INTEGRITY OF THE VOWEL The Quickest Hack to Intonation Improvement
PLUS …
Prelude to the 2027 Professional Learning Conference
It Takes a District: Arts Leadership and the K–12 Music Teacher
SEPTEMBER 2026
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FLORIDA MUSIC DIRECTOR
Contents SEPTEMBER 2026
VOLUME 80
Executive Director Florida Music Education Association Scott Evans
Hinckley Center for Fine Arts Education 402 Office Plaza Tallahassee, FL 32301 (850) 878-6844 or (800) 301-3632 (scottevans@flmusiced.org)
Jeanne Reynolds (jeannewrey@gmail.com)
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Alice-Ann Darrow, PhD (alifsu@mac.com)
Pro
Judy Arthur, PhD Florida State University, KMU 222 (850) 644-3005 (jrarthur@fsu.edu)
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Terice Allen (850) 245-8700, Tallahassee (tallen1962@hotmail.com)
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Editorial Committee
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Editor-in-Chief Kelly Miller, DMA University of Central Florida 12488 Centaurus Blvd. Orlando, FL 32816-8009 (407) 823-4545 (kelly.miller@ucf.edu)
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F E AT U R E S
Integrity of the Vowel: The Quickest Hack to Intonation Improvement . . . . . . . . . . . . . . 24 It Takes a District: Arts Leadership and the K–12 Music Teacher . . . . . . . . . . . . . . 28
John K. Southall, PhD Indian River State College, Fort Pierce (772) 462-7810; (johnsouthall@FMEA.org)
Prelude . . . . . . . . . . . . . . . 10
All-State Ticket Policies . . . . . 16
Advertising Sales
Important Dates . . . . . . . . . 11
Chaperone Regisration . . . . . 17
How do I get to the conference? . . . . . . . . . . . . . 12
Hotels . . . . . . . . . . . . . . . . 18
Valeria Anderson (val@FMEA.org) 402 Office Plaza Tallahassee, FL 32301 (850) 878-6844
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
CONFERENCE
Conference Policies & More . . . . . . . . . . . . . 13-15
All-State Rehearsals . . . . . 20-22 Conference Sessions for Students and Parents . . . . 23
D E PA R T M E N T S Advertiser Index . . . . . . . . . . 4
Component News . . . . . . . . 38
President’s Message . . . . . . . . 5
Research Puzzles . . . . . . . . . 45
Government Relations Report . 6
Council News . . . . . . . . . . . 46
Academic Partners . . . . . . . . . 8
Committee News . . . . . . . . . 54
FSMA Report . . . . . . . . . . . . 9
Officers and Directors . . . . . 57
Corporate Partners . . . . . . . . 35
Executive Director’s Notes . . 58
FMEA Donors . . . . . . . . . . . 36 Florida Music Director (USPS 368560) is published monthly except JAN, JUN & JUL with combined FEB/MAR by Florida Music Education Association, 402 Office Plaza Dr, Tallahassee, FL 32301. Periodicals postage paid at Tallahassee, FL. POSTMASTERS: send change of address to Florida Music Education Association, 402 Office Plaza Dr, Tallahassee, FL 32301.
SEPTEMBER 2026
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2026–27 FMEA MEMBERSHIP: You are eligible for membership in the Florida Music Education Association if you are an individual engaged in the teaching, supervision, or administration of music in elementary and secondary schools, colleges, or universities within the state. Visit FMEA. org/membership to learn more about the benefits of active membership. SUBSCRIPTIONS: Direct correspondence regarding subscriptions to: Hinckley Center for Fine Arts Education, 402 Office Plaza, Tallahassee, FL, 32301-2757. Subscription cost included in FMEA membership dues ($9); libraries, educational institutions, and all others within the United States: $27 plus 7.5% sales tax. SUBMISSIONS: Article and art submissions are always considered and should be submitted on or before the 1st of the month, one month prior to the publication issue to: Kelly Miller, DMA, kelly.miller@ ucf.edu. All articles must be provided in digital format (e.g., Microsoft Word). All applicable fonts and images must be provided. Images must be at least 300 dpi resolution at 100% of the size. All submissions must be accompanied by a proof (color, if applicable). Ads may be submitted via email to val@FMEA.org. 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.
