our lives after high school and
Martin, Okeechobee, Palm Beach and St. Lucie
goal is what we learned in band, choir or orchestra, and we have college without noticing we have those skills. It’s second nature
to us. We all have those unique attributes that were instilled in
us by other music educators who were selfless and made sure we learned them.
Be kind to yourself. Mindfully rework that busy schedule to
include some time for yourself, doing whatever it is that refresh-
es you and fills you up. Remember, everyone is different, and self-care looks different for each individual. Help yourself be the best you can be for your students.
FEMEA District 7, which includes Indian River,
counties. She can be reached at femeadistrict7@ gmail.com.
References A Dictionary of Nursing. self-care. Retrieved February 24, 2019 from Encyclopedia.com: https://www.encyclopedia.com/caregiving/dictionaries-thesauruses-pictures-and-press-releases/self-care Thompson, L. (January 20, 2019). Importance of Self-Care As a Teacher. Retrieved from NEA Today: http://neatoday.org/new-educators/ importance-of-self-care-as-a-teacher/
April 2019
19
ComponentNews
FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION
Rosemary Pilonero, President
I
hope everyone enjoyed a wonder-
ful, restful and well-deserved spring
break. Now we jump into the last nine weeks of school. I know it is a busy time
the state of Florida. Next year promises
Orff curriculum and Orff technology
our students.
Indiana, and Orff Schulwerk levels at
to provide another great experience for The conductor of our 2020 All-State
with spring programs, testing, field trips,
Elementary Chorus will be Robyn Lana,
about All-State. January may seem far off,
tor and conductor of the Cincinnati
etc., but it is also time to begin thinking but the audition process will begin soon. Start considering which of your students
would be good candidates for the 2020 All-State Elementary Chorus and the 2020 All-State Elementary Orff Ensemble. Spring is a great time to identify some of
your most talented and dedicated stu-
founder, managing and artistic direcChildren’s Choir. Our commissioned
composer will be Peter Robb, co-found-
er and artistic director of the Pacific International Choral Festivals (PICFEST). He publishes with Hal Leonard and Colla Voce Music.
dents, and dedicated music educators, in
Southard has been the music specialist
at Smoky Row Elementary School in Carmel, Indiana, where he teaches K-5 music. He was recently named the 20182019 Indiana Elementary Music Teacher of the Year.
Because many of you will probably
summer, the audition materials for the
2020 Orff clinicians will be Lisa Sullivan
blessed to have so many talented stu-
sessions at 2019 FMEA. Since 2008, Mr.
ued to grow and is a huge success. Our
Our 2019 ensembles encompassed
tions of about 1,000! We are extremely
you may have seen Josh Southard present
want to have your students work on the
Elementary Orff Ensemble has contin-
approximately 300 musicians, with audi-
DePaul University in Chicago. Many of
Since its 2016 premiere, the All-State
dents and to begin the discussion about auditioning for All-State in the fall.
at Anderson University in Anderson,
and Josh Southard. Lisa Sullivan teaches
K-2 music at Madison School in Skokie, Illinois. During the summer months, Ms.
Sullivan teaches Orff Schulwerk levels,
FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION
Stacie Rossow, DMA, President
I
recorder and xylophone pieces over the
Orff ensemble will be available on the FEMEA website sometime in May. We
will be recruiting judges for both ensembles. Judges of the All-State Elementary
Orff Ensemble must hold a minimum of Level I certification in Orff Schulwerk.
If you qualify, please consider serving in this capacity. If you have not already
taken advantage of our FEMEA adjudicator training program for the All-State Elementary Chorus, now would be a
hope the semester has treated you well thus far and that the first round of con-
great time to do so. Whether you desire
final flurry of performances, final exams and auditions, I want to bring to your
simply to improve your understanding
the Fall Conference is underway and will be finalized in May. Be on the lookout
this is a fantastic tool that is free to all
continue the two- and four-year curriculum discussion and use the time to make
program is provided on the All-State
certs and conferences was successful. As we bring spring 2019 to a close in the
to become an all-state chorus judge, or
attention the actions we have taken since our meeting in January. Planning for
of what the scoring rubrics really mean,
for information over the summer and begin making plans to attend. We want to
FEMEA members. A link to the training
some actionable plans.
Chorus page
of our FEMEA website.
, where we place
As FEMEA past president as of July
state, make calls to action and post links to relevant research items and questions.
ensembles. If you are interested in serv-
Development Conference, please be sure you submit it through the FMEA portal
femea.flmusiced.org.
The leadership continues to look for ways to make the FMEA conference more rel-
in the planning stages for 2019 Regionals
discussion with the two- and four-year colleges and universities to continue the
will be coming soon. I hope you will con-
I again want to encourage you to like our Facebook group
informal communication and keep members apprised of happenings around the
1, I will be looking for judges for both
If you have an idea for a presentation for the January FMEA Professional
ing, please contact me at rosemary@
by the deadline and include college educators as one of the appropriate audiences.
In addition to 2020 All-State, FEMEA is
evant to college music educators. We do hope, once again, to open a round-table
to be held this fall. Dates and information
discussion that began a few years ago.
sider having your students audition for
20 F l o r i d a
Music Director
these prestigious ensembles.
FLORIDA BANDMASTERS ASSOCIATION
What a day!
