Executive Director Florida Music Education Association
Kathleen D. Sanz, PhD Hinckley Center for Fine Arts Education 402 Office Plaza Tallahassee, FL 32301 (850) 878-6844 or (800) 301-3632 (kdsanz@fmea.org)
Editor-in-Chief
Kelly Miller, DMA University of Central Florida 12488 Centaurus Blvd. Orlando, FL 32816-8009 (407) 823-4545 (kelly.miller@ucf.edu)
Editorial Committee
Terice Allen (850) 245-8700, Tallahassee (tallen1962@hotmail.com)
John K. Southall, PhD Indian River State College, Fort Pierce (772) 462-7810; (johnsouthall@fmea.org)
Advertising Sales Valeria Anderson (val@fmea.org) 402 Office Plaza Tallahassee, FL 32301 (850) 878-6844
Official FMEA and FMD Photographers
Bob O’Lary Amanda Crawford
Art Director & Production Manager
Lori Danello Roberts LDR Design Inc. (lori@flmusiced.org)
Circulation & Copy Manager
Valeria Anderson, (800) 301-3632
Copy Editor Susan Trainor
INTERESTED IN SUMMER TRAINING?
President’s MESSAGE
Happy September, FMEA!
Ihopethis message finds you enjoying the start to another tremendous school year with your deserving students. A big congratulations to our component and partner organizations that hosted outstanding professional learning conferences this past summer! As usual, our leaders in these organizations have provided world-class professional learning opportunities to ring in another amazing school year ahead. Looking forward through this fall, FMEA is working hard preparing for our upcoming fall board of directors meeting, which already has an agenda that is jam-packed with important issues in and for our profession. Once again, our component, council, and committee leaders have assembled an impactful agenda so our FMEA community can be enriched through the decisions we make as a team.
As you may recall, one of my tasks as president is to help oversee the marketing, branding, and communications programs in FMEA. These initiatives cast our mission forward to all our stakeholders through thoughtful communication methods. Thanks to a comprehensive needs-assessment audit provided by Galloway-Gonzalez Consulting, the FMEA Board has been working through the next steps, as suggested by that report, to bring our association forward into the future. Naturally, some systems require only minor tweaks—and some systems require a complete “frame-off restoration” and over-
Harry “Skip” Pardee, EdD President Florida Music Education Association
haul. Please know your FMEA Executive Committee and Board of Directors are working hard to address these things in procedure and practice so your voice as a member in FMEA and a music education professional is heard, understood, and supported moving forward. We look forward to this important work, which is now beginning to take shape in a positive way!
As we look ahead to the 2026 Professional Learning Conference and All-State Concerts in Tampa, January 14–17, 2026, we hope you have already made plans or will be planning to join us! This conference will be a phenomenal opportunity to reconnect with colleagues, take in some outstanding clinic sessions, and hear worldclass ensembles under the direction of the world’s best clinicians/conductors! In my view, the conference is perfectly timed to recharge our batteries before what is undoubtedly a very busy spring semester.
If you or any of our music educator colleagues from across the state would like to connect with me personally, you are welcome to arrange a time for a virtual meeting or a phone call by emailing me at Skip.Pardee@ FMEA.org. I am committed to providing time for you to speak with your FMEA leadership about our association, the health of it, and your vision for our profession’s future. I look forward to hearing from you! On behalf of the FMEA Board of Directors, we hope you have a wonderful September.
Always musically,
Harry “Skip” Pardee, EdD, President Florida Music Education Association
Advocacy REPORT
The Future of Funding Florida Education
Funding High-Quality
Comprehensive Music Education
Do your eyes glaze over when the conversation turns to financial matters? This is simply not of great interest to many music educators. And yet, we no longer have the luxury of tuning out when education financing is discussed. We must be knowledgeable and proactive. Pay attention.
Summer Impoundment of Education Funds
On June 30, the Trump administration informed states that approximately $6.8 billion in approved federal education grants would not be released as scheduled, just before the July 1 disbursement date. Congress had already appropriated these funds, and school districts had built their budgets based on that information. The
administration cited a review as the reason for the delay, with the White House Office of Management and Budget later mentioning concerns about misuse of federal dollars.
Since the fiscal year begins on July 1 for Florida school districts, impounding funds on June 30 caused tremendous turmoil.
And then something positive happened.
Constituents from across the country and across the
political spectrum contacted their local, state, and federal elected officials to express their concerns. Then local, state, and federal elected officials from across the political spectrum penned letters and contacted the administration to voice their support for the release of these funds. On July 25, the impounded funds were released.
I reviewed this story for a reason. It is easy to become discouraged and disengaged. But this story clearly indicates
The Florida Constitution states: (Note: word emphasis is mine.)
SECTION 1. Public education.—
(a) The education of children is a fundamental value of the people of the State of Florida. It is, therefore, a paramount duty of the state to make adequate provision for the education of all children residing within its borders. Adequate provision shall be made by law for a uniform, efficient, safe, secure, and high quality system of free public schools that allows students to obtain a high quality education and for the establishment, maintenance, and operation of institutions of higher learning and other public education programs that the needs of the people may require.
there is still great power in working together and speaking with one voice. There is support across the political spectrum for highquality education. (See Florida Constitution exerpt below left.) Action Item – Please act when NAfME contacts you. The federal government’s fiscal year begins October 1. Congress will be working on and finalizing budget plans this month. This is an example of a campaign related to fiscal year 2026 funding: CLICK HERE
Florida Education Funding
Federal funds represent only 17% of all Florida school funding, so the most important work we can do is to address funding at the state level. States bear the responsibility for funding education.
Angela Hartvigsen
Jeanne W. Reynolds
Florida funds its schools through the Florida Education Finance Program, (FEFP). It is a formula established in 1973 to ensure equitable and adequate funding for all public school students, regardless of where they live in the state. The goals of the FEFP are:
w Equalize educational funding across counties with varying property wealth.
w Adjust funding based on student needs (e.g., special education, English learners).
w Incorporate state and local resources into a unified funding model. If you’d like to delve more into this complex formula, CLICK HERE or look at calculations for the 2025–26 school year here: CLICK HERE
To vastly oversimplify for purposes of this discussion, Florida schools are funded by:
w State funds, most typically generated by sales tax;
w Local Required Effort (LRE), which involves local property taxes (this varies by district); and
w Federal dollars discussed above.
Districts can generate only modest additional funding beyond these sources, but for the most part, local referenda and grants represent a very small fraction of district funding. In general, most school district revenue is completely outside their control, and in some cases, revenue must be spent in very prescriptive ways. Because of this, I am consistently perplexed by teachers who circle the wagons and shoot inward and blame districts for lack of adequate funding. This makes no sense. Certainly, you can and should advocate for how funds are allocated in your district to ensure high-quality music education. And music programs should NEVER suffer cuts greater than percentage cuts for other programs, but the most effective use of your time is advocating at the state
level for adequate education funding.
Vouchers
Florida’s embrace of school vouchers has complicated education funding. Last year the state spent approximately $3.9 billion on vouchers. $2.8 billion came directly from the FEFP and $1.1 billion came out of the Florida Tax Credit Scholarship. Most students accessing vouchers are students never before enrolled in public schools. In other words, the majority of the $2.8 billion dollars is a new expense to the FEFP without corresponding revenue funds to offset it.
FMEA for ALL
The FMEA advocates for high-quality music education in all Florida schools; public, charter, private, and home school coalitions. It is apparent that we will need greater funds from the state to ensure high-quality
education in all schools. A rising (funding) tide will raise all boats (and music programs).
Action Item: Contact your state legislators in September or October. Talk to them about the importance of robust funding for education in Florida. Give specific examples of the positive impact of your music program. Explain how this is a strong return on their investment.
Find your State Senator
Find your State House Representative We can’t afford to have any FMEA member sit this one out. It is easy to become discouraged and to think your voice doesn’t matter. This past summer people of all political stripes came together to voice support for education funding, and it made a difference. It’s past time to speak up for funding to support high-quality music education in ALL Florida schools.
N O T E S
Benny L. Bolden, Jr., EdD President Florida School Music Association
Leading With Purpose, Passion, and Patience
Dear colleagues and friends, by now, the rhythm of the school year is well underway. Rehearsals are in full swing, routines are forming, and students are beginning to find their voices—sometimes literally—in your classrooms, rehearsal spaces, and performance halls. As we move into this pivotal month, I want to take a moment to recognize and affirm the remarkable work you do each and every day.
At the Florida School Music Association, we remain committed to supporting you in delivering high-quality music education experiences that are both equitable and inspiring. Whether you’re preparing your ensembles for their first performance or beginning the journey toward music performance assessments later in the year, please know that FSMA is here as a partner, advocate, and resource.
This month is often where we see the turning point—where potential starts to become progress, and students begin to take ownership of the artistry you’ve introduced. It’s in this space, between foundation and flourish, that your leadership is most profound. Your ability to cultivate not only musicianship, but also confidence, collaboration, and character in young people is nothing short of extraordinary.
Let this serve as a reminder: your impact cannot be measured solely in notes or scores. It’s measured in the students who choose to stay, who find community, and who begin to believe in themselves because of what you’ve nurtured.
As we look ahead to the remainder of the season, I encourage you to keep leading with purpose, passion, and patience. FSMA will continue to champion your work and uphold the standards that make Florida a national model for music education.
Thank you for what you do. Keep going. You’re making more of a difference than you know.
In harmony and hope,
Benny L. Bolden, Jr., EdD, President Florida School Music Association
in Tampa this January!
The FMEA Professional Learning Conference is one of the largest music education professional development events in the United States. In addition to approximately 250 clinic sessions and concerts, it is host to 24 all-state ensembles featuring Florida’s top band, orchestra, chorus, guitar, Orff, and popular music students conducted by world-class conductors and teachers. It is attended by more than 10,000 people, including secondary music directors, elementary music teachers, music supervisors, college students, college music teachers, school administrators, K–12 students performing in the all-state ensembles, students and professional musicians performing with invited performing ensembles, exhibitors, and parents and family members of performing students.
So many reasons to participate:
w An exhibition hall with world-class exhibitors providing products and services for music educators and students
w More than 3,000 music teachers and 300 administrators
w Approximately 250 sessions, covering a variety of topics for all music educators, with on-demand access to recordings after the conference
w Performances and mini-concerts from some of Florida’s top music programs
w Networking opportunities, college fair, awards ceremony, and other special events
Conference Policies
To take advantage of early discounted rates, you must register and pay before the early registration deadline. If you are mailing a check to the FMEA office to pay for your registration, it must be postmarked on or before the EarlyRegistration Deadline and arrive in our office before the holiday break.
1. All participants—directors, students, chaperones, and guests—must be registered for the conference.
2. Only directors may register their groups or pick up registration materials if preregistered.
director’s preregistration packet and supervise the students at all times.
3. All participating students must be chaperoned. As required by FSMA, at least one chaperone, other than a director, is required for every ten (10) students or a fraction thereof. However, FMEA policy allows one free chaperone for every six (6) all-state students or a fraction thereof.
4. An additional paid chaperone may be registered for w each six (6) students registered, or w each all-state rehearsal site where registered students are rehearsing.
5. If a participating student is not accompanied by the director from that student’s school, then the principal from that school must furnish a letter designating the person from the school or school district who is to be in charge of that student. The letter should be addressed to the FMEA executive director, explain the extenuating circumstances preventing the director from attending, and must be submitted with registration materials. The school will be notified of approval. This does not release the director from the requirement that they must be registered for the conference. If approved, the person designated in the letter will pick up the
6. Student observers are not allowed to attend the conference. If any student observers are brought to the conference, the offending school’s participation in the conference may be eliminated the following year. Tri-M students or those approved for the “Student Experience” program who are registered and participating in sessions or working for the all-state concerts are exempt from this rule. Chaperones or other attendees are not allowed to bring children who are not participating in an allstate ensemble or student experience . Only registered students, teachers, and chaperones wearing a conference badge are allowed in and around the rehearsals and conference areas. Please make babysitting arrangements before attending the conference.