Advertiser Index The Florida Music Director is made possible by businesses and organizations that advertise with us. They make it possible to provide you with a high-qual-
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ity publication, and we gratefully acknowledge their support of our mission. We hope you will take special notice of the following advertisement and consider the products and services offered. It is another important way you can support your professional association and the enhancement of Florida music education. The publisher does not endorse any particular company, product, or service. The Florida Music Education Association (FMEA) is not responsible for the content of any advertisement and reserves the right to accept or refuse any
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insertion orders, graphics requirements, etc.) can be found at FMEAMediaKit. org. Florida Music Director reserves the right to refuse any ad not prepared to the correct specifications OR to rework the ad as needed with fees applied. The advertisers shown in bold provide additional support to FMEA members through membership in the Corporate and Academic Partners (FCAP) program. FCAP partners deserve your special recognition and attention. ADVERTISER
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FLMusicEd
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FLORIDA MUSIC DIRECTOR
FLMusicEd
FLMusicEd
FLMusicEd
President’s
Harry “Skip” Pardee, EdD President Florida Music Education Association
MESSAGE
Happy September, FMEA!
I
hope this message finds you enjoying the start to another tremendous school year with your deserving students. Congratulations to our component, council, and partner organizations that hosted outstanding
professional learning conferences and institutes this summer! As usual, our leaders in these organizations have provided world-class opportunities to ring in another remarkable school year. Our streamlined FMEA SummerCon provided a week of irreplaceable networking, collaboration, and kinship. 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. Rest assured, your elected and appointed leaders are steadfast in their commitment to a well-rounded education for students and to empowering our association members with the required tools to make it so. As stewards of our association resources, your board is deeply committed to providing the best quality professional products, goods, services, and experiences for you and our talented students. A reflective educator is one who is committed to professional and personal improvement. In my view, taking the time to reflect upon and refine your professional and personal pursuits is an integral part of life. We are all learning and leading together—finding time (however you choose to do it) to thoughtfully document your journey as a teacher, combined with prioritizing your personal health, is essential for a happy balance in your professional and personal life. As we look toward the 2027 Professional Learning Conference and All-State Concerts in Tampa, January 13–16, 2027, 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 topnotch clinic sessions, and hear 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. Let’s celebrate the collective impact of music education, together. 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. Onward, friends!
Always musically,
Harry “Skip” Pardee, EdD, President Florida Music Education Association
SEPTEMBER 2026
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Government Relations
Government Relations Committee Co-Chairs
REPORT
“Small-d-democracy” and the Arts
Jeanne W. Reynolds
Angela Hartvigsen
BY J E A N N E W. R E Y N O L D S ver the summer I had
O
functions as a representative
democracy. Elected officials
power away by not voting. If
several occasions to
democracy, we do have
are expected to make
you don’t choose a candidate
celebrate the power of what
opportunities to participate
decisions that reflect the
to represent you, someone
is commonly referred to as
in direct democracy. This fall
wishes and priorities of their
else will. Do your research.
“small-d-democracy.” As it’s
many of you will be voting
constituents.
Ask candidates about their
defined, small-d-democracy
on local school referenda that
One could argue that
support for arts education,
refers to a philosophical belief
provide additional funding
gerrymandering, defined
and let them know you will
in the principles of democra-
for arts education. Citizen
as the unfair drawing of
be voting accordingly.
cy, such as civic engagement,
voters rather than elected
voting district lines to help
voting rights, and majority
officials will determine
one political party or group
“Small-d-democracy”
rule, rather than loyalty to the
whether these referenda
win more elections, has
School Board Candidate
official “Big-D” Democratic
(funding for arts programs)
made elected officials less
Forums and Questions
political party. Small-d-
pass or fail. This is an
responsive to constituents.
School board elections are
democracy has nothing to do
example of direct democracy.
You could also argue if your
nonpartisan. School board
with political parties.