I
Cathi Leibinger, President
t started with a discussion with my
and have used our FBA adjudicator form
agers and just pray they don’t dropkick
having trouble self-regulating his behav-
We’ve discussed concepts and skills that
come together well. Other years, we face
principal regarding a student who is
ior. We met with his parents and all of his teachers yesterday and set our clear expectations for him. At the end of the
meeting, I reminded this student that he has written a narrative for himself that is going to take twice as much effort to change, but that when (not if) he made
mistakes, we’d be there to help push him in the right direction. Today in class,
he fell right back into old patterns, but
now he more quickly recognizes what has gone wrong and can be prompted to find a new response. Change is difficult and perfection is impossible. We all
need to remind ourselves of that in our classrooms, both for ourselves and our
to give their own comments and rating. we’ve improved upon as well as those
over and the earth will still be rotating
recordings on my own and have com-
around the sun. Breathe, and appreciate
piled a list of their compliments and sug-
the process more than the product.
gestions for the group. My students still
On my way home from communi-
don’t know their ratings. I told them from
ty band rehearsal at 10 p.m., I had the
the feedback and reflection was done.
deadline for this article. I could make a
the start that I wouldn’t tell them until
painful realization that I had missed my
Maybe I’ll tell them tomorrow. I just want
million excuses, but it all comes down
to make sure they know that I’m proud of
to this: I messed up. Mistakes happen.
how hard they’ve worked. We should all
Sometimes we fall short of perfection.
be proud of our students’ efforts as well
The best thing to do in those situations is
as our own.
to own it and fix it. So, here I am at 11:30
After school, I had some social media
pending MPA events in the next few
have listened to their stage recording
the time you read this, districts will be
I’ve played through the adjudicators’
Later in the day, I went over the
from our MPA last week. The students
chose this profession in the first place. By
we move on to our spring concert music.
conversations with younger directors
recordings and adjudicators’ comments
obstacles that make us question why we
things that still need more attention as
students. Recognize growth when you see it, no matter how small.
them across the stage. Some years, things
p.m., sacrificing a little sleep to make sure I finish the job. If you’ve made some
who are concerned about their own
mistakes this year, own it and fix it. If you need some assistance, let FBA help
days. As I post every year, MPA is where
you find a good mentor. The best advice
we put our egos and professional reputa-
you can get is from someone who has
tions in the hands of children and teen-
been there.
Interested in submitting an article for publication in the Florida Music Director? Learn more at: FMEA.org/FMD
April 2019
21
ComponentNews For the Love of Music by Mavel Morales
M
usic is a sixth sense. We have an innate sense of music in
our bodies, whether it be through song, chant or rhythm.
It’s an intuitive feeling that brings awareness of something
“Music directly imitates the passions or states of the soul ...”
greater than the here and now of life. If we can create something
important to surround ourselves with music that feeds the soul.
ing a feeling, it can almost be characterized as otherworldly.
or are unable to, pursue their dreams. It is not due to a lack of
momentarily on a plane above that of the physical realm. This is
imperfect. Sometimes situations present themselves in which we
that extends beyond our normal bodily functions while evok-
Music disconnects the soul from the body and allows us to live what people mean when they say that music serves as an escape. It’s an escape from our earthly presence.
Aristotle said, “Music directly imitates the passions or states
of the soul ... when one listens to music that imitates a certain passion, he becomes imbued with the same passion; and if over
a long time he habitually listens to music that rouses ignoble passions, his whole character will be shaped to an ignoble form.” Aristotle claims that music has the potential to shape the soul. If we surround ourselves with a form of music that
does not elevate our souls, then it corrupts us from the inside
out. This ties in to Aristotle’s idea of Eudaimonia, the state of
It is an unfortunate reality of life that many people do not,
want, or because of a lack of ambition, but merely because life is
must make sacrifices and burdensome decisions; other times, it
is simply the pressure we face from society and within ourselves that hinders our ability to “follow our dreams.” There is no right
or wrong way to live life, and I believe strongly that everything
works out in the end. As Søren Kierkegaard said, “Life can only
be understood backwards; but it must be lived forwards.” We may think we know what we want, but it might turn out that
what we most desired was not right for us. A career in music is not for everyone, either because of accessibility, a change in priorities or because of life events.
No two people have the same history or reasons for their
happiness being a form of a higher good, if not the highest.
actions, but in my opinion, it is the job of the educators of soci-
lead to our ultimate Eudaimonia. This is why I find it incredibly
they love and what brings them happiness. It is impossible to
Essentially, the opportunities and activities presented by life
ety to encourage people to fight for what they believe in, what
… when one listens to music that imitates a certain passion, he becomes imbued with the same passion; and if over a long time he habitually listens to music that rouses ignoble passions, his whole character will be shaped to an ignoble form.” 22 F l o r i d a
Music Director
FLORIDA COLLEGIATE NAFME
Jennifer Luechauer, President
inspire and move everyone to behave a certain way, to push
is a union between you and the music itself. The “puppy love”
are simply that, choices. As a music education major, I believe we
It is a matter of returning to the amateur stage. It was explained
them toward a certain path or to tell them what to do. Choices must do our best to ignite a lifelong passion for the arts in the
hearts of others that cannot be relinquished. When that cannot
be achieved, it is our responsibility to remind people why they loved music in the first place and why they desired to pursue
their dream. Even if not everyone can be a musician, everyone can be a lover of music.
As a musician and a lover of music, I recognize that those are
two very different things. My interpretation of the distinction
is that to be a musician is to devote your life to the creation of music, withstanding the complications that may arise. On the
in the beginning seems so pure because it is effortless and easy.
to me that the negative connotation of the word doesn’t apply
here, but that to return to the amateur stage is a matter of doing
music solely for the love of it, with no repercussions, no pres-
sure and no rigidness. This can be accomplished by joining a church choir, doing karaoke, going to a concert, forming your own music group, playing/singing for fun or even joining a
community ensemble. Returning to the roots of music is one of
the most imperative steps toward finding the connection with music you once had.
When you have so much history allocated to a certain activity,
other hand, to be a lover of music is to appreciate the art form
it is nearly impossible to fully rid yourself of the memories and
quite often do, in conjunction. Throughout my life, I have wit-
the love for music you once had is to watch a live performance.
and to devote your heart to its existence. The two may exist, and nessed the power of music. It is something quite extraordinary to see the love people have for music radiate from their very
core. It is in their eyes, their tone of voice, their playing and their aura; it is a part of who they are, intertwined with their soul.