7. FMEA & NAfME Membership Requirements:
w All Florida school music teachers must register for the conference as FMEA members and be current members of FMEA and NAfME. This includes session presenters, all-state conductors, and directors of all-state students, invited performing groups, and mini-concerts.
w All-state conductors from Florida schools, colleges, or universities must also be FMEA members.
w No current music teacher may register as a chaperone.
w Collegiate students must be collegiate members of FMEA and NAfME.
w Attendees who live outside of Florida must be current members of NAfME. Attendees living outside the United States may contact our office for registration instructions.
Chaperone Registration
Chaperone registration is based on the following rules:
Elementary Students
w For each elementary student registered, one free chaperone and one paid chaperone may be registered.
w Any additional attendees must purchase a “Guest Pass” at on-site registration for entry into the convention center.
Middle School and High School Students
(see below). These will be reviewed on a case-by-case basis.
3. Refunds must be requested in writing, or through our CONTACT US page.
4. All requests for emergency refunds must be received no later than January 31, 2026. Requests received after that date will be denied.
5. All refunds will be issued after the conference is completed.
6. There are no refunds for concert tickets or membership dues.
If you test positive for COVID-19 or develop symptoms before the conference:
w If you have symptoms of COVID-19, the flu, or anything that may be contagious, or if you test positive within five days before your planned arrival at the conference, please follow these procedures:
If you have all-state students: You will need to find another teacher to supervise your students and pick up your badges in accordance with conference policy #5 on the previous page. Because director conference registration is a requirement for all-state student participation, you are not eligible for a refund.
If you do NOT have all-state students: Send an email using our CONTACT US page describing your symptoms or test results to request a refund in accordance with the policies above.
w If you are not showing symptoms, get re-tested a few days later. If the subsequent test(s) are negative and you still do not have symptoms, research has found that you are most likely not contagious, so you are welcome to attend the conference.
w For every six students registered, one free chaperone and one paid chaperone may be registered. No other chaperones may be registered until the seventh student is registered.
w Any additional attendees (chaperones or guests) must purchase a “Guest Pass” at on-site registration for entry into the convention center.
w EXCEPTIONS
If you have students in more than one performing ensemble, you may pay for a chaperone for each performing ensemble in which you have registered students.
If you have students from different schools, you may pay for a chaperone for each school for which you have registered students.
Clarification: these are not additional “free” chaperones; these exceptions only allow you to register an additional paid chaperone in addition to the one free and one paid chaperone per six students normally allowed.
Chaperones are not allowed to bring other children who are not participating in an all-state ensemble or student conference experience . Only registered students, teachers, and chaperones wearing a conference badge are allowed in and around the rehearsal areas. Directors are asked to make sure their chaperones are aware of this policy and make babysitting arrangements for their other children before agreeing to serve as chaperones.
Policies & Procedures
Indemnity Clause
FMEA reserves the right to change the conference/workshop content, timing, speakers, or venue without notice. The event may be postponed or cancelled due to acts of terrorism, war, extreme weather conditions, industrial action, fewer than expected delegates, pandemic, or any event beyond the control of FMEA. If such a situation arises, FMEA will endeavor to reschedule the event; however, FMEA cannot be held responsible for any cost, damage, or expenses that may be incurred by the registrant as a consequence of the event being postponed or cancelled. Some registrants consider travel insurance to cover the cost of the registration, travel, and expenses for these types of situations. FMEA is not responsible for any registrant’s personal injury (i.e., physical, psychological, or emotional stress) or property damages while attending an FMEA conference or event. Conference registrants assume all risks inherent in attending an FMEA conference for which the registration covers, whether before, during, or after the conference.
Security Procedures
The Florida Music Education Association is working with the Tampa Police Department and Allied Security at the Tampa Convention Center (TCC) to enhance the conference experience for the students and attendees.
Great News!
In order to help keep attendees safe, there will be a heightened security presence throughout the TCC and at various hotels. All entrances to the TCC will be patrolled by uniformed officers of the Tampa Police Department and uniformed Allied Security personnel. They will be patrolling the TCC as well. The Tampa Police Department will be at the crosswalks between Marriott Tampa Water Street and the TCC, at concerts, and patrolling some of the downtown hotels during rehearsals. All attendees (this includes members, exhibitors, chaperones, and student participants) must wear their conference badge during the conference once the authorized registrant obtains the conference packet.
Please be prepared for random bag and/or purse searches. It is encouraged, if at all possible, to use a clear bag, similar to those used at sporting events, for entrance to conference events. Enjoy the Conference Experience.
Photographic Release
By attending the conference and/or associated activities, you grant permission for FMEA to use any and all photographic imagery and video footage taken of you and your students at this event and activities pertaining to this event, without payment or any other consideration. You understand that such materials may be published electronically or in print, or used in presentations or exhibitions.
Code of Conduct
FMEA is dedicated to providing a positive environment of respect and civility for all attendees, including members, students, parents, speakers, clinicians, exhibitors, sponsors, staff, volunteers, and guests. All attendees are asked to follow all applicable laws and conference policies and to refrain from physical and verbal harassment, bullying, disorderly conduct, or any actions or behaviors that create unsafe conditions or interfere with presentations or performances. Harassment, bullying, and sexual language and imagery are not appropriate for any conference venue, including clinics, workshops, concerts, rehearsals, social events, online, and social media. Violations should be reported to convention center security or conference staff in a timely manner. Violators and their registered students may be expelled from the conference without a refund at the discretion of the FMEA Executive Committee.
Session Attendance Verification Reports
Provide proof of the sessions you attended to your administration with Session Attendance Verification Reports!
Each of our presenters will be provided a QR code and asked to display it on the last slide of their presentation. Scan that QR code to confirm your attendance and add the session to your Verification Report.
Requirements Register for the conference, either via preregistration or on site. Make sure you can log in to the FMEA website using the web browser on your phone. Use the username and password you chose when you renewed your membership. If you are from outside of Florida, you should have chosen your username and password when you registered for the conference.
Learn how to scan a QR code with your phone. With iPhones and newer Androids, you just need to open your camera, point it at the code, and a box will appear for you to click.
FMEA does NOT automatically submit your hours for you . It is up to you to follow the process outlined by your school or school district to apply for the professional development points toward your certificate renewal.
Important Conference Dates & Information
(subject to change)
Early registration opens.
September 12, 2025
Nominations open for Student Conference Experience ( FMEA .org/conference/studentexperience/) and Tri-M Experience ( FMEA.org/conference/tri-m-experience/)
September 27, 2025 Hotels begin taking reservations at 9:00 am.
October 1, 2025
October 24, 2025
October 30, 2025
Presenters’ deadline for editing session details and requesting A/V equipment.
Popular Music Collective submission deadline ( FMEA .org/programs/all-state/popular-musiccollective/).
November 3, 2025 Hotel room cancellation deadline is 5:00 pm.
November 7, 2025
November 11, 2025
Digital Music Showcase submission deadline ( FMEA .org/programs/digital-music-showcase/).
Hotels will charge your credit card a nonrefundable deposit for the first night of each room that was not cancelled by the deadline.
Early registration closes at midnight. Prices increase to the regular registration rates. You may continue to register and pay online until the conference.
December 12, 2025
December 15, 2025
Postmark deadline for checks mailed to pay for conference registration. After this date, all unpaid conference registrations must be paid by credit card online, or the check must be brought with you to the conference.
All school lodging checks are due to hotels, payable to the hotel where reservations were made for you and/ or your students.
The final deadline for discounted hotel blocks; unsold rooms in the FMEA blocks are released back to hotels.
Ticket Policies & Procedures
Concert Ticket Reservation and Payment
NO TICKETS WILL BE AVAILABLE FOR SALE AT THE MARRIOTT.
To attend a concert at the Marriott Water Street, you must pre-purchase electronic tickets online using the button above, or plan to visit the second floor of the Tampa Convention Center to purchase your tickets before walking to the Marriott.
Ticket Frequently Asked Questions
Do I get free tickets for my students’ family members to attend the concert? No.
Can I get free tickets to any concerts?
Can I buy extra tickets anytime?
Can I buy tickets on site at the Marriott?
Does my young child need to buy a ticket?
No. Registered attendees (directors, chaperones, students) are allowed admission to concerts with their name badge, so no ticket is necessary. Attendees that are not registered for the conference (parents, family, etc.) must purchase tickets.
Anyone can purchase tickets online. Electronic tickets will go on sale in September, and sales will close 30 minutes after each concert’s scheduled start time. Paper tickets will be sold at the FMEA Registration Desk during its regular hours Thursday through Saturday.
No, on-site paper ticket sales are only available at Tampa Convention Center in the secondfloor registration area. If your concert is in the Marriott Water Street, you must prepurchase your tickets online or make plans to first visit the convention center to buy tickets and then walk over to the Marriott.
Everyone who will be taking up a seat will need a ticket. Babies that are being held by a parent or sitting on a parent’s lap for the duration of the concert are welcome without a ticket, but children who are old enough to sit in their own seat will need a ticket.
All-State Ticket Policy
1. Registered (BADGED) attendees do not require tickets to attend any all-state concert. This includes directors/ members, directors’ non-teaching spouses, performing all-state students, registered chaperones, collegiate student members, retired members, and VIP guests that you entered as part of your conference registration.
2. All nonregistered (NONBADGED) attendees (parents, family members, guests, etc.) are required to purchase tickets for any all-state concert they wish to attend.
3. There are no “free” or “allotted” tickets. All concert attendees must either wear their conference badge or purchase a ticket.
4. Tickets will be electronic and sold online utilizing a mobile-friendly website. The link will be available on the conference website well in advance of the conference, and directors are encouraged to share the link with all of their all-state students and their parents or guardians. On-site at the conference, the links and QR codes will be posted on signs in the venue so attendees may purchase tickets using their smartphones. Anyone who wishes to attend a concert can purchase an electronic ticket online anytime up until 30 minutes after the concert’s published start time
5. There is no longer a need for directors to pre-purchase any tickets for their students or their families. Instead, they should direct the student and their family to the online ticket sales website. Any directors who still wish to purchase tickets should take care to correctly enter the names and email addresses of the people who will be using the tickets into the online sales portal, or transfer the tickets to those who will be using the tickets using their correct name and email address in the online ticket sales portal.
6. Paper tickets will be on sale at the FMEA registration desk on site at the conference for attendees who would like to pay by cash or who do not want to use electronic tickets. Paper ticket sales for all-state concerts will begin
on Thursday morning and continue Friday and Saturday at the FMEA registration desk. There is no requirement that the director or any other registered attendee be the person purchasing these tickets. If a concert starts after the registration desk is closed, only electronic tickets will continue to be sold before that concert. No tickets will be available for sale at the Marriott. To attend a concert at the Marriott Water Street, you must pre-purchase electronic tickets online or plan to visit the Tampa Convention Center’s second floor to purchase your tickets before walking to the Marriott.
7. All ticket sales are final. There are no refunds for any concert tickets. Tickets may be transferred or exchanged using the online ticket sales portal only.
8. For entrance, ticket, and concert purposes, a concert is defined as the pair or group of ensembles that are performing in the same venue in a common, defined block of time. An example of a “concert” for purposes of entrance and ticketing would be the 5:30 pm concert that features both the Treble Chorus and Mixed Chorus, or the 2:30 pm concert that features the Middle, Concert, and Symphonic Bands.
Concert Re-Entry Procedure
Once a ticket’s barcode is scanned to gain entry, that ticket is marked as “used” and will no longer be eligible for another entry into the concert. Attendees who need to exit and re-enter the concert should be prepared to show their ticket and a photo I.D. to confirm they are the ticket owner to gain re-entry.