Your vote matters!
vote was not important,
members feel responsible
politicians of all parties
and connected to their
Direct Democracy and
Representative
would not be so eager to
constituents. Engaging in
the Arts
Democracy and the Arts
redraw district lines to
local school board races
While most agree that the
Most often we are voting
improve their chances of
is where you can have the
United States is not a pure
on candidates to serve at
success. Never doubt the
greatest impact on the
democracy, but rather a
the local, state, and national
enormous power of your
quality of music education
constitutional republic that
levels. This is representative
vote and never give your
in your district. I recently helped organize a forum for our local school board race. (Click on video at left.) As the forum was ending, our well-respected local
CLICK VOTE BUTTON TO PLAY VIDEO
news moderator said he needed to make one editorial comment and said, “You better support the arts, or I’m coming for you. I know where you live!” Decades of local advocacy have made it clear to all potential school board candidates that our community expects highquality music and arts education for all students in all schools. It was interesting,
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FLORIDA MUSIC DIRECTOR
Government Relations REPORT
September to-Do List
but not surprising, to
environmentalists, and other
hear candidates weave
constituent groups were
the importance of arts
united in their opposition to
education into a question not
the plan. Together they will
specifically about arts.
have a profound “small-d-
Our local advocacy coalition has been surveying
democracy” impact. There is great power
school board candidates
in those partnerships. We
regarding their support for
often overlook potential
arts education for many years.
partners who are outside
Just asking these questions
typical arts networks. One
lets candidates know the
of the best examples is the
community expects strong
Clean Water, Land and
support. Feel free to use or
Legacy Amendment passed
edit
these
by Minnesota voters. The
questions for
amendment was passed
your own use.
in 2008, and funding is secured through 2034. The
RESEARCH CANDIDATES – www.vote411.org/ is a site that provides nonpartisan information about candidates. Talk to respected friends and colleagues whose opinions you trust. Avoid highly partisan sources. Email or call a candidate or his/her campaign manager with specific questions regarding arts education. Asking questions helps candidates know what is important to constituents. VOTE BY MAIL – Confirm that your vote by mail is up-to-date if that is how you choose to vote. RESEARCH LOCAL ISSUES AND REFERENDA – Several districts will have local initiatives on their ballot that may impact arts education directly. Do NOT skip voting on these issues.
“Small-d-democracy”
amendment doesn’t sound
Local Issues, Initiatives,
like an arts and culture
and the Power of
funding source, but it is. The
Partnerships
arts community partnered
One of my friends and
with environmentalists,
fellow music educators, who
hunters, and fishermen to
lives close to me, contacted
pass this amendment. Who
me about a potential
would have thought hunters
(unwanted) development
and arts advocates would
in our neighborhood. In
partner to secure state
addition to providing me
funding? In broad terms
with information about
they agreed that increased
are trying to recruit new
discourse, “small-d-
the potential development
funding was needed to
business to an area, local
democracy” is alive and well.
project, she told me about
support the quality of life
Realtor organizations, and
You have more power than
an upcoming city council
in the state. When more
a host of other groups.
you think. Some September
candidate forum as well as
people speak with one voice,
Brainstorm ways to broaden
doable deeds are listed
another meeting about the
the results can be dramatic.
your local coalitions.
here. As the FMEA voting
initiative. When I attended
Support for, and access to,
those events, I was struck
high-quality arts education
The arts matter.
vote really does matter. Don’t
once again about the power
is often a priority of local
So does your vote.
give your voice, power, and
of the people. A wide variety
parent groups, chamber
Contrary to some of the
vote away.
of homeowner groups,
of commerce groups that
toxic partisan and political
BROADEN YOUR ADVOCACY REACH – Make a list of organizations and individuals who may not be traditional arts advocates, but who may be partners in supporting arts education.
campaign reminds us, your
SEPTEMBER 2026
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Please take time to thank and support our 2026-2027 Academic Partners.