There is nothing more devastating than to see that much love
in musicians or music lovers disintegrate and crumble before your eyes. It eats away at who they once were and transforms them. How does something that once defined who they were
disappear? Is it gone forever? These questions have no answer.
Most people do not understand what the life of a musician is, the intensity, the strictness and the time it requires. Music is not an easy career. People stray from the path of music time after
the feelings you once had. The most powerful tool to return to The feeling that overcomes your body when fully immersed in
an otherworldly live performance, in which you are transported to a personal heaven, cannot be replicated. Being in a room with people who share the love for music you have, and watching musicians pour their entire being into making beautiful music, is a gift. It is such a powerful and inspirational experience that it leaves you vulnerable, leaving room in your heart for only deep
love and appreciation for music. We can spread this experience by inviting our friends to concerts and giving the gift of music to others. It may be that a performance that inspired us can be life changing for someone else.
There are cases in which people never return to music, but it
time. Personally, it saddens me deeply to see people leave, and I
is the job of educators to continue inspiring and eliciting the
back?” The answer is not what I can do, but what they can do.
mance memorable, touching the emotions of the people who
ask myself, “How can they return? What can I do to bring them
I’ve spoken with quite a few educators about what they believe
can bring people back to music. It is imperative to me that those who have lost their way may return, not necessarily to being a musician, but simply a lover of music.
The biggest reason people stray from music is burnout.
Burnout is not limited to those who have been teaching for
10-plus years; it also affects people before a career even begins. There are so many requirements and expectations for a music
student while studying that, at times, music becomes a burden.
sheer beauty of music. We must continue to make every perforhear the music. We must continue to instill within the younger
generations the gracefulness that is music. We must continue to provide the older generations with opportunities to make music.
We must continue spreading music in every crevice of the world; for the moment we falter, we lose the soul of the universe. Music can be a demanding occupation, but we must find new ways to
perceive music and be reminded of the ability it has to make us not only better people, but happier people.
You go from doing music because you like it and think it’s fun
Mavel Morales is a junior at the University of
times and it becomes wax, no longer the radiant candle it once
in education and philosophy. She is a mezzo
to doing only music, all day every day. Light a candle too many
was. In order to return to music, people must return to what originally attracted them to it. Many marriages lose their flame
and what couples counseling does is to remind the couple how they fell in love. Being in music is very much like a marriage; it
Miami majoring in music education with minors soprano studying classical voice. She serves as
president of her NAfME chapter and parliamentarian of the Florida Collegiate NAfME Executive Board.
April 2019
23
ResearchPuzzles FOR MUSIC TEACHERS This on-going column seeks to stimulate awareness of research issues for FMEA teachers and researchers.
RESEARCH COMMITTEE CHAIRMAN
Don D. Coffman, PhD University of Miami
Do actions speak louder than words?
T
his month’s column reports a recently released study in the
The students rated all of these statements higher for the
Journal of Research in Music Education. Mark Montemayer and
expressive conducting video than for the unexpressive conduct-
sivity on her verbal instructions during a band rehearsal. They
expressive conducting behaviors interspersed among episodes
Brian Silvey1 explored the effect of a conductor’s gesture expresvideo recorded a rehearsal segment that included expressive
conducting and pauses for verbal instructions to the ensemble. After the conductor reviewed the rehearsal, she repeated the rehearsal process. For the second rehearsal, the cameras record-
ed her conducting the same tune, but unexpressively. The band members simulated playing while the sound source for the second recording was the audio of the first recording, played
over loudspeakers. Through careful video and audio editing, the
researchers created two 3.5-minute rehearsal segments that used
the same audio stimulus (music and verbal instructions) but had different visual information (expressive conducting or unexpres-
sive conducting). They also obtained a “control” conductor for comparison (a different conductor and a different piece).
College students (N = 134) viewed two of these rehearsal seg-
ments (either expressive vs. the control or unexpressive vs. the control) and were asked to rate the effectiveness of each conduc-
tor’s verbal instructions on a 10-point scale (this is the intriguing
ing video. The authors noted, “It appears that the presence of of verbal instruction influenced perceptions regarding the efficacy of those verbalizations.” They also observed:
One outcome of particular interest was that our partici-
pants perceived rehearsal pacing to be more effective in the expressive conducting condition than the unexpressive con-
dition when in actuality, the pacing remained unchanged… . Perhaps when there is a discrepancy between what a
conductor says versus what he or she shows, ensemble members are more likely to lose concentration during the music-making process. The admonition to “show more and talk less” that is often given by conductor educators to novices may serve as more than anecdotal advice as perceptions of pacing (and perhaps other teaching behaviors) are
indeed enhanced through the demonstration of conducting skills alone.
The authors point out that the evaluators in their study were
part). No statements about the conductors’ nonverbal conducting
not the performers receiving the instruction. Nonetheless, the
these eight statements:
Much more detail is available online for NAfME members.
gestures were on the response forms. The students evaluated 1. Verbal instruction reflects acceptable interpretation of music 2. Verbal instruction reflects thorough knowledge of score 3. Demonstrates ability to motivate students
4. Gives precise, understandable explanations and directions 5. Communicates confidence and assurance 6. Paces rehearsals effectively
7. Appears organized and efficient
raters were musicians with experience in music ensembles. I encourage you to dig deeper into this well-designed and implemented study. Endnote
1 Montemayor, M., & Silvey, B. A. (2019). Conductor Expressivity Affects Evaluation of Rehearsal Instruction. Journal of Research in Music Education. Online First. https://doi.org/10.1177/0022429419835198
8. Maintains a professional demeanor Email your questions and feedback to d.coffman1@miami.edu
with a subject heading Research Puzzles.
Your questions, if selected for publication, will remain anonymous.
24
Florida Music Director
CommitteeReports
EMERGING LEADERS COMMITTEE
Mary Palmer, EdD, Chairwoman
Don’t “miss YOUR shot!”