All-Ticket Sales are Final. No Refunds.
Please make sure you know the exact name of the all-state ensemble for which you need tickets before approaching the ticket sales window. Exchanges may only be made through the online portal.
Conference Hotels
FMEA has contracted with several Tampa hotels to provide you with the best rates possible.
Hotel Policies
w A maximum of five (5) guest rooms may be reserved per name/credit card.
w Directors should try to reserve rooms for all-state students and chaperones in the hotel where they are rehearsing.
w FMEA is not offering a housing bureau service. All participants MUST reserve online or call the hotel directly to secure reservations.
w Room blocks will open on Saturday, September 27, at 9:00 am Eastern Time. The hotels will be listed online at that time, along with the reservation links and phone numbers for each hotel.
w If calling, be sure to request the “Florida Music Education Association” room block rate and confirm the guest room rate posted online.
w Credit cards are required for online reservations, and the credit card name must match the name on the reservation.
w If paying by check, reservations must be made over the phone, and a check for the full amount must be mailed directly to the hotel to arrive no later than December 15.
w You do not need to register for the conference before reserving your hotel rooms, but this is something we are considering for future conferences.
w Each hotel will have contract terms, such as parking charges, etc., on its reservation link.
Hotel Frequently Asked Questions
Why are the FMEA hotels so expensive?
Why is it so hard to get a room?
Why don’t you wait and open the hotel block after all-state auditions are released?
I tried calling, but it was busy or they put me on hold forever.
Is there a cancellation fee?
Someone at the hotel told me that cancelled rooms don’t go back into the FMEA block, and they are sold at full price instead. Is that true?
The price on the hotel’s booking page doesn’t match the price listed on the FMEA’s hotel page.
The prices we contract with the hotels are much lower than their standard room rates during the same dates. In many cases, it is less than half their normal rates.
When the blocks first open, everyone tries to get as many rooms as they can in case they need them for all-state students and chaperones, so they fill up very fast. If you wait until after the all-state results come out, many people will have cancelled their rooms and it’s much easier for everyone else to get a reservation.
Our hotel partners are uncomfortable waiting until we are so close to the start of the conference to book room reservations.
We recommend booking online instead. Otherwise, try again in early November after the all-state results are released. Many people will cancel rooms they no longer need if their students aren’t accepted.
No, as long as you cancel all the rooms you no longer need by the listed cancellation deadline, you will not be charged any type of cancellation fee. After the cancellation deadline, a deposit of one night per room in your reservation will be charged to your credit card, and that deposit is nonrefundable.
Only after December 15. Before that date, all the cancelled hotel rooms in the FMEA blocks will be returned to the FMEA blocks and can be reserved by other FMEA conference attendees at the low FMEA rate.
If the FMEA block is full at that hotel, they may be showing you available full-price rooms outside of the FMEA block. Try again in November after all-state results come out to see if anyone cancelled rooms in the FMEA block.
We urge any guest holding surplus reservations/rooms to cancel the excess reservation(s) as soon as possible and no later than 5 pm on November 3, 2025, and you must secure a cancellation confirmation number. This courtesy will make surplus rooms available to other FMEA members and conference attendees.
Nonrefundable Deposit
On November 11, each room reserved and not cancelled by November 3 will be charged a nonrefundable deposit in the amount of the posted rate for one night plus tax. It will be charged to the credit card used to secure the reservation. Invalid credit cards risk reservation cancellation.
Transportation Not Provided
Not all hotels are within walking distance of the convention center. FMEA does not provide any transportation. Transportation and PARKING are the responsibility of each attendee. Directors are asked to share this with their chaperones and students.
If Hotels Are Full
Every year, the hotel blocks fill up almost immediately upon opening due to teachers overestimating how many rooms they will need for all-state students and chaperones. They cancel the rooms they don’t need after the audition results are released (late October and early November).
w Try again in late October or early November after all-state results are released and teachers cancel rooms for students who don’t need them.
w Try again after the cancellation deadline. All cancelled rooms will return to the FMEA blocks until December 15.
w Please do not reserve a room outside of the FMEA blocks! We must fill most of our allotted room blocks to receive discounts for the ballrooms we use for all-state rehearsals. If we do not meet our required minimum number of hotel nights sold, we will need to raise conference registration rates to compensate for the added cost of the rehearsal space.
w If the price listed on the hotel’s website is not the same as the price listed on the FMEA hotel page, the FMEA block for that hotel may be full, and they are showing you fullprice rooms instead. Try again in November after all-state results come out.
Beware of Room Block Scams
The hotels listed on the FMEA Hotel List are the only official housing providers for the FMEA conference. The Florida Music Education Association is not affiliated with any third-party hotel brokers. If you are contacted by someone claiming to represent the FMEA offering discounted housing or alternative housing arrangements, be aware it is a scam. If you receive such communication, please contact Val Anderson at val@FMEA.org. The only way to ensure you have a valid hotel reservation is to book your room with one of the listed hotels and mention group code FMEA, or if you are an exhibitor, please use the Hotel Reservation Form on the Exhibitor Information page.
Credit Card Scams at the Hotels
Imagine this scenario: You arrive at your hotel and check in at the front desk. When checking in, you give the front desk your credit card information (for all the charges for your room or just incidentals). You get to your room and settle in. Someone calls the front desk and asks for room 620 (which happens to be your room). Your phone rings in your room. You answer, and the person on the other end says the following: “This is the front desk. When checking in, we came across a problem with your charge card information. Please re-read me your credit card number and verify the three-digit number on the reverse side of your charge card.”
Not thinking anything unusual, you might give this person your information since the call seems to come from the front desk. But actually, it is a scam. Someone is calling from someplace other than the hotel’s front desk. They ask for a random room number, and then, sounding very professional, they ask you for credit card information and address information. They are so smooth, you will think you are talking to a hotel employee at the front desk.
If you ever encounter this problem, tell the caller you will come down to the front desk to clear up any problems. Then, go to the front desk and ask if there was a problem. If there was none, inform the manager of the hotel that someone acting like a front desk employee called to scam you of your credit card information. This type of scam may also happen with room service charges. Be alert!
Tampa Convention Center, Room 124 Thursday 8:30am-11:30am Thursday 1pm-5pm Thursday..................................... 7pm-9pm
Friday 8:30am-11:30am Friday 1pm-5pm
Continued on page 21
How do I get to the conference? Making your case to attend the 2026 FMEA Professional Learning Conference
GGetting approval to attend the Florida Music Education Association Professional Learning Conference may require developing a proposal. Due to tight budgets in today’s economy, school principals and districts carefully scrutinize requests to attend professional learning. That does not mean you should not give it your best effort by showing your administrators how your attendance will benefit the students in your school. Rather than assuming your administrators are aware of the critical importance of you professionally benefitting from content-specific sessions, consider submitting a formal proposal. Through this proposal, you can demonstrate how your participation directly relates to the strategies and the objectives of your school (including those beyond the classroom). This will allow you to articulate the need for your continuing education and how it will benefit your students, your school, and you.
Develop Your Case
w Write down three of the most important goals and strategies being addressed in your school’s plan.
w Think about how you personally contribute to those three goals and strategies. How does your work as a music educator affect the overall mission of your school? Make a list of your personal contributions to your school’s goals and strategies.
w Review the conference’s professional learning schedule to better understand how the information provided will support your school’s goals. Mark meetings that relate to your list of personal contributions to the attainment of those goals and strategies,
and make note of the clinicians and others you will be able to observe and/or with whom you will be able to interact while at the conference. List the high-quality performances you will observe and from which you will learn. You can download the conference app from the FMEA’s website and bookmark your sessions.
w Write down your case for how attending the FMEA Professional Learning Conference and meeting the people there will help you contribute to your school’s goals and strategies, and use this case with your administrators when making your request to attend the conference.
When you create your proposal, in addition to providing a summary of the funding you will need, detail your case for attending. List your school’s goals, download the conference schedule, list the sessions and the clinicians and presenters who will be there, and list the specific sessions you plan to attend. Also, list the performing groups you will have the opportunity to observe during rehearsals with national clinicians as well as the performances by these well-known conductors (from whom you can gain programming and conducting ideas). Additionally, let your administrators know that this conference has more than 10,000 teachers, administrators, students, and parents in attendance, the second largest music education conference in the nation.
Finally, ask your administrators to support you to attend the FMEA Professional Learning Conference in Tampa, Florida, January 14–17, 2026.
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Encouraging,
Teach Manners, Then Teach Music: A Practical Guide to the First Two Weeks of School
TThe first two weeks of the school year are arguably the most important for any K–12 music educator. These initial days set the tone for everything that follows—not only in terms of musical achievement but also in behavior, classroom culture, and student-teacher relationships. While content delivery and performance goals can dominate our thinking, many seasoned educators know that a successful year starts with teaching something else first: manners.
This article outlines a three-phase framework that music educators can use to prepare for and systematically manage the first two weeks of school: (1) Summer Planning, (2) Pre-Planning, and (3) After Students Arrive. Drawing from foundational texts and real-world classroom strategies, this approach emphasizes positive behavior reinforcement, structured routines, and the power of teacher presence.
continued on page 26
Manners, Music:
BY GREGORY W. LEFILS, JR., PHD
Teach Manners
continued from page 24
Phase 1: Summer Planning –Vision, Reflection, and Planning
The most effective classroom cultures begin long before students arrive—during summer, when educators have the time and space to clarify their values and prepare a plan for success. Effective teachers don’t leave structure to chance. They envision it. They prepare it.
Start by journaling reflections on the previous year. What classroom management issues repeated themselves? What musical goals were reached, and which fell short? A high school band director, for instance, might reflect that discipline issues spiked during transitions. That single observation can drive intentional change in procedure planning.
Next, draft a vision for your classroom—not just the musical outcomes, but the environment you want to cultivate. What do you want students to feel when they
enter your room? Safe? Curious? Motivated? Putting those values on paper sharpens your awareness of them throughout the year.
Prepare to Co-Create a Classroom Constitution
Although classroom constitutions are created with students once the school year begins, summer is the time to decide how you will lead that process. Reflect on which shared values matter most to you and how you’ll invite students into a discussion about those values on Day 1. Draft possible prompts such as: “What do we need from each other to have a great music experience?” or “What behaviors help us grow as musicians?” Pre-planning these conversations helps ensure that the first days are meaningful and organized.
Draft Visual Norms and a Classroom Vision
Spend time drafting a class vision statement and identifying three to five core behavioral norms. While you won’t post them yet, planning their language in advance ensures consistency later. Use student-friendly phrasing like “We take care of each other.” Over the summer, consider how you might adapt your core norms into language that resonates with your students. Later, during pre-planning or the first week, you can co-author or edit these norms with your classes and post them in shared spaces.
Design a PBIS-Inspired Framework for Your Classroom
Summer is an ideal time to adapt Positive Behavior Interventions and Supports (PBIS) specifically for your music classroom (PBIS.org, n.d.). Review PBIS strategies and decide which systems will best fit your setting (National Association for Music Education [NAfME], n.d.). For example, plan how you will clearly define behavioral expectations, recognize positive actions, and apply consistent consequences. Develop ready-to-use templates for behavior reflections, parent communications, and tiered interventions. Having a well-prepared PBIS framework in place will make implementation much smoother once students arrive.
Set Professional SMART Goals
Setting your own SMART goals—Specific, Measurable, Achievable, Relevant, and Time-bound—is an essential step during summer planning. Your goals might include raising ensemble assessment scores, launching a new student leadership system, or reaching out to 90% of your prospective students by the end of September. Whatever the target, clearly defined goals provide focus and help guide your daily priorities once the school year begins.
As part of your early relationship-building with students, consider when and how you’ll introduce SMART goal-setting in your classroom. The second week of school can be a natural time for students to set their own goals after they’ve learned classroom expectations (SmartMusic Blog, n.d.). While goal-setting works well with advanced ensembles and classes, it may be helpful to delay this process with less experienced students. Give them time to understand your classroom culture, routines, and expectations first. Start with short-term goals early in the year and gradually transition to more long-term goals as students gain confidence and clarity.