GOLD PARTNERS
BRONZE PARTNERS Florida Gulf Coast University Partners as of August 11, 2026. *Please visit FMEA.org/partners for partnership details or call 850-878-6844. 8
FLORIDA MUSIC DIRECTOR
Keith Griffis
President N O T E S
FLORIDA SCHOOL MUSIC AS SO CIATION
Florida School Music Association
Focus and Fascination
T
here is nothing quite like the energy of a new school year; the thrill of meeting new students, implementing fresh strategies, and working toward ambitious goals can be both
exhilarating and inspiring. As teachers, we also find that with each new year come new hurdles: buzzwords to master and apply, puzzles to piece together, and endless variables beyond our control. Will policy changes impact our programs and day-to-day teaching? What will our new ensembles look like? Which repertoire will fit this year’s instrumentation? How will my curriculum keep pace with this rapidly changing world? As we push forward into this new year, let’s remind ourselves that even in today’s fastpaced, screen-driven society, our music classrooms continue to offer our students something different: a sanctuary for focus and a laboratory for fascination. As music educators, we have a unique opportunity to foster true engagement from every student and to create something special and refreshingly different from what is found outside our classrooms. As genuine presence grows increasingly elusive in daily life, music education remains a powerful tool for cultivating camaraderie among our students around shared musical goals. Amid the daily grind of preparing parts and correcting errors, don’t forget to make room for your students to be astonished by music. Celebrate the light-bulb moments, embrace childlike curiosity, and let the music-making in your classroom stand out as a source of amazement for your students each day. Introduce students to new music, guide their ears to sounds they haven’t yet heard, and play recordings of world-class musicians. The motivation of inspired students will pay dividends in your rehearsals and lessons. The Florida School Music Association stands ready to continue our mission in providing support, service, and structure for Florida school music programs. By ensuring high-quality music performance assessments, we aim to facilitate ambitious goals, foster musical growth, and provide invaluable feedback for students and directors alike throughout this year’s musical journey. Most importantly, however, we look forward to another year of extraordinary performances showcasing student artistry at ever-higher levels. Have a wonderful, inspired school year, friends! Sincerely,
Keith Griffis, President Florida School Music Association
SEPTEMBER 2026
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We can’t wait to see you in Tampa this January! The FMEA Professional Learning Conference is one of the largest music education professional development events in the United States. In addition to approximately 250 clinic sessions and concerts, it hosts 25 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.
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 More than 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 fairs, awards ceremony, and other So many reasons to participate:
special events
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FLORIDA MUSIC DIRECTOR
THE POWER IN 20 2 7 OUR PROFESSION
MUSIC EDUCATION FOR COLLECTIVE IMPACT FMEA 2027 Professional Learning Conference & All-State Concerts
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Important Conference Dates & Information (subject to change)
11, 2026 wSeptember Early registration opens. w Nominations are open for Student Conference Experience
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and Tri-M Experience.
September 26, 2026 Hotels begin taking reservations at 9 am.
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October 1, 2026 Presenters’ deadline for editing session details and requesting A/V equipment
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October 22, 2026 Popular Music Collective submission deadline
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October 31, 2026 Student Conference Experience nomination deadline
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November 6, 2026 Digital Music Showcase submission deadline
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November 7, 2025 Hotel room cancellation deadline is 5 pm.
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November 10, 2026 Hotels will charge your credit card a nonrefundable deposit for the first night of each room that was not cancelled by the deadline.
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December 11, 2026 Early registration closes at 11:59:59 pm Eastern Time (10:59:59 pm Central). Prices increase to the regular registration rates. You may continue to register and pay online until the conference. 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 a check must be brought with you to the conference.
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December 14, 2026 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
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in the FMEA blocks are released back to hotels. SEPTEMBER 2026
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How do I get to the conference? Making your case to attend the 2027 FMEA Professional Learning Conference
G
Getting approval to attend the Florida Music Education
those goals and strategies and make note of the clinicians
Association Professional Learning Conference may require
and others you will be able to observe and/or with whom
developing a proposal. Due to tight budgets in today’s econo-
you will be able to interact while at the conference. List the
my, school principals and districts scrutinize requests to attend
high-quality performances you will observe and from which
professional learning. That does not mean you should not give
you will learn. You can download the conference app from
it your best effort by showing your administrators how your
the FMEA’s website and bookmark your sessions. Write
attendance will benefit the students in your school. Rather than
down your case for how attending the FMEA Professional
assuming your administrators are aware of the critical impor-
Learning Conference and meeting the people there will
tance of you professionally benefiting from content-specific
help you contribute to your school’s goals and strategies and
sessions, consider submitting a formal proposal.
use this case with your administrators when making your
Through this proposal, you can demonstrate how your par-
request to attend the conference.