(paraphrased from Hamilton, An American Musical)
I
t’s time to nominate candidates for the
FMEA Emerging Leaders Program. In
the past nine years, more than 200 teach-
ers representing all areas and levels of music education have been a part of this program. Many of these amazing music educators are now savvy young leaders in their schools and communities and in our state and nation.
How does the Emerging Leaders
Program impact the lives of those who
have participated? Check out these statements:
“If your actions inspire others to dream more, learn more, do more and become more, you are a leader.”
– John Quincy Adams, sixth President of the United States (1825-1829), son of John and Abigail Adams
At
the
2019
FMEA
Professional
conference sessions, including the popu-
Emerging Leaders presented successful
by nine current Emerging Leaders. Over
Development Conference, many of our
Being part of this think tank of passionate and forward-thinking educators gave me the confidence to reach out and serve my students, community and colleagues … – Rueff Frazao, high school orchestra, Osceola County School of the Arts
lar Emerging Leaders Pecha Kucha offered 90% of conference session hosts were our
2019 Emerging Leaders. With the full
support of FMEA, the program gives selected teachers multiple opportunities
After being recognized as an FMEA Emerging Leader, I was able to garner the confi-
to serve as well as to interact with music
have landed in the “top 10 most read” for three years running.
Our goal is to have Emerging Leaders in
dence to write and submit my blogs to NAfME’s Music in a Minuet forum. My blogs
education leaders throughout Florida.
– Audrey Carballo, K-8 general music, Miami Dade County Public Schools
all 67 Florida school districts!
I was able to make great connections with other teachers throughout the state. Their wonderful ideas continued to fuel me as a music teacher and allowed me to go back into the classroom with new ideas and new energy for my students. – Katharine G. Miller, K-5 general music, Orange County Public Schools
Being accepted as an FMEA Emerging Leader has given me an entire network of
educators, supervisors, community members, state and national leaders who will-
ingly share their varied expertise, provide guidance/support and help me to grow
professionally. I enjoy being able to collaborate and work with these top leaders to afford others the opportunity for growth and to reciprocate my experiences with a
new set of incoming Emerging Leaders. My involvement has illuminated my role as
a music educator to my administration and fellow site colleagues and has solidified the value and importance of music education for a well-rounded public education.
– Malissa A. Baker, middle school orchestra and chorus, Manatee County Public Schools
Nominations from school principals,
district music supervisors and any music
educator are encouraged and welcomed! Self-nominations are accepted and welcomed as well. More information about
the program can be found by clicking here.
Please be sure to include your resume/
vitae
with
your
nomination.
2019
Emerging Leaders need to be able to
attend the FMEA Emerging Leaders Drive-In to Leadership one-day conference on Saturday, June 8, at the University
of Central Florida in Orlando. More infor-
Being an Emerging Leader helped me to network with other teachers who think
mation on the conference will appear in
teachers who are as excited as me about getting their students engaged and excited,
due April 25. Questions? Please contact
designed possible ways to focus our standards and redesign curriculum with the
com.
– Christopher Burns, elementary, Osceola County Public Schools
ership quest … as a nominator and/or as
and teach outside of the box in the ways that I do. When hearing stories from other
the May issue of FMD. Nominations are
it reinvigorates my purpose and drive. As an Emerging Leader, I discussed and
Dr. Mary Palmer at mpalmerassoc@aol.
students at the helm.
We hope you will join us in this lead-
a candidate.
April 2019
25
CommitteeReports I
AWARDS COMMITTEE
Debbie Fahmie, Chairwoman
have served as your FMEA awards
that he is one of the finest leaders she has
title for his work as superintendent of
something very special about our latest
made this particular awards ceremony
One of the first things he did after being
chairwoman since 2009. There was
awards ceremony. Dr. Michael Grego, superintendent
of
Pinellas
County
Schools, was named the 2019 FMEA
Superintendent of the Year. Jeanne Reynolds nominated Dr. Grego, stating
ever worked with. This in itself is not what so special for me. You see, Dr. Michael
Grego also happens to be the very first recipient of the FMEA Superintendent
of the Year award, in 2010, when the category was introduced. He earned the
the School District of Osceola County. appointed superintendent in Osceola was to reinstate the position of fine and
performing arts resource specialist at the district level. Since I was hired into that
position, I can give first-hand testimony of what a game-changer Dr. Grego was for Osceola County.
The circumstances in Pinellas County
were very different. When he moved to
Pinellas, Dr. Grego inherited a robust arts program that had been financially supplemented through a voter-sup-
ported referendum for more than eight
years. This program didn’t need a hero
to come in and save it; however, Dr. Grego gave the arts his attention all the while addressing the achievement gaps
he was hired to correct. He has had a pro-
found effect on the music programs in Pinellas County. He inspired all to “dig
deeper, do more, dream bigger and take
risks.” My heart was full when I was able to introduce Dr. Michael Grego as the 2019 FMEA Superintendent of the Year,
knowing that he has demonstrated true, ongoing commitment to music education over time.
Dr. Grego inspired attendees of the
Dr. Michael Grego with his daughter, Lauren Grego
Michael A. Grego, EdD, became superintendent of Pinellas County Schools in 2012. He is a visionary leader and educator whose career spans more than 35 years. He is credited with dramatic academic improvements, especially among minority students within every district he has served. Among his many honors, Dr. Grego was named the 2018 Superintendent of the Year by the Florida Association of School Administrators, 2017 Superintendent of the Year by the Florida Art Education Association and was awarded the FMEA Superintendent of the Year honor in 2010 when he served as superintendent of the School District of Osceola County.
26
Florida Music Director
Second General Session of the FMEA Professional Development Conference by
sharing his thoughts about music edu-
cation. It is a message that is important for all to hear, so I asked for permission to share it here. I hope you will be
as inspired by Dr. Grego’s words as I
was and perhaps find them appropriate to share with decision makers in your world.