Map the Year: Curriculum and Culture Planning
Finally, draft a year-at-a-glance calendar, noting major events, assessments, and musical milestones. Select early repertoire that is engaging and achievable while fostering ensemble identity. Just as important, plan classroom systems that support your values—bell work routines, behavior incentives, and entry/exit procedures. When students walk in on Day 1, your systems should reflect intentionality, not improvisation.
Phase 2: During Pre-Planning–Designing the Environment, Culture, and Systems
Before students walk through the door, use pre-planning to intentionally shape the environment, culture, and systems that will guide your first two weeks—and beyond. As Madsen (1974) reminds us, “You control the environment, which in turn, controls you.” Thoughtful setup now reduces chaos later.
1. Define and Display Core Expectations
Begin by preparing a short set of clear, positive expectations that reflect your values—think: Respect, Effort, Focus, Excellence. Post them prominently in your room and include them in your welcome materials for families. Consistent language and visible reminders build trust and clarity from Day 1 (Wong & Wong, 1991; Madsen & Madsen, 1974).
2. Script and Rehearse Classroom Procedures
Invest time in scripting every key routine: how students enter, where they sit, how they transition, and what happens when they need help. Use this time to rehearse those procedures yourself—or even with a colleague. The more precise your plan, the easier it will be to teach it confidently and consistently (Marzano & Marzano, 2003).
If you haven’t yet, map out a welcoming routine: How will you greet students at the door? How will you introduce them to the space? Think through the first five minutes as intentionally as you plan your repertoire.
Teach Manners
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3. Prepare the Physical Environment for Engagement
Your space communicates your expectations before you even speak. Arrange seating to minimize blind spots and behavioral hot spots. Use visual cues like taped pathways, welcome signage, or labeled materials bins to reduce confusion and promote independence. Ensure your tech setup (projector, speakers, whiteboard) is ready for use on Day 1. A well-organized room isn’t just efficient—it’s an act of care that tells students: You matter here.
4. Build Systems for Connection and Communication
Strong relationships begin before the first bell. Create systems to learn student names quickly—name tags, seating charts, or musical name games. Prepare a “Getting to Know You” survey or musical autobiography form that students complete in Week 1. These activities build belonging and help you tailor repertoire and instruction to student interests (Gamboa-Kroesen, 2019).
Quick Win Repertoire Ideas
Prepare a welcome message for families that includes key information—your contact details, rehearsal expectations, and important dates. Share this through both digital tools (like email, Remind, or Band) and a print-friendly handout. If possible, host a casual meet-and-greet or “New Student Night” to begin building relationships face-to-face. Stick with the communication platforms your school already uses to make it easy for families to stay connected.
5. Map the Curriculum and Select “Quick Win” Music
Planning your year begins with the first few days. One effective strategy is to start with “quick win” music— short, accessible songs or activities that build confidence, foster community, and set a joyful tone in your music classroom. These early experiences don’t need to be perfect; they just need to get everyone making music together right away. Below are practical examples of quick-start pieces and activities organized by classroom type.
Classroom Type Day 1–Week 1 Music-Making Ideas
General Music (K–5)
w Simple folk songs: “Engine Engine Number 9,” “Bow Wow Wow”
w Call-and-response songs: “Who Has Seen the Wind?”
w Movement songs: “Let Us Chase the Squirrel,” “Tideo”
w Rounds: “Row, Row, Row Your Boat,” “Are You Sleeping?”
w Rhythmic chants and body percussion echoes
w Popular music loops using classroom instruments (e.g., Boomwhackers on a chorus)
Choral/Vocal (6–12)
w Rounds: “Shalom Chaverim,” “Hey Ho, Nobody Home,” “I Love the Mountains”
w Partner songs: “Frère Jacques,” “Three Blind Mice”
w Short folk melodies: “Waters of Babylon,” “Who Can Sail?”
w Simple call and response: “Zum Gali Gali,” “Siyahamba”
w Layered pop a cappella riffs: “Lean on Me,” “Don’t Worry Be Happy”
Instrumental (Band/Orchestra)
w Easy unison folk tunes: “Hot Cross Buns,” “Mary Had a Little Lamb,” “African Noel”
w Two-note or three-note pentatonic improvisation
w Section-based ostinato grooves
w First ensemble rounds: “When the Saints Go Marching In,” “London’s Burning”
w Body percussion or simple pop song play-alongs
Tips for Making the Most of Quick Wins
w Keep it short and successful. Choose music that students can learn in 5–10 minutes. Joyful participation matters more than perfection.
w Echo and move. Call-and-response and simple motions help students of all readiness levels engage right away.
w Layer and loop. Build momentum by stacking simple rhythms or melodic lines for quick ensemble sound.
w Use familiar material. Songs students may already know will lower the barrier to participation and boost confidence.
w Offer choice. Let students choose from two or three activities, or co-create a simple groove together.
w Celebrate every success. Take a moment to recognize effort and enthusiasm—early wins help set a positive classroom tone.
Phase 3: After Students Arrive–Managing Behavior & Building a Positive Culture
The first days set the tone for the year. Prioritize procedures, predictability, and positive interactions. Teach and rehearse specific routines, just like you would a musical passage.
w Entering and exiting: Teach students where to put belongings, how to enter quietly, and what to do while waiting for rehearsal to start. Practice it daily until it’s automatic.
w Asking questions: Model when it’s appropriate to raise a hand, use a signal, or wait until a break in the music.
w Group work: Walk students through expectations for small ensemble rehearsals—voice levels, roles, and how to give peer feedback.
w Transitions: Rehearse moving from singing to writing, or from chairs to risers, with clarity and urgency.
w Turning in music/forms/money: Show students exactly where to turn in materials—have labeled bins and demo how to use them.
w Office visits: If students need to see you privately (e.g., about a grade or an issue), establish a protocol like writing a note or seeing you after rehearsal.
Also introduce and rehearse a short, memorable list of core behavioral expectations. One example:
w Respect yourself and others
w Be on task
w Do your very best
w Make good choices
w Be a musician
These should be more than words on a wall. Discuss what each means in your room, and then model, roleplay, and reinforce them consistently. For instance, after practicing “Be a musician,” ask: How does it affect us as an ensemble when your folder’s missing? When your neighbor’s off-task?
Teach Manners
continued from page 29
Classroom Management in Practice
Once routines are in place, consistency becomes your strongest tool. Draw on the idea of contingent relationships—students quickly learn what behaviors result in what outcomes:
w “If you return your form on time, you’ll be eligible for the field trip.”
w “If you talk during the warm-up, we’ll restart the exercise and lose rehearsal time.”
Catch students doing the right thing—aim for a 4:1 ratio of approval to disapproval. Acknowledge students who follow procedures without prompting:
w “I saw how you stacked chairs without being asked— thank you.”
w “Thanks for keeping your eyes on me during that transition. It helped the group stay focused.”
Avoid sarcasm, embarrassment, or public correction when a private word will do. A quick, quiet redirect (“Check your posture, thank you”) is far more effective than calling out a student mid-song. Never “zap” students—discipline should guide, not shame.
Focus on What to Start, Not What to Stop
When addressing off-task behavior, think about what you want students to do, not just what you want them to stop. Replace disruptive behavior with a musical alternative:
w Instead of “Stop talking!” try, “Let’s hum the pitch together while we wait.”
w Instead of “Stop tapping your stand,” try, “Can you keep that rhythm going on your body silently?”
Students would often rather be corrected than ignored—so be intentional about acknowledging positive participation. A nod, a gesture, or even a brief “Nice catch!” helps reinforce behaviors you want to see again.
Teaching Manners as Context-Specific Behavior
“Manners” in music class aren’t the same as manners in the cafeteria. Teach what respect looks and sounds like in your space. Expectations should shift depending on the setting:
w In rehearsals: No talking during tuning. Pencils out during feedback.
w In practice rooms: Use time efficiently. Leave the room cleaner than you found it.
w On trips: Respect chaperones. Be early to call times.
w At performances: Stay still during others’ performances. Exit the stage with professionalism.
Have students rehearse each of these scenarios. Use skits, examples, or even video clips of past students to illustrate what “on-brand” behavior looks like.
Managing New and Returning Students
Recognize that students come with different levels of experience. New students may feel overwhelmed, while returning students understand the routines and can even support their peers.
If you’re new to the program, avoid making major changes all at once. You’re not just managing behavior— you’re shaping the classroom culture. Like a turning large cargo ship, change should be gradual and should take time to avoid losing valuable “cargo.”
Be open and clear about your expectations, and allow students time to adjust. Only revise procedures after you’ve established trust and credibility with your students.
Use Rehearsal Planning as a Management Tool
Well-planned music-making can prevent many off-task behaviors before they start. Engaging, clear rehearsals not only maximize learning but also minimize the opportunity for misbehavior.
w Post rehearsal goals where students can see them— and check them off together as you go.
w Start with a musical task immediately—even on Day 1. A simple call-and-response warm-up with body percussion can make students feel like musicians from the first moment.
w Balance rigor and success: Include something students can nail early in each class. Momentum builds morale.
w Assess your plan weekly: Are students singing more than sitting? Are you catching behavior problems early or reacting late?
By embedding expectations into your music-making, students learn that good behavior is just part of being in your ensemble—not a separate system.
Final Thoughts
Behavior is situational, and students bring a variety of experiences, habits, and expectations. Your role as a music educator extends beyond teaching content—it’s about teaching context. Help students understand how behavior in a music room differs from behavior in a gymnasium, cafeteria, or other classrooms. When students fall short,
respond with kindness and consistency.
Remember, the first two weeks aren’t about control— they’re about empowerment. By focusing your energy on creating a structured, welcoming, and musically rich environment from Day 1, you set the stage for a successful year where you get to do what you love most: teaching music. Your intentional leadership during this crucial time can inspire a culture of respect, enthusiasm, and growth that lasts all year.
Gregory W. LeFils, Jr., PhD, is a visiting assistant professor of choral music education at Stetson University in Florida, holding a PhD in music education from Florida State University. His experience encompasses directing choral music programs, conducting, presenting at state and national music education conferences, and maintaining an active agenda as a speaker, clinician, and adjudicator.
References
Gamboa-Kroesen, J. S. (2019). These are my people: Music teacher instructional practice and school connectedness [Doctoral dissertation, University of California, Los Angeles]. eScholarship. https://escholarship.org/uc/item/9132f2v6
Marzano, R. J., Marzano, J. S., & Pickering, D. (2003). Classroom management that works: Research-based strategies for every teacher Association for Supervision and Curriculum Development.
Madsen, C. H., & Madsen, C. K. (1974). Teaching/discipline: A positive approach for educational development Allyn and Bacon, Inc.
National Association for Music Education. (n.d.). https://nafme.org
PBIS.org. (n.d.). https://www.pbis.org
Peterson, C. (2016). Resonance: The art of the choral music educator Pavane Publishing.
Wong, H. K., & Wong, R. T. (1991). The first days of school Sunnyvale, CA: Harry K. Wong Publications.
Intersecting With
Robert Rauschenberg at the Rauschenberg Gallery, Florida SouthWestern State College
Moving Beyond the traditional Boundaries
BY SCOTT COURTNEY, PHD
Music and Art Robert Rauschenberg
AAs we mark the centennial of Robert Rauschenberg’s birth in 2025, his enduring legacy reminds us that creativity thrives through connection, not isolation. Best known as an avant-garde visual artist, Rauschenberg blurred the boundaries between painting, sculpture, performance, and sound ( Joseph & Rauschenberg, 2003). His interdisciplinary approach offers both a philosophical foundation and a practical model for 21st century teaching. In today’s music classrooms, where virtual tools, multimedia integration, and hybrid performances are increasingly the norm, Rauschenberg’s vision feels more relevant than ever. From choral concerts enhanced with visual art to marching ensembles that fully merge sound and spectacle, we see how collaborative, cross-disciplinary work deepens learning. After providing a brief background of Rauschenberg, this article explores three key takeaways from Rauschenberg’s legacy: the artist as collaborator, the process as performance, and art as a mirror of ourselves and our world.
continued on page 34
Retroactive II, 1963 (oil and silkscreen ink on canvas)
Intersecting Music and Art
continued from page 33
Background: The Person and His Work
Robert Rauschenberg (1925–2008) was a groundbreaking American artist who redefined boundaries between disciplines through a lifelong commitment to collaboration and experimentation. From his early days at Black Mountain College, where he worked with John Cage and Merce Cunningham, to his pioneering “combines” that merged painting, sculpture, and found objects, Rauschenberg blurred the lines between visual art, music, movement, and performance. His approach laid the groundwork for today’s multimedia and interdisciplinary practices, particularly relevant in music and arts education where creative integration is increasingly central.
In the 1970s, Rauschenberg established a studio on Captiva Island, Florida, as a hub for collaborative innovation. His legacy lives on at Florida SouthWestern State College through the Bob Rauschenberg Gallery, which he personally named to reflect his accessible approach to
art. The gallery continues his spirit through exhibitions and performances that unite visual artists, musicians, and performers across genres, from experimental jazz to punk rock. For FSW students and faculty, his influence underscores the value of interdisciplinary creativity, encouraging us to think beyond rehearsal rooms and into immersive, collaborative spaces where sound, image, and movement converge.
I realize performance art may not always connect with musicians. I vividly recall my initial confusion when first exposed to his 1962 work Oracle, which combined sound sculptures such as exhaust pipes and car doors. I slowly grasped that his work emphasized the transformative power of combining disparate elements, which challenged our perception of art and life. As quoted by his son Chris, “He rewrote the rules of the game, where we don’t disregard everyday objects” (BBC, 2016). He was our equivalent of Debussy, Stravinsky, and Schoenberg, composers who respected the established practices yet forged their own paths.
Rauschenberg’s message remains especially relevant today, as we increasingly find ourselves in a world defined by interactive experiences, where art and life are not separate but intricately interwoven. From Frank Zappa to Andy Warhol, you will consistently find Rauschenberg’s name and footprint. I was recently updating some research on the relationship between Antônio Carlos Jobim and Sérgio Mendes. Despite their roots in Rio de Janeiro, both artists worked with Rauschenberg in Florida. The path begins to appear; all roads seem to intersect with Robert Rauschenberg.
To celebrate the centennial of his birth in 2025 is to revisit a body of work that still challenges, provokes, and inspires. For music educators, Rauschenberg offers more than artistic admiration; he offers a model. One where the artist is a collaborator, the process is the performance, and art reflects the world we live in. As we prepare students for an increasingly interdisciplinary future, his example remains a powerful guide.
The Connection to Music Education
Robert Rauschenberg’s connection to music was central to his artistic vision. His collaboration with avant-garde composer John Cage, particularly in Theater Piece No. 1 (1952), marks one of his most notable intersections of visual art and sound (Peters, 1980). This partnership extended to choreographer Merce Cunningham, with Rauschenberg designing experimental stage sets that redefined traditional performance (Potter, 1993). This
thought process of transformation becomes the primary point of intersection with music education.
In our classrooms, we often aim to connect historical concepts with modern relevance. For instance, we teach Bach’s counterpoint rules but then later explore how those rules were deconstructed and transformed. Yet, while we emphasize core skills like ear training, we might struggle to apply them in real-world context, such as blending a piccolo or an oboe with a timpani roll. Application is often the hardest part for students and teachers alike. Under pressure to meet performance goals, we lose the space for experimentation and discovery. With limited instructional time, the idea of “transformation” seems impractical.
The world around us suggests that integration and collaboration are the path of the future. Attending the Immersive Van Gogh exhibit reminded me how common these interdisciplinary experiences have become, from The Prince Experience and The Beatles LOVE by Cirque du Soleil to Maria Finkelmeier’s movement-based percussion and David Garibaldi’s live painting on the Kiss Farewell Tour. Nigel Stanford’s cymatics videos and projects like Fist City (with Kara Walker and Pharrell Williams) continue this fusion of sound and image. These works reflect the same spirit Rauschenberg championed: integration, innovation, and collaboration.
So, what’s the next step for our music classrooms? Many of us operate within a rehearse/perform model with little room for reactive risk, but even small shifts can open
Intersecting Music and Art
continued from page 35
the doors. The practical application of Rauschenberg’s legacy lies in fostering collaboration, critical thinking, and innovation. In our music classrooms, we can bring his approach to life by encouraging interdisciplinary projects, visual interpretations of music, multimedia performances, and assignments that value process over product. These experiences enrich student learning and reflect the growing trend of immersive, cross-disciplinary art. When music and visuals come together, chances are Rauschenberg’s influence is not far behind.
This brings us to three ways to put his philosophy into practice.
The Artist as Collaborator
Music is part of a larger educational picture, and as educators, we know our work goes beyond teaching notes and rhythms. We build core life skills: listening, responding, and adapting through artistic collaboration. Robert Rauschenberg’s partnerships with Merce Cunningham and John Cage serve as prime examples of how art is not a solitary act, but a shared, interdisciplinary experience. In their work, sound, movement, and image were interdependent, creating immersive, multisensory performances. This mindset speaks to a broader advocacy for the arts in schools. Cross-curricular collaboration may demand extra time and coordination, but it builds bridges between disciplines and deepens student engagement.
The challenge? Find one opportunity this year to collaborate across content areas. Could your students compose rhythms for a PE class drill? Use music software to
score a short story in English class? Pair history and music to trace American identity through American popular music? Start small, but start. Collaboration builds ownership and confidence. When students realize that their musical voice connects to something beyond the music room, they begin to see themselves not just as students of music, but as creators in a broader artistic landscape.
The Process Is the Performance
Rauschenberg believed there was no truly finished product. Art was always fluid, layered, and in motion. This philosophy deeply resonates with how we teach ensemble music. After an adjudicated performance, we often reflect and note the many areas still ripe for development. These reflections are not regrets; they are proof of the ongoing nature of our work. Rauschenberg’s mindset reinforces the value of creating, reflecting, revising, and experimenting. Too often, we chase polish over process, discouraging risk in favor of predictability. We encourage improvisation in jazz band but are hesitant to welcome experimentation elsewhere. Students begin to fear “getting it wrong,” rather than embracing creative discovery. This year, challenge yourself to create space for artistic risk-taking and reflection. Consider tools like reflective journals, self-assessments, in-progress video submissions, or score annotations, where students describe and justify musical choices. The video or audio submissions are always a great tool where we can guide experimentation in a low-risk assessment process. Asking them to play or sing a passage slower, softer, in a different style
Links
Rauschenberg at Rauschenberg at
Videos
Garibaldi, D. (2019, February 13). Garibaldi opens for Kiss in Anaheim. Finelmeier, M. (2023, April 26). Superhero Butterfly.
The Museum of Contemporary Art. (2015, September 24). Robert Rauschenberg.
Stanford, N. J. (2014, November 12).
Cymatics: Chladni plate–Sound, vibration and sand.
YouTube. (2016). Robert Rauschenberg –Pop Art Pioneer Full BBC Documentary 2016.
helps them explore possibilities. Students are not just performers but instead become guided by inquiry and imagination. When the process becomes the performance, students learn that growth isn’t about perfection; it’s about exploration.
Art as a Mirror
Rauschenberg believed that art should reflect the world around us, our environments, cultures, memories, and personal histories. This concept offers a critical reminder that music should not be separate from students but shaped by them. Too often, we chase a “polished” sound, where the oboe should blend just so, and the intonation must be exact. While important, this focus can disconnect the learner from the experience. When we allow music to reflect the students’ world, it becomes more personal, authentic, and meaningful.
Rauschenberg’s “combines” mixed media, including painting, sculpture, photography, and found objects. These became visual collages that mirrored real life. We often ask our students, “What do you see when you play this? What story are you telling?” Music educators can take a similar approach by integrating journals, portfolios, or digital showcases where students explore what a piece means to them personally. Perhaps it’s the addition of video or visual art to a performance or finding that process to combine various media such as a digital storybook, where they add images to our music. Many school districts have tools embedded for our use; go explore the combined mindset. These connections not only enhance understanding, they validate students’ perspectives, allowing music to become a mirror of their lived experience.
Final Thoughts
As we celebrate the centennial of Robert Rauschenberg’s birth, his legacy is rooted in collaboration, exploration, and reflection as the path toward creativity. These principles were once embedded in our music education training and curriculum goals, yet in the bustle of performances, deadlines, and assessments, they can slip from view. When we teach music as collaboration, we teach how music gains strength when shared. When we teach the process, we must reinforce the concept of discovery and that learning is not always about getting it right. Life doesn’t have a rubric, yet we continue to live in that world of absolution. Music as a mirror allows students to reflect their world, which became the thesis statement of
Rauschenberg’s work. As educators, we are more than just conductors of sound; we are the facilitators of meaning, nurturing young creators and thinkers who we hope will contribute to the world around them.
If searching for some specific ideas for inspiration by Rauschenberg’s approach:
w Pair visual art with music of similar textures –Rauschenberg’s “Erased de Kooning” (the nearly blank drawing) with sparse minimalism of Steve Reich or Arvo Pärt.
w Digital gallery or visual slideshows – run before a concert or during a piece that synch visuals to the mood or rhythm of the music.
w Reflective prompts during class or rehearsal – “What do you see when you play/sing this?” “If this music were a painting, what colors would it use and why?” and “What does this story tell?”
w Collaborate with other departments – use technology like Canvas, Soundtrap, or Noteflight to create multimedia reflections and define a visual identity.
w Adaptive assignments are essential for inclusive learning, and strategies like audio journaling or partner-based collaborative responses can help students engage more deeply with interdisciplinary approaches.
Scott Courtney, PhD, serves as music faculty at Florida SouthWestern State College, teaching jazz, theory, and world music. A Fulbright fellow and global presenter, he remains active in the marching arts and researches the intersection of world music, Zen, and the human experience.
References
BBC. (2016). Robert Rauschenberg – Pop art pioneer: Full BBC documentary 2016 [Video]. YouTube. https://www.youtube.com/ watch?v=yElmPbQNx9M
Joseph, B. W., & Rauschenberg, R. (2003). Random order: Robert Rauschenberg and the neo-avant-garde. MIT Press.
Rauschenberg Foundation. (2025). Robert Rauschenberg’s Florida studio. https://www.rauschenbergfoundation.org
Rose, B. (2008). “Seeing Rauschenberg Seeing”: Artforum International, 47(1), 432–438.
Peters, S. R. (1980). Robert Rauschenberg, John Cage: Performance (Master’s thesis, California State University, Northridge).
Potter, M. (1993). “A license to do anything”: Robert Rauschenberg and the Merce Cunningham dance company. Dance Chronicle, 16(1), 1–43.
MULTICULTURAL NETWORK
Arnekua Jackson, PhD Chairperson
Back to the Baton: Remixing Culture, Connection, and Creativity
s the school year begins and rehearsal rooms reopen, it is time to focus on what matters most: the music we make together. September signals more than the start of a new academic term. It represents a return to purpose, a renewal of passion, and a reconnection with people: our students, our colleagues, and the communities that shape and inspire us. Whether you are greeting familiar faces or welcoming new ones, this is an opportunity to reimagine your classroom, your curriculum, and your approach.
Music is not only what we teach. It is how we affirm identity, promote healing, and build understanding. Now is the time to consider how we can amplify every voice and foster inclusive excellence in every rehearsal and classroom.