With Dr. Grego’s permission,
I share his speech presented at the FMEA Second General Session on the following page.
T
hank you to the Florida Music Education Association
For too long, rhetoric and policy have created an either/or
for the honor of being selected as your Superintendent
dynamic between the traditional academic core (language
the committed teachers who serve our scholars every day.
know to be true, not just my personal belief, is that research
of the Year. I am humbled to receive this award on behalf of They are the reason I stand here today, and this honor is a
reflection of their dedication to the lives of their students.
We have such a rich music program in Pinellas County
arts, math, science, etc.) and music education. What we continually demonstrates that students who are engaged in music perform at higher levels across all subject areas.
Our state accountability system needs to grow and rec-
Schools, and I would be remiss if I didn’t acknowledge our
ognize that music and arts education is an integral part of
The tenacity, inventiveness and collaborative spirit she
We, as a community, must champion this shift.
phenomenal performing arts specialist, Jeanne Reynolds. brings to the work are undeniable.
Music education is deeply personal to me. I have always
wanted to play musical instruments. When I was in third
grade, I desperately wanted to play the drums. I was told
that I had to earn the right to learn this musical instrument by increasing my academic levels. There is no doubt in my
mind that countless other children have been told the same
thing. I proved my gatekeepers wrong. My ability to read and my number sense dramatically improved alongside my passion and love of learning music. I could visualize half,
quarter, eighth and sixteenth notes and was quickly able to
translate that into mathematical concepts in the classroom,
putting me well ahead of many of my classmates. I truly believe that music education enhances and supports academic growth and performance.
how we measure our success in preparing the whole child. We must come together to continually demonstrate,
communicate and advocate for the value that is added to a
«« Music teachers – Continue to push, innovate and add student through music education:
value to the lives and academic outcomes of your students. Support your fellow educators to see how the
work you and your colleagues do supports the learning
«« School administrators – Be open to the ideas of your teachand culture of your school.
ers and continually create the space for creativity and
«« District leaders – Listen and work alongside your schoolinnovation to support the whole child in your buildings.
based teams and work creatively to advocate and be
part of the solution at your district and at the state and
If our goal is to graduate students who are truly prepared
«« Music and arts community – Work with your public edu-
a part of THE curriculum and an essential part for a stu-
These words to the FMEA are really preaching to the
Music education is vital to ensuring a complete educa-
tion and supporting the development of the whole child.
for college, career and life, we must start viewing music as
national levels.
cation systems and local delegations to be part of the solution.
dent’s pathway to graduation. Access to high-quality music
choir, as every person in this organization believes in the
granted only to those who have room in their schedules or
people. It is time, though, that we come together to cham-
education should not just be an after-thought or an elective have earned the opportunity, but should be an integrated model to support the growth of the whole child.
power of music education to transform the lives of young pion the change we wish to see, not just through our words but our actions.
— Dr. Michael Grego, 2019 FMEA Superintendent of the Year
To view lists of those who came before the 2019 winners (some going back to 1968) and links to the nomination process … CLICK HERE
FMEA.org/programs/awards
April 2019
27
CommitteeReports Arts Participation Benefits All Students
H
ouston, Texas, is by at least one
the two groups of schools, they looked at
reported lacking a full-time arts teacher.
the United States (Gallay, 2018), which
that asked students whether they agreed
ly served low-income students of color.
measure the most diverse city in
makes a recent study even more prom-
ising for many students in our similarly diverse state of Florida. A study released
by the Houston Education Research Consortium found that students whose
schools participated in school-community arts partnerships showed improvements on writing test scores, discipline and compassion (Barnum, 2019). Participating schools were compared
academics but also responses to surveys
with statements like “I want to help people who get treated badly,” “School
work is interesting” and “I plan to go to college.” Though the effects were small
to moderate, the research is important because it is the first large-scale randomized-control trial designed to measure
what students learn from school and community arts participation.
In the Houston school district study,
with schools that had been interested
academic and social learning were
were not randomly selected to partici-
well, an important finding since near-
in participating in the partnerships but pate. When the researchers compared
accompanied by learning in the arts as
ly a third of the schools in the district
The participating schools predominant-
Arts learning experiences can benefit all students in terms of social, emo-
tional, and academic outcomes,” wrote
researchers Dan Bowen of Texas A&M and Brian Kisida of the University of Missouri. Although academic outcomes are often the most recognized and cited
gains in such studies, social and emotional learning may be the most import-
ant for students with disabilities. The lack of social and emotional skills is often what makes them the target of bul-
lying in schools (Twyman, Saylor, Saia, Macias, Taylor, & Spratt, 2010). Results of the study found measurable improvements in participating students’ com-
passion for others. Both students who are bullied and those who bully often have serious, long-lasting problems into adulthood (Kowalski, Limber, &
Agatston, 2012). Consequently, improve-
ments in social-emotional skills should never be regarded lightly.
Students with disabilities, like many
struggling and diverse learners, need a
different way to learn. For these students, the arts are engaging, and thus moti-
vate them to participate more actively in school and to continue to graduation. This fall, the Kennedy Center in
Washington, D.C., will sponsor the VSA
Intersections: Arts and Special Education Conference, which provides professionals in the intersecting fields of arts education and special education the oppor-
tunity to share current information in
research, practice, programs and policy. Through innovative, thought-provoking
and interactive sessions, attendees build new skills, transfer knowledge, net-
28 F l o r i d a
work and ultimately help to shape best Music Director
DIVERSE LEARNERS COMMITTEE Alice-Ann Darrow, PhD, Chairwoman
by doing. Conference sessions will
get you up on your feet to try out new strategies, and preconference workshops offer an even deeper learning experience with extended time to
«« Networking
learn new tools!
opportunities.
VSA
Intersections offers numerous net-
working opportunities during the conference and at evening receptions, offering you informal opportunities
practices for students with disabilities
part of the planning committee for the
The 2019 national conference, hosted
is a dynamic group of arts educators
learning in and through the arts.
in partnership with the Orange County
Department of Education, will take place October 27-28 in Irvine, California.
Additional workshops will take place
two days prior to the conference. It is the
first VSA Intersections conference to take place in the fall. There is now time to talk to principals and supervisors about
this exciting opportunity and to secure release time for these dates and, perhaps, funding to attend.
Who attends? The VSA Intersections
Conference provides professional devel-
«« General and special educators «« School-based arts specialists «« Teaching artists and museum educators «« Curriculum and instruction professionals «« Arts education program administrators «« School administrators and central district staff «« University faculty and researchers «« Undergraduate and graduate opment for:
students
Why attend VSA Intersections? I have
presented at this conference and was
«« Tools to implement. Every session to connect with like-minded peers.
first Intersections conference in 2011. It
has a direct and intentional tie to practice, meaning you’ll leave VSA
who have a special interest in students
Intersections with tools and strate-
with disabilities. The Kennedy Center
gies you can begin using as soon as
«« Something
Intersections conference is one of the
you return to your setting.
largest and most-respected conferences on arts learning for students with dis-
for
everyone.
VSA
Intersections has sessions and work-
«« One-of-a-kind professional develabilities. Other reasons to attend are:
shops for beginners and the more experienced. It doesn’t matter what
opment. VSA Intersections is unique
your background or knowledge level
in the education field; no other con-
is—there will be sessions for you.
ference specifically addresses the
If you have any questions about the
learning needs of students with dis-
conference, please feel free to contact me
abilities in arts-based and arts-inte-
at aadarrow@fsu.edu.
grated instruction while welcoming
professionals from school and com-
References
educators and leaders from across the
Barnum, M. (2019, February). How extra arts education at school boosts students’ writing scores — And their compassion. Retrieved from https://www.kqed.org/ mindshift/53036/how-extra-arts-educationat-school-boosts-students-writing-scoresand-their-compassion
«« A community of practice. Learn with munity settings.
country to share ideas, ask questions
and build new connections so you
Gallay, A. (2018, May). Sorry Jersey City, Houston remains the real most diverse city in America. Retrieved from https:// www.papercitymag.com/culture/houstonremains-most-diverse-city-america-jerseycity-study-flawed/
don’t have to be an island in this
«« Access work.
to experts. The Kennedy
Center engages leading experts in the field to present at the conference and
Kowalski, R. M., Limber, S. P., & Agatston, (2012). Cyberbullying: Bullying in the digital age. Malden, MA: Wiley-Blackwell.
uses innovative model programs as
«« Hands-on
case studies from which to learn. learning.
VSA
Twyman, K. A., Saylor, C. F., Saia, D., Macias, M. M., Taylor, L. A., & Spratt, E. (2010). Bullying and ostracism experiences in children with special health care needs. Journal of Developmental Behavioral Pediatrics, 31, 1-8.
Inter-
sections offers experiential learning opportunities that allow you to learn
April 2019
29
CommitteeReports
MULTICULTURAL NETWORK Bernard Hendricks, Chairman
“March MPA Madness” is finally behind
programs. I encourage all music teachers
ature with some of the new and modern
er to spring concerts and year-end events.
ideas and methods to display the talents
more music year after year.
us, and the month of April brings us closMany of us are fresh off of a relaxing
spring break and ready to conquer the
end of yet another school year with our
to continue to explore new, innovative of your music students. Communicate
with your students about how they want to construct performances that are edu-
phenomenal and engaging spring per-
cational, fun and pleasing to ALL people.
of year to highlight all kinds of things
ideas and imagination that our tremen-
formances. This is always a great time within music programs, schools and com-
munities. Now is a great time to reach
out to other departments within your school to try to come up with creative
ways to have more people witness all of
the great music making going on in your
30
ideas that keep the kids coming back for Plan well, be diverse, have fun and
make some great musical memories while doing so!
For your summer professional develop-
You will be surprised by the creative
ment, the FMEA Multicultural Network
dously talented young people possess
on Thursday, June 13, at Ocoee High
and how we sometimes put a muzzle on their brilliance because WE want to play
certain music and stick to the “normal”
concert setting. It’s imperative that we
explore new ways of meshing great liter-
Florida Music Director
will host a one-day summer workshop
School in Orange County. This in-service will have several sessions to cover multi-
ple aspects of a complete and diverse music education program. Registration will be on the FMEA website in April.
Please take time to thank and support our 2018-2019 Academic Partners.
GOLD PARTNERS
SILVER PARTNERS
Florida International University
BRONZE PARTNERS
Cannon Music Camp - Appalachian State University The College of Saint Rose Florida College Florida Gulf Coast University Florida Southern College Hillsborough County Secondary Music Council Jacksonville University Keiser University Mercer University Northwestern State University (LA) Palm Beach Atlantic University
Rollins College Department of Music Stetson University Union University University of Miami University of North Florida University of North Texas University of Tampa University of Texas at San Antonio Valdosta State University West Virginia University School of Music
Partners as of March 1, 2019.
*Please visit FMEA.org/partners for partnership details or call 850-878-6844.
April 2019
31
GOLD
SILVER PARTNERS The Horn Section, Inc. Music is Elementary West Music Company Partners as of March 1, 2019.
*Please visit FMEA.org/partners for partnership details or call 850-878-6844.
32 F l o r i d a
Music Director
Please take time to thank and support our 2018-2019 Corporate Partners.
PARTNERS
BRONZE PARTNERS Blues Angel Music Cadence Music Carl Fischer Music Concept Tours, Inc. Excelcia Music Publishing Festivals of Music & Music in the Parks J. W. Pepper & Son, Inc. MakeMusic, Inc.