Let’s Try a New Track This Year
w Center Culture
Let your curriculum reflect your students. Make room for their heritage, hometowns, and hidden talents.
Representation is rhythm.
w Lead With Light
Your students mirror your
energy. Start each class with a positive spark, whether it is a quote, a song, or a simple “I’m glad you’re here.”
w Build a Harmonious Network
Collaboration is not just a buzzword; it is the foundation of success. Lean into your colleagues, your local community, and your MCN family.
w Encourage Creative Risks Make space for students to compose, improvise, and move. Growth often lives on the edge of comfort zones.
A Call to Action
As members of the Multicultural Network, we are uniquely positioned to lead with vision, authenticity, and purpose. Our work is not only about curriculum and concerts. It is about cultivating empathy, fostering cultural understanding, and creating safe spaces for all students to thrive.
energy and unwavering commitment. Share your stories, your wins, and your insights with us. Encourage your colleagues. Inspire your students. Together, let us raise the volume on equity, creativity, and excellence in music education.
This is our moment to lead. This is our time to inspire. Let us begin back at the baton.
FLORIDA NAfME COLLEGIATE
Mark A. Belfast, Jr., PhD Advisor
NAfME Collegiate Kickoff Week and FMEA Component Memberships
Welcome back, everyone!
I hope you had a successful and relatively stress-free launch to the new semester. As NAfME Collegiate chapters across the state kick into high gear, I want to ensure you are aware of two very important opportunities.
NAfME Collegiate Kickoff Week
This year, Kickoff Week will take place September 22–26. Be sure to check out the Kickoff Week website for each day’s theme and follow NAfME Collegiate Official on socials for all the latest information. I hope you and your fellow music education majors will participate and show the world the great things you are doing.
FMEA Component Memberships for College Students
As a college student in Florida, your primary connection to the Florida Music Education Association (FMEA) and the National Association for Music Education (NAfME) is through your membership in Florida NAfME Collegiate. When you pay your dues to FMEA ($60), a portion of those dues covers your dues for the national association. As long as a single student
pays NAfME dues and identifies with a specific college or university, NAfME considers that institution to have a NAfME Collegiate chapter (regardless of how active the chapter might be).
Florida NAfME Collegiate is classified as a “council” under the FMEA umbrella, but there are also content area focused “components” that are also governed by FMEA. When you graduate from college, you will transition out of Florida NAfME Collegiate and into one of
the components (i.e., FBA, FEMEA, FOA, or FVA). That said, each of those component organizations also provides membership opportunities while you are still in college. This year, when you activate (or reactivate) your FMEA membership and join Florida NAfME Collegiate, I encourage you to add a component membership to your FMEA account and explore all the components have to offer as you continue your educational journey.
(*music education majors only)
CONTEMPORARY MEDIA COMMITTEE
Clint Randles, PhD Chairperson
FMEA All-State Popular Music Collective
The Contemporary Media Committee is excited to announce that the FMEA Florida All-State Popular Music Collective will return as part of the 2026 Professional Learning Conference in January.
The Collective will focus on, and perform, mostly original music created by the students, and it will be run using a learner-centered pedagogical approach where the students will have significant autonomy over the choice of literature performed. Students will also be expected to participate in preconference communications to begin the planning process of creating literature.
Auditions will occur through video recordings, with links submitted to the FMEA website by October 23, 2025. Personnel selections will be made by members of the Contemporary Media Committee, and results will be communicated in late October or early November.
Eligibility
Any student, grades 9–12, participating in the Florida Music Education Association (FMEA) All-State Popular Music Collective must be enrolled/registered at a public school, private school, public charter school,
home
education
music cooperative, or virtual school, and be sponsored by an FMEA member teacher from that school. Home education students must be sponsored by their FMEA/component member teacher from that home education music cooperative. In addition, the student must be a regularly participating member of a school-based music program that is sponsored by an active FMEA member.
two or three guitarists, one bass guitarist, two keyboardists, two drummers, and potentially a few other instrumentalists. Staff will include a director, vocal coach, and sound technician.
Academic Eligibility
Florida Statute 1006.15 (3)(a) requires students to maintain a grade point average of 2.0 or above on a 4.0 scale, or its equivalent.
Participant Contract
An all-state participant’s contract must be completed for every student auditioning for all-state groups. These contracts will be generated for the teacher to print when the students are entered online, and must be included with the entry forms sent to the FMEA office.
Participants
The collective will be made up of one DJ, one VJ, two or three rappers/hip-hop artists, two or three vocalists,
FMEA Conference
Rehearsals and performances will be part of the FMEA Professional Learning Conference in January. Accepted students, sponsoring teachers, and necessary chaperones of accepted all-state students are required to register and attend the FMEA conference.
See the Conference Policies for details and the Conference Registration page for prices.
Students will also be expected to participate in preconference Zoom meetings to begin the planning process of creating music. The schedule for both conference and pre-conference activities will be distributed with the announcement of selected students.
Audition Requirements
All auditions will be submitted as video recordings and should include ONLY the student’s part. Except for DJ and VJ auditions, students should record their part while listening to the supplied backing track on headphones. DJ and VJ auditions should be a video recording of the student performing their mix. Quality sound will be the responsibility of the student and sponsoring teacher. In addition to musicality, students will also be evaluated on performance theatrics. The importance of musical creativity cannot be overstated. It is critical that students demonstrate their creative selves, especially with audition material containing a supplied backing track. Creative performance, that remains stylistically appropriate, is preferable to simply replicating a recorded version of the student’s part.
Learn more about the FMEA All-State Popular Music Collective HERE
DIVERSE LEARNERS COMMITTEE
Christine Lapka, EdD Chairperson
Duets That Support: Peer Strategies for Diverse Learners in Ensembles
s the school year begins, many ensemble directors are forming student leadership teams—section leaders, group captains, and ensemble officers. To further support students with disabilities, consider implementing leadership at a micro level by pairing each student with a peer—such as a “band buddy,” “choir companion,” or “orchestra ally.”
Research supports the use of peer-mediated instruction (PMI). Studies show that both students with disabilities and their typically developing peers make greater gains when taught using PMI compared to traditional methods. Additionally, 90% of students reported enjoying working with a partner (Scruggs, Mastropieri, & Marshak, 2012). When students are taught to make supportive statements, they can successfully collaborate with peers outside their usual social circles (Baker, Gersten, Dimino, & Griffiths, 2004).
With these positive outcomes in mind, PMI groups are intentionally small—just two students, forming a duet. Instrumental ensembles are familiar with the stand partner setup, while choirs might use
“elbow partners.” You have several options for forming these peer duos. Friend and Bursuck (2019) suggest the following strategies:
w Pair students with similar achievement levels.
Matching two high-
performing students can prevent frustration and ensure both benefit from the experience. Similarly, pairing students with comparable understanding fosters balanced interactions.
w Try random pairings. This method is straightforward and can encourage new connections.
w Use reciprocal tutoring. Students alternate roles as tutor and tutee. To avoid continued on page 42
Duets That Support
continued from page 41
hierarchical dynamics, consider assigning neutral identifiers—such as school colors (e.g., one student is “gold,” the other “purple”).
w Explore cross-age tutoring. Older students can support younger ones, either within the same school or across different grade levels. (pp. 394–395) Next, consider when and how often these pairs should work together. For example:
w During rehearsal, ask students to tell their partner the starting pitch for the concert A scale.
w In a reciprocal model, “gold” listens while “purple” plays, then provides feedback. Roles are then reversed.
w During rehearsal, duos might rotate into a practice room for focused 10-minute sessions.
w If possible, duos are asked to work together for 20 minutes outside of the school day. They can record and submit a part of their practice for points and/or feedback.
Provide Clear Guidance
As educators, we’ve trained to develop curriculum and facilitate learning. Students benefit from short-term, specific goals. For instance:
“Give your partner the starting pitch and listen to them sing the last eight measures of Valiant-for-truth* by Ralph Vaughan Williams. Focus on fortissimo vocal quality, diction, and pitch accuracy at this extreme dynamic level.”
Then, guide duos with reflective questions adapted from Shaw (2018):
w Did your partner sing confidently?
w Was the sound ever louder than lovely?
w Can diction be improved (beginning, middle, or ending consonants)?
w Is there a pitch or pitches that need attention? Encourage feedback and allow a second attempt before switching roles.
Peer-mediated instruction offers ensemble directors a powerful, research-backed strategy to foster inclusion and enhance learning for all students. By thoughtfully pairing students and guiding their interactions, we create a supportive environment where every musician— regardless of ability—can grow, connect, and contribute meaningfully. As we begin the school year, let’s embrace
the duet—not just as a musical form, but as a model for learning together.
* Title format from Oxford University Press Music
References
Baker, S., Gersten, R., Dimino, J. A., & Griffiths, R. (2004). The sustained use of research based instructional practice: A case study of peer-assisted learning strategies in mathematics. Remedial and Special Education, 25, 5–24.
Friend, M., & Bursuck, W. D. (2019). Including students with special needs: A practical guide for classroom teachers (8th ed.). Pearson.
Scruggs, T. E., Mastropieri, M. A., & Marshak, L. (2012). Peer-mediated instruction in inclusive secondary social studies learning: Direct and indirect learning effects. Learning Disabilities Research & Practice, 27, 12–20.
Shaw, B. P. (2018). Music assessment for better ensembles. Oxford University Press.
AWARDS COMMITTEE
Sondra A. W. Collins Chairperson
Your FMEA Awards Committee wants to recognize and empower the heroes among us who have been the light this past year, as well as continue to be the light, for their students and others. Your FMEA Awards Program offers several awards in recognition of the efforts and accomplishments of those who have made outstanding contributions to music education. Please check over the award categories and take the opportunity to recognize those lights among us. It’s your turn to be their light, in recognizing them.
Are you part of a middle or high school music program that offers dynamic music instruction with high recruitment and retention numbers? If so, you can be a part of this year’s awards program by applying for the FMEA Music Education Enrollment Award! To qualify, 30% at the high school level and 45% at the middle school level of the entire school’s population must be involved in a music program taught by an FMEA member.
Have you been teaching music for 25 or more years? If so, you qualify for the Music Education Service Award, and the application process is very simple. If this is you, submit your application so you can be part of the exciting awards ceremony in January! FMEA also has a very special award that honors those reaching the mark of 50 years or more of service in music education.
The school enrollment awards and service awards are typically self-nominated and take only minutes to complete online. The deadline for the Music Education Service Award and Music Education Middle/High School Enrollment Award categories is October 31, 2025. Please check the FMEA website for details about the nomination process: FMEA.org/ programs/awards.
I am continuing to share with you a little of the brilliance that this year’s awardees shared with us at our FMEA Awards Ceremony during the 2025 FMEA Professional Learning Conference. These words of inspiration I share with you to give you that confidence to be the light to your own students this school year, as well as the drive to help shine a light on others during this nomination period.
RICARDO (RICKY) GRIMALDO, principal of Stephen Foster Elementary School in Broward County Public Schools, inspires through personal testimony.
T“The success of our music program is really all to do with the phenomenal music teacher that I have. I saw from the first moment that I met her what a dedicated music teacher she is. I will never forget that first fall concert, where I heard songs that I had never heard before in my life, saw the happiness of the kids and the parents, and saw and heard the unique music she put together. I was overwhelmed by it . The very first priority for me, the following school year as I was working on the budget, was to make sure that I could have this fantastic music teacher here 100% of the time Music education to me represents a very simple philosophy: I believe that all kids deserve to have the same opportunities, no matter what their background. Two years ago, our school had the first opportunity to participate in “Christmas on Las Olas” [a local community performing opportunity]. It felt for me like we had finally achieved a major goal, which was to have the same opportunities for the students of Stephen Foster as the kids anywhere throughout the district.
I am proud to be honored as the FMEA Elementary Administrator of the Year and to represent Broward County Public Schools in this magnificent honor.”