Music & Arts Music Man, Inc. Music N More, LLC National Concerts Neil A. Kjos Music Company Rhythm Band Instruments, LLC Romeo Music Super-Sensitive Musical String Co.
April 2019
33
CALL FOR APPLICATIONS
June M. Hinckley Music Education Scholarship We are pleased to announce that the Florida Music Education Association (FMEA) is soliciting scholarship applications for the 2019 June M. Hinckley Music Education Scholarship. The association will award $1,000 scholarships to selected 2018-19 graduating high school students who participated in a Florida all-state ensemble and who intend to major in music education at a Florida college or university. Please access the application at the link below and encourage your students to apply. A P P L I C AT I O N
https://fmea.org/programs/scholarship/ application/
About
June M. Hinckley As arts education specialist for the Florida Department of Education,
June Hinckley led the development
of the Sunshine State Standards for the Arts, which are based on the National Arts Standards and were
adopted by the Florida State Board of Education in 1996. Hinckley assisted
schools and school districts with the
implementation of the arts standards and with connecting the arts with
The following should be sent to the FMEA office after submitting the online application: Printed copy of the essay Official transcript - should remain sealed Three letters of recommendation
«« «« ««
the state accountability and testing
program, and she served as a liaison among the various K-12 arts education
groups, higher education and com-
munity arts organizations. She was a founding organizer of the Arts for
a Complete Education project, which
has coalesced the various community, industry and school arts organiza-
Postmark Deadline: April 19, 2019
tions in Florida to work cooperatively
and proactively to improve the qual-
ity and quantity of arts programs throughout the state.
34 F l o r i d a
Music Director
F L O R I D A M U S I C E D U C AT I O N A S S O C I AT I O N OFFICERS AND DIRECTORS EXECUTIVE BOARD President..............................Kenneth Williams, PhD 3610 Beauclerc Rd.; Jacksonville, FL 32257 (904) 521-7890; kenwms@fmea.org Past President........................John K. Southall, PhD Indian River State College 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810 johnsouthall@fmea.org President-Elect....................... Steven N. Kelly, PhD College of Music, FSU 128 Housewright Bldg.; Tallahassee, FL 32306-1180 (850) 644-4069; Fax: (850) 644-2033 skelly@admin.fsu.edu FBA President.................................. Cathi Leibinger Ransom Everglades School 2045 Bayshore Dr.; Miami, FL 33133 (305) 250-6868; president@fba.flmusiced.org FCMEA President..................... Stacie Rossow, DMA Florida Atlantic University 777 Glades Rd.; Boca Raton, FL 33431 (561) 297-4230; srossow@fau.edu Florida Collegiate NAfME President.......................Jennifer Luechauer Florida State University, 2220 Sandpiper Street Tallahassee, Florida 32303 (954) 643-1149; jll14e@my.fsu.edu Florida Collegiate NAfME Advisor................. Shelby R. Chipman, PhD FEMEA President.......................Rosemary Pilonero The Villages Elementary of Lady Lake 695 Rolling Acres Rd.; Lady Lake, FL 32159 (352) 751-0111; rosemary@femea.flmusiced.org FMSA President......................................Scott Evans Orange County Public Schools 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; scott.evans@ocps.net FOA President........................................Jason Jerald Blake High School 1701 North Blvd.; Tampa, FL 33607 (813) 272-3422; jason.jerald@sdhc.k12.fl.us FVA President.................................Thomas Jomisko Manatee High School 902 33rd Street Ct. W.; Bradenton, FL 34205 (941) 714-7300; jomiskot@manateeschools.net Member-at-Large....................................Ted Shistle Douglas Anderson School of the Arts 2445 San Diego Rd.; Jacksonville, FL 32207 (904) 346-5620; shistlet@duvalschools.org EX-OFFICIO MEMBERS Historian/Parliamentarian 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 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
FMD Editor-in-Chief......... Mark A. Belfast, Jr., PhD Southeastern University 1000 Longfellow Blvd.; Lakeland, FL 33801 (863) 667-5104; mabelfast@seu.edu FSMA President...........................Craig Collins, EdD College of Arts & Media, Southeastern University 1000 Longfellow Blvd.; Lakeland, FL 33801 (863) 667-5657; cscollins@seu.edu FMEA COMMITTEE CHAIRPERSONS Awards............................................... Debbie Fahmie Fine and Performing Arts Resource Specialist Osceola District Schools (407) 870-4904; fahmied@yahoo.com Budget/Finance, Development........................Kenneth Williams, PhD 3610 Beauclerc Rd.; Jacksonville, FL 32257 (904) 521-7890; kenwms@fmea.org Committee Council.......................... Debbie Fahmie Fine and Performing Arts Resource Specialist Osceola District Schools (407) 870-4904; fahmied@yahoo.com Conference Chairman...........John K. Southall, PhD Indian River State College 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810; johnsouthall@fmea.org Contemporary Media...............David Williams, PhD University of South Florida 4202 E. Fowler Ave., MUS 101; Tampa, FL 33620 (813) 974-9166; davidw@usf.edu Diverse Learners.................Alice-Ann Darrow, PhD Florida State University Music Education and Music Therapy 123 N. Copeland; Tallahassee, FL 32306 (850) 645-1438; aadarrow@fsu.edu Emerging Leaders....................... Mary Palmer, EdD 11410 Swift Water Cir.; Orlando, FL 32817 (407) 382-1661; mpalmerassoc@aol.com FMEA Corporate & Academic Partners...Fred Schiff All County Music 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fredallcounty@aol.com Government Relations.............Jeanne W. Reynolds Pinellas County Schools, Administration Bldg. 301 4th St., SW, P.O. Box 2942; Largo, FL 33779-2942 (727) 588-6055; reynoldsj@pcsb.org Multicultural Network..............Bernard Hendricks Ocoee High School 1925 Ocoee Crown Point Pkwy.; Orlando, FL 34761 (407) 905-3009; bernard.hendricks@ocps.net Professional Development............. Carolyn Minear carolynminear@fmea.org Research.................................Don D. Coffman, PhD University of Miami d.coffman1@miami.edu Retired Members................................Cynthia Berry 1341 Dunhill Dr.; Longwood, FL 32750 (407) 310-1254; cberry1314@gmail.com Secondary General Music........................Ed Prasse Leon High School 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net