A September Reflection
s September settles in, band directors across the state are transitioning from the excitement of the new school year to the rhythm of daily rehearsals, football games, and the steady march toward fall performances. Marching band shows are taking shape on the field, and preparations for concerts and fundraisers are in full swing. Yet amid the scheduling, logistics, and rehearsals, it is worth pausing to reflect on a deeper question: Why do we do this work?
With the novelty of the school year behind us, it is easy to let administrative tasks, performance pressures, and assessment preparation distract from the heart of our profession—the joy of making music. Music education is not merely about notes on a page or scores on a rubric; it is about connecting students to something greater, inspiring creativity, fostering discipline, and building community through sound.
It is during this time of year, when routines solidify and expectations mount, that we must remind ourselves—and our students—of the value in the process, not just the product
FLORIDA BANDMASTERS ASSOCIATION
Jeff Cayer, EdD President
Our role is not only to prepare ensembles for performances but to shape musicianship and character through consistent, thoughtful teaching.
Embracing Feedback as Growth
One of the most effective ways to grow as educators is to seek outside perspective. The Florida Bandmasters Association offers a valuable tool for this purpose through its mentoring initiative. Directors are encouraged to submit recordings of both concert and jazz bands for constructive feedback from experienced mentors through the “Extra Ears” program.
Recordings can be submitted to:
w Concert Band mentoring@fba.flmusiced.org
w Jazz Band jazz@fba.flmusiced.org
Too often, directors hesitate to submit recordings with the thought, “My band isn’t ready yet.” In truth, no ensemble is ever truly finished or perfect—and that is precisely the point. The feedback you receive may challenge your assumptions, reshape your rehearsal priorities, or offer fresh insight into your ensemble’s tone, balance, or articulation.
Early and regular feedback empowers directors to make meaningful adjustments throughout the year rather than waiting for performance assessments to reveal areas of growth. Take advantage of this free and confidential service, an invaluable opportunity for professional development and student improvement.
Assessments and Beyond
To our high school directors preparing for upcoming music performance assessments: good luck. These events are milestones, certainly, but they are not the end goal. The assessment is a snapshot—not the full story—of your ensemble’s progress. As you strive for excellence, don’t lose sight of the relationships you’re building and the lifelong love of music you are instilling in your students.
Remember: The process is more important than the product. Put on a great show—but have fun along the way.
As we navigate the busy months ahead, may we continue to lead with purpose, teach with passion, and remain grounded in the joy that brought us to music education in the first place. The journey is long, but deeply rewarding. Let us support one another, seek growth, and always keep our “why” at the center of what we do.
FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION
Meghan Alfaro President
Hello,
FEMEA! As we begin a new school year, we know it can sometimes feel like you’re on your own—juggling lessons, behaviors, and performances—without much time to connect. But you are not alone. You are part of a vibrant educational community, and this year FEMEA is focused on building that connection stronger than ever.
The consolidation of our member districts is complete. With the district realignments, we were able to create two brand new chair positions created with YOU and your students in mind: the Member Engagement Chairperson and the Student Engagement Chairperson. Here are a few ways the new chairs will work to support you.
Quick access to experienced educators who can offer advice and solutions for student-related challenges.
w 3 Post-It Plans
Simple, effective ideas for lesson plans and managing behaviors that keep music fun and focused.
w Summer Student Symposium Coming 2026!
A NEW summer student symposium is in the works for students. Stay tuned for details!
w … and more to come!
These committees are just one way that FEMEA is working to uplift educators and bring joyful, high-quality music experiences to all students. We are also offering:
w Workshop Wallets
Our Janice Lancaster Professional Development Fund is now offering Workshop Wallets! Three members from each district will be selected to receive $50 for attending a local workshop. Apply on our website at femeamember.org.
w Text Messaging
Sign up on the website to receive text messages from FEMEA for real time updates and information.
And finally, we need you! If you would like to serve on one of these new committees, email me at meghan@femea. flmusiced.org. Additionally, 2026-28 FEMEA District Chairs 2, 4, and 5/6 are up for election this January. The Nomination Committee is accepting nomination forms for the 2026-28 FEMEA District Chairs 2, 4, and 5/6 until December 1, 2025. Finally, we encourage you to reach out to your county contact and/or district chairperson to share your ideas and input.
District 1, South Florida – Emerson Oliver
District 2, Central South – Laura Allgood
District 3, Central West – Katie Thomas
District 4, Central North – Madison Kerr
District 5, North Florida – Dan Browne
Whether you’re looking for fresh ideas, support, or a stronger sense of community, we are here for you. You are the foundation of music education in Florida. Let’s keep growing, connecting, and making a difference!
FUN FRIDAYS:
Out-of-the-Box Strategies for Active Music Learning
We all know the benefits of getting our students moving and engaging in creative, out-of-the-box learning. Still, it’s easy to get caught up in delivering all the content we’ve planned, hoping our students absorb it all. The truth is, just because we say it doesn’t mean they retain it.
Singing is a physical activity, and rehearsals should always include movement—but we can go even further. That’s where Fun Fridays come in.
Originally born out of the need to lift spirits during COVID, Fun Fridays stuck around—and now they’re a staple in my classroom. Each Friday, we reserve the last 20 minutes of rehearsal for wacky, creative activities that promote learning through movement, teamwork, and fun. Some of these ideas were created by me, and others were inspired by brilliant colleagues.
PRO TIP: If you’re even a little bit competitive (like me), set clear rules before you begin. Also, remember: these activities require just as much planning as a traditional lesson.
Fun Friday Favorites
1. IPA Twister
During our three-week International Phonetic Alphabet (IPA) unit—covering pure vowels (Week 1), diphthongs (Week 2), and consonants (Week 3)—we cap things off with a game of IPA Twister.
w Set up three Twister mats or create your own using painter’s tape and printed symbols.
w Assign each color to a different IPA sound.
w Use an online spinner to call out “left leg,” “right hand,” etc., and then say a word. Students must find the corresponding IPA symbol for that word.
w Best with small groups. Keep the board large to avoid awkward proximity. Students can choose to play, coach, or observe.
2. Body Percussion Rhythm Challenge
After our rhythm unit, students work in small groups to create a two-measure body percussion sequence using patterns they’ve learned.
NOTE: The most creative and cleanly executed routine gets video recorded and showcased at our end-of-year awards assembly.
3. Small Melodic Compositions
In groups of four, students compose and perform a four-measure melodic exercise. NOTE: They’re encouraged to rehearse and present their piece to the class.
4. Scary Story Dynamics
To reinforce the importance of dynamics, I tell a scary story with a loud scare at the end. NOTES: 1. Delivery matters—this takes performance chops, so practice it!
2. It’s a fun and memorable way to reinforce dynamics and expression.
5. Vocabulary Charades
Simple and fun! Students act out music vocabulary terms. NOTE: Be creative and adapt the rules to fit your classroom culture.
Jeannine Stemmer President
Ideas from the wonderful music educator Carol Krueger
Source: carolkruegermusic.com
The Ultimate Fun Friday: Choir Wars
Our biggest event is the annual Choir Wars, a wild celebration that happens after our MPA season. It’s not educational—it’s just plain fun. And it’s a hit.
Important Notes:
w Requires administrative approval, calendar reservations, and facilities.
w Each choir class participates during their class period and must clean up and change before the next class begins.
w Improvised Pattern Singing
Students sing short patterns in groups based on criteria you set. For example, improvise using the tonic triad—but each student must start on the last note sung by the previous person.
Spheres of Success
Using racquetballs, students bounce the ball on the beat while speaking rhythms. Level up: Bounce on the offbeat or add rhythmic speech while bouncing!
Ideas from my friends at Vocal Youth Miami
Source: vocalyouth.org
Beach Ball Game
Write review or get-to-know-you questions on a beach ball.
w Toss the ball around; the student answers the question closest to their right thumb.
Vocabulary Puzzle Pieces
Create puzzle pairs—one side with the word, the other with the definition.
w Scatter them around the room. Students pick one and find their match.
w Bonus round: Do it silently!
The Three Rounds:
w Food Coloring Water Wars
Using water squirters, buckets, and food coloring (mostly from the dollar store), students go wild.
w Flour Tissue Bombs
Once they’re wet, we up the chaos—flour-filled tissue bombs get thrown like snowballs.
w Blueberry Mush Wars
Clearance berries + flour + water = a disgusting, glorious mess.
We do this on the school field, and it’s become a powerful recruitment tool—students passing by want in
Final Thoughts
Our colleagues across the state are full of creative, movementbased learning ideas. Reach out to each other. Share what works. Make it a topic at your next district meeting.
Most of all, have fun crafting meaningful, memorable experiences that your students will carry with them forever.
Andrea Szarowicz President
Welcome to the 2025–26 School Year!
DearFOA members, as your FOA president, I am thrilled to welcome you to the 2025–26 school year! Over the summer, the FOA Executive Committee and FOA Board have been hard at work preparing our new district chairpersons, organizing committee efforts, and continuing to uphold the excellence that defines the Florida Orchestra Association. It is truly an honor to lead this outstanding organization alongside such a dedicated and passionate team. Please join me in welcoming our new district chairpersons and all-state coordinators:
A sincere thank you to all of our district chairpersons for setting the stage for a successful year ahead. Remember, your district chair is your primary resource for FOA-related questions, guidance, or suggestions throughout the year.
All-State Auditions
The all-state audition window is scheduled for September 15–21. Please consult your district calendar for specific audition dates. We encourage everyone to consider volunteering—your support makes a meaningful difference for our students and community.
Additionally, we are seeking volunteers for allstate judging on October 18 at the Hilton Orlando. If you are interested, please contact your district chairperson. Special thanks to Brian Hellhake and all those assisting in this important process.
FOA/FLASTA Fall Conference
Mark your calendar for the 2025 FOA/FLASTA Fall Conference, taking place October 16–17 at the Hilton Orlando. Registration is now open at myfoa.org. We are excited to welcome Creston Herron and Dr. David Pope as our keynote speakers, along with a featured performance by the Boone High School Chamber Orchestra.
The full schedule— designed to inspire, educate, and support orchestra educators at every level— is available on the FOA website. Be sure to bring your instrument and music stand to participate in our music reading sessions, which offer
a great opportunity to explore new repertoire for the year.
FMEA Professional Learning Conference
Room blocks for the FMEA conference are tentatively scheduled to open on Saturday, September 27 at 9:00 am ET. At that time, full details, including hotel lists, reservation links, and phone numbers will be available. Please remember to release any unneeded rooms to help accommodate fellow attendees. Note that a nonrefundable deposit will apply to rooms not cancelled by the official November deadline.
Please stay actively involved in your district, and don’t hesitate to share your ideas or seek assistance. FOA is here to support you.
As we begin this new school year together, I encourage you to take care of yourselves and your loved ones. Wishing you all the best for a fulfilling and successful 2025–26!
Please take time to thank and support our 2025-2026 Academic Partners. SILVER
The College of Idaho
BRONZE PARTNERS
Florida Southern College
Partners as of August 4, 2025.
*Please visit FMEA.org/partners for partnership details or call 850-878-6844.
Partners as of August 4, 2025.
*Please visit FMEA.org/partners for partnership details or call 850-878-6844.
Please take time to thank and support our 2025-2026 Corporate Partners.
PARTNERS
BRONZE PARTNERS
Head’s House of Music
J.W. Pepper & Son, Inc.
MusicFirst
PACE Travel Sight Reading Factory
FMEA RESEARCH COMMITTEE
D.
Gregory Springer, PhD, Chairperson Florida State University FOR MUSIC TEACHERS
This on-going column seeks to stimulate awareness of research issues for FMEA teachers and researchers.
Enrollment in High School Music Ensembles
Musicteachers often talk about enrollments in their music classes, and at the high school level, there are some students who do not participate in music classes. Understanding why some students choose to participate in music is important, but it is difficult to explore because there are many possible causes. Dr. Kenneth Elpus (University of Maryland, College Park) and Dr. Carlos R. Abril (University of Miami) recently published a study in the Journal of Research in Music Education ( JRME). In that study, they explored who participated in high school elective music ensembles and what factors influenced participation (Elpus & Abril, 2025). This study was an extension of some of their previous work. In an earlier study, those same authors explored factors that influenced participation in high school music classes, but they used a binary measure of participation, comparing those who participated in music at any point with those who did not participate in music at any point (Elpus & Abril, 2019). In their more recent study, they extended their prior work by also investigating persistence in high school music ensembles—that is, considering how many years students were enrolled in ensemble courses. They explained that the purpose of the study was “to understand the characteristics associated with greater persistence in high school music ensemble courses” (Elpus & Abril, 2025, p. 24).
For this study, Elpus and Abril (2025) analyzed data from the U.S. Department of Education’s High School Longitudinal Study of 2009, which was a project overseen by the National Center for Educational Statistics. This dataset was longitudinal and included a representative sample of high schools from around the United States, including data from more than 25,000
students. They analyzed data using a zero-inflated Poisson (ZIP) model, which is a sophisticated approach that is useful with data that have an excess number of zeros. Although the specifics of the data analysis are beyond the scope of this brief article, it is important to mention that the authors used thorough and rigorous approaches to analyze their data.
Elpus and Abril reported many important results in this study. In general, the authors found that the same factors identified in their previous study (Elpus & Abril, 2019) were also associated with greater persistence in high school ensembles in the current study. That is, parental influence, socioeconomic status, race, ethnicity, prior academic achievement, and other factors were predictors of persistence in high school ensembles. These results allow for a more nuanced understanding of what factors influence students’ decision not only to enroll in music, but also to persist in music for multiple years at the high school level. I encourage readers to spend some time reading Elpus and Abril’s (2025) important study because the researchers reported many other related and important findings. To stay up-to-date with current research, I encourage you to sign up for free email alerts on the JRME website.
References
Elpus, K., & Abril, C. R. (2019). Who enrolls in high school music? A national profile of U.S. students, 2009–2013. Journal of Research in Music Education, 67(3), 323–338. https://doi. org/10.1177/0022429419862837
Elpus, K., & Abril, C. R. (2025). Participation and persistence in high school elective music ensembles. Journal of Research in Music Education, 73(1), 21–41. https://doi. org/10.1177/00224294241247267
Email your questions and feedback to dgspringer@fsu.edu with a subject heading Research Puzzles.
2025–26 FMEA MEMBERSHIP: You are eligible for membership in the Florida Music Education Association if you are an individual engaged in the teaching, supervision, or administration of music in elementary and secondary schools, colleges, or universities within the state. Visit FMEA. org/membership to learn more about the benefits of active membership.
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SUBMISSIONS: Article and art submissions are always considered and should be submitted on or before the 1st of the month, one month prior to the publication issue to: Kelly Miller, DMA, kelly.miller@ ucf.edu.
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CIRCULATION: The circulation of the Florida Music Director is 4,500 educators. Published eight times annually by The Florida Music Education Association, Hinckley Center for Fine Arts Education: 402 Office Plaza, Tallahassee, FL 32301-2757. FMEA reserves the right to approve any application for appearance and to edit all materials proposed for distribution. Permission is granted to all FMEA members to reprint articles from the Florida Music Director for non-commercial, educational purposes. Non-members may request permission from the FMEA office.
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The mission of The Florida Music Education Association is to promote quality, comprehensive music education in all Florida schools.
The Best Year Ever
Greetings and welcome back. Let’s make the 2025–26 school year the best ever! By this time, you have been back in the classroom for almost one month. Please know you can contact the FMEA Board of Directors for assistance during the school year. Experienced teachers, please contact your colleagues, especially our early career teachers and new teachers to Florida, to assist them. New teachers, please remember that your colleagues were first-year teachers at one point themselves and may have some very helpful tips to make your year successful. You may also want to develop a cohort of music teachers to check in on a bimonthly basis.
Professional Learning Opportunities for Members
FMEA Professional Learning Conference & All-State Concerts
We’re very excited about this year’s conference, The Power in Our Profession: Music Education for Collective Impact, January 14–17, 2026, in Tampa. President Skip Pardee’s conference theme will help us to have a collective impact by collaborating and focusing on a common agenda for music education, continuous communication, and a strong infrastructure. Be involved and volunteer to be part of the experience.
Set up a meeting to talk with your administrator about attending the conference, and share with them a proposal about how this professional learning opportunity will help you provide an elevated learning experience for your students. When you develop your proposal, be thorough and make your case. Relate your school’s goals and strategic plan to your request with specifics on the sessions you will attend and the many opportunities you will have to learn alongside your colleagues. Let them know this conference has more than 10,000 attendees, approximately 250 sessions, and 36 performing ensembles where you will benefit from the expertise of well-known conductors
and clinicians. In addition, let them know there is a “Session Attendance Verification Report” to record your participation in key sessions, based on the areas of growth you identify in your request.
Let FMEA know how we can assist in your discussions and participation in this professional learning experience.
All-State Auditions
The all-state auditions take place during September. Please be sure you are aware of the eligibility requirements for students to audition, in particular the requirement for each student to be a regularly participating member of a school ensemble. Please encourage your students to audition for this musical opportunity to further their future and interest in making music.
Legislative Session/Government Relations
Please review the end-of-session report on the 2025 Legislative Session on the FMEA website under the Advocacy tab.
The 2026 Legislative Session will begin on January 13 and end on March 13. If you are interested in being involved in the advocacy process for FMEA, please sign up on the Advocacy page.
Please see Advocacy Committee Co-Chairperson Jeanne Reynolds’ article in this edition for more details.
Quality Music Education for Florida Schools
The mission of the Florida Music Education Association is to promote quality comprehensive music education in all Florida schools. FMEA works closely with public, charter, private, virtual, and home education music cooperatives to provide opportunities for students to succeed within their school music programs.
I hope you are off to a great start of the 2025–26 school year. If you have any questions, please call the members of the FMEA Board of Directors and the FMEA professional staff.
University of Central Florida; 12488 Centaurus Blvd.; Orlando, FL 32816-8009; (407) 823-4545; kelly.miller@ucf.edu
Conference Planning Committee Chairperson John K. Southall, PhD Indian River State College; 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 418-9133; johnsouthall@me.com
FSMA President Benny L. Bolden, Jr., EdD laruemusic99@gmail.com
Hall of Fame Chairperson...................................................... Mary Palmer, EdD (407) 252-5172; mpalmerassoc@aol.com
Florida NAfME Collegiate Advisor Mark A. Belfast, Jr., PhD (850) 644-3424; mbelfast@fsu.edu
DOE Arts Education Consultant Erin O’Connor
Florida DOE, Bureau of Standards & Instructional Support 325 W. Gaines St.; Tallahassee, FL 32399-0400 (850) 245-0762; erin.o’connor@fldoe.org
President.......................................................................................... Jason Lane Florida A&M University; jason1.lane@famu.edu
FLORIDA MUSIC SUPERVISION ASSOCIATION
President.................................................................................... John J. Dupuis Volusia County Schools; 200 N. Clara Ave.; DeLand, FL 32720-4207 (813) 787-6790; jjdupuis@volusia.k12.fl.us
MULTICULTURAL NETWORK
Chairperson................................................................... Arnekua Jackson, PhD St. Thomas University; 16401 NW 37th Ave.; Miami Gardens, FL 33054 arnekuajackson@gmail.com
COMMITTEES
Advocacy Jeanne W. Reynolds, Co-Chairperson (727) 744-7252; jeannewrey@gmail.com
Advocacy Angela Hartvigsen, Co-Chairperson School Board of Sarasota County; 1960 Landings Blvd.; Sarasota, FL 34231 (941) 927-9000; angela.hartvigsen@sarasotacountyschools.net
Harry “Skip” Pardee, EdD Collier County Public Schools; 5775 Osceola Trail; Naples, FL 34109-0919 (239) 377-0087; pardeh@collierschools.com
Awards
Sondra A. W. Collins sondra.collins@marion.k12.fl.us
Budget/Finance, Development
Harry “Skip” Pardee, EdD Collier County Public Schools; 5775 Osceola Trail; Naples, FL 34109-0919 (239) 377-0087; pardeh@collierschools.com
Contemporary Media
Clint Randles, PhD University of South Florida; 4202 E. Fowler Ave.; Tampa, FL 33620-9951 (813) 974-2311; randlesc@usf.edu
Diverse Learners
Christine Lapka, EdD University of Central Florida; 12488 Centaurus Blvd.; Orlando, FL 32816-2372; christine.lapka@ucf.edu
Emerging Leaders Dakeyan C. Graham, PhD, EdD, DMA Alachua County Public Schools; 3600 NE 15th St.; Gainesville, FL 32609 dregraham@gmail.com
Florida Corporate & Academic Partners
Fred Schiff All County Music; 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fred@allcountymusic.com
Professional Learning Ajori Spencer Pinellas District Office; 301 4th St. SW; Largo, FL 33770-3536 (727) 588-6055; spencera@pcsb.org
Research D. Gregory Springer, PhD
FSU College of Music; 122 N. Copeland St.; Tallahassee, FL 32306 (850) 644-2925; dgspringer@fsu.edu
Secondary General Music Ed Prasse Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; prassee@leonschools.net
Student Engagement Michael Antmann, EdD Freedom High School; 2500 W. Taft-Vineland Rd.; Orlando, FL 32837 (407) 816-5600; michael.antmann@ocps.net
FMEA COMPONENTS
FLORIDA BANDMASTERS ASSOCIATION
President Jeff Cayer, EdD president@fba.flmusiced.org
Past President Bernard (Bernie) Hendricks, Jr. Ocoee High School; 1925 Ocoee Crown Point Pkwy.; Ocoee, FL 34761 bernard.hendricks@ocps.net
Executive Director Neil Jenkins Florida Bandmasters Association; P.O. Box 840135; Pembroke Pines, FL 33084 (954) 432-4111; Fax: (954) 432-4909; exec@fba.flmusiced.org
Business Manager Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; jo@barefootaccounting.com
FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION
President Meghan Alfaro Pinellas District Office; 301 4th St. SW; Largo, FL 33770-3536 (727) 588-6055; meghan@femea.flmusiced.org
Past President Ashley Peek Holley-Navarre Intermediate; 1936 Navarre School Rd.; Navarre, FL 32566-7504; ashley@femea.flmusiced.org
Executive Director .................................................................. Jennifer Sullivan 1750 Common Way Rd., Orlando, FL 32814; (321) 624-5433; slljenn@aol.com
FLORIDA ORCHESTRA ASSOCIATION
President Andrea Szarowicz Steinbrenner High School; 5575 W. Lutz Lake Fern Rd.; Lutz, FL 33558-9234 (813) 792-5131; aszarowicz@myfoa.org
Past President ............................................................................. Laurie Bitters Winter Park High School; 2100 Summerfield Rd.; Winter Park, FL 32792 (407) 622-3200; laurie.bitters@gmail.com
Executive Director Cheri A. Sleeper 1915 S. 47th St.; Tampa, FL 33619; (813) 363-4139; csleeper@myfoa.org
FLORIDA VOCAL ASSOCIATION
President Jeannine Stemmer Florida Christian School; 4200 SW 89th Ave.; Miami, FL 33165 (305) 226-8152; jeannine@fva.net
Past President David Pletincks Powell Middle School; 4100 Barclay Ave.; Brooksville, FL 34609-0860 (352) 403-8437; david@fva.net
Executive Director David Verdoni verdoni@fva.net
Business Manager...................................................................... Jo Hagan, CPA 8975 San Rae Rd.; Jacksonville, FL 32257 (904) 379-2245; Fax: (904) 379-2260; business@fva.net