Student Leadership............................. Ian Schwindt Titusville High School 150 Terrier Trail S.; Titusville, FL 32780-4735 (321) 264-3108; schwindt.ian@brevardschools.org
Executive Director........................ Jennifer Sullivan 1750 Common Way Rd., Orlando, FL 32814 (321) 624-5433; slljenn@aol.com
PROFESSIONAL DEVELOPMENT CONFERENCE
President.................................................Scott Evans Orange County Public Schools 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; scott.evans@ocps.net
Exhibits Managers........... Byron and Bobbie Smith 4110 Tralee Rd.; Tallahassee, FL 32309 (850) 893-3606 fmeaexhibits@fmea.org Local Co-Chairman.................................... Ted Hope Hillsborough County Public Schools School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4861; ted.hope@sdhc.k12.fl.us Local Co-Chairwoman.................Melanie Faulkner Hillsborough County Public Schools School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4461; melanie.faulkner@sdhc.k12.fl.us FLORIDA BANDMASTERS ASSOCIATION President.......................................... Cathi Leibinger Ransom Everglades School 2045 Bayshore Dr.; Miami, FL 33133 (305) 250-6868; president@fba.flmusiced.org Past-President...................................Jason Duckett Bartram Trail High School 7399 Longleaf Pine Pkwy.; St. Johns, FL 32259 (904) 343-1999; pastpresident@fba.flmusiced.org Executive Director................................ Neil Jenkins Florida Bandmasters Association P.O. Box 840135; Pembroke Pines, FL 33084 (954) 432-4111; Fax: (954) 432-4909 exec@fba.flmusiced.org FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION President.................................. Stacie Rossow, DMA Florida Atlantic University 777 Glades Rd.; Boca Raton, FL 33431 (561) 297-4230; srossow@fau.edu Past President........................Patricia Fleitas, PhD pfleitas@fau.edu President-Elect...........................................John Ash ashj@cf.edu FLORIDA COLLEGIATE NAfME President................................... Jennifer Luechauer Florida State University, 2220 Sandpiper Street Tallahassee, Florida 32303 (954) 643-1149; jll14e@my.fsu.edu Past-President............................Michael A. Gabriel Florida State University (561) 762-0016 mgmagabriel@gmail.com FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION President....................................Rosemary Pilonero The Villages Elementary of Lady Lake 695 Rolling Acres Rd.; Lady Lake, FL 32159 (352) 751-0111; rosemary@femea.flmusiced.org Past President.................................... Marie Radloff marie.radloff@ocps.net
FLORIDA MUSIC SUPERVISION ASSOCIATION
Past President............................Angela Hartvigsen ja.hartvig@comcast.net Treasurer.................................................... Ted Hope Hillsborough County Public Schools School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602 (813) 272-4861; ted.hope@sdhc.k12.fl.us FLORIDA ORCHESTRA ASSOCIATION President................................................Jason Jerald Blake High School 1701 North Blvd.; Tampa, FL 33607 (813) 272-3422; jason.jerald@sdhc.k12.fl.us Past President......................................Valerie Terry vterrymusic@gmail.com Executive Director........................Donald Langland 220 Parsons Woods Dr.; Seffner, FL 33594 (813) 502-5233; Fax: (813) 502-6832 exdirfoa@yahoo.com FLORIDA VOCAL ASSOCIATION President.........................................Thomas Jomisko Manatee High School 902 33rd Street Ct. W.; Bradenton, FL 34205 (941) 714-7300; jomiskot@manateeschools.net Past President.............................Carlton Kilpatrick ckilpat444@gmail.com Executive Director.............................. J. Mark Scott 7122 Tarpon Ct.; Fleming Island, FL 32003 (904) 284-1551; fva.scott@gmail.com Financial Officer..........................................Jo Hagan 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260 business@fva.net CENTER FOR FINE ARTS EDUCATION STAFF 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793 Executive Director...............Kathleen D. Sanz, PhD kdsanz@fmea.org Director of Operations............................Valeria Anderson, IOM val@fmea.org Director of Finance & Client Relations......................Richard Brown, CAE richard@fmea.org Technology Director.........................Josh Bula, PhD josh@fmea.org Public Affairs & Communications Coordinator......Jenny Abdelnour jenny@fmea.org Marketing & Membership Coordinator.....Jasmine Van Weelden jasmine@fmea.org
April 2019
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Apply Today
at FloridaSchoolMusic.org/Leadership
submission deadline is April 10.
Building the Team: Equipping the Music Leaders of Tomorrow This professional development opportunity will ensure that current and future component leaders have the necessary skills to find success in their position.
Limited Participation and Cost
In Partnership
Date and Location
The training is designed
Only 20 participants will be
July 8 - 10, 2019
in partnership with FSMA
selected through an application
Renaissance Orlando at SeaWorld
component organizations :
process and will have limited
Orlando, Florida
Florida Bandmasters Association,
costs. Hotel, travel, and most
Florida Orchestra Association,
meals will be covered by FSMA.
Florida Vocal Association.
About the Training The aim of state and district component leadership is to provide excellent stewarding of existing music programs, as well as the championing of better opportunities for aspiring musicians. This requires leaders to be efficient organizers of persons, resources, and projects, in addition to being able to plan paths to fulfilling the vision of a better tomorrow for music education in Florida. This professional development opportunity will ensure that current and future leaders will have the necessary communication, team-building, problem-solving, project management, and fiduciary/financial management skills to find success in their position.