ticipation directly relates to the strategies and the objectives of
When you create your proposal, in addition to providing a
your school (including those beyond the classroom). This will
summary of the funding you will need, detail your case for
allow you to articulate the need for your continuing education
attending. List your school’s goals, download the conference
and how it will benefit your students, your school, and you.
schedule, list the sessions and the clinicians and presenters who will be there, and list the specific sessions you plan to attend.
w Write down three of the most important goals and strate- to observe during rehearsals with national clinicians as well as the performances by these well-known conductors (from whom gies being addressed in your school’s plan. w Think about how you personally contribute to those three you can gain programming and conducting ideas). Additionally, Develop Your Case
goals and strategies. How does your work as a music edu-
let your administrators know that this conference has more
cator affect the overall mission of your school? Make a list
than 10,000 teachers, administrators, students, and parents in
of your personal contributions to your school’s goals and
attendance, the second largest music education conference in
strategies.
the nation.
w Review the conference’s professional learning schedule
Finally, ask your administrators to support you to attend the
to better understand how the information provided will
FMEA Professional Learning Conference in Tampa, Florida,
support your school’s goals. Mark meetings that relate to
January 13–16, 2027.
your list of personal contributions to the attainment of
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Also, list the performing groups you will have the opportunity
FLORIDA MUSIC DIRECTOR
THE POWER IN 2027 OUR PROFESSION
MUSIC EDUCATION FOR COLLECTIVE IMPACT FMEA 2027 Professional Learning Conference & All-State Concerts
Conference Policies & More 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 Early-Registration Deadline and arrive in our office before the holiday break. circumstances preventing the
around the rehearsals and conference
chaperones, and guests—must be
director from attending, and must
areas. Please make babysitting
registered for the conference.
be submitted with registration
arrangements before attending the
materials. The school will be notified
conference.
1. All participants—directors, students,
2. Only directors may register their groups or pick up registration
of approval. This does not release
materials if preregistered.
the director from the requirement
Requirements:
3. All participating students must be
that they must be registered for the
— All Florida school music teachers
chaperoned. As required by FSMA,
conference. If approved, the person
must register for the conference
at least one chaperone, other than
designated in the letter will pick up
as FMEA members and be current
a director, is required for every ten
the director’s preregistration packet
members of FMEA and NAfME.
(10) students or a fraction thereof.
and supervise the student at all
This includes session presenters,
However, FMEA policy allows one
times.
all-state conductors, and directors
7. FMEA & NAfME Membership
free chaperone for every six (6) all-
6. Student observers are not allowed
of all-state students, invited
state students or a fraction thereof.
to attend the conference. If any
performing groups, and mini-
4. An additional paid chaperone may be
student observers are brought to the
concerts.
registered for
conference, the offending school’s
— All-state conductors from Florida
— each six (6) students registered, or
participation in the conference may
schools, colleges, or universities
— each all-state rehearsal site
be eliminated the following year.
must also be FMEA members.
where registered students are
Tri-M students or those approved
— No current music teacher may
rehearsing.
for the “Student Experience”
5. If a participating student is not
program who are registered and
register as a chaperone. — Collegiate students must be
accompanied by the director from
participating in sessions or working
collegiate members of FMEA and
that student’s school, then the
for the all-state concerts are exempt
NAfME.
principal from that school must
from this rule. Chaperones or other
furnish a letter designating the
attendees are not allowed to bring
Florida must be current members
person from the school or school
children who are not participating
of NAfME. Attendees living
district who is to be in charge of
in an all-state ensemble or student
outside the United States may
that student. The letter should be
experience. Only registered students,
contact our office for registration
addressed to the FMEA executive
teachers, and chaperones wearing a
instructions.
director, explain the extenuating
conference badge are allowed in and
— Attendees who live outside of
continued on page 14 SEPTEMBER 2026
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Conference Policies & More
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Refund Policies
COVID Protocol
1. If you cannot attend the conference and
*If you test positive for COVID-19 or develop symptoms before
do not have students participating, full registration refunds are available for cancellation requests made through December 15, 2026.
w If you have symptoms of COVID-19, the flu, or anything that may be the conference:
contagious, or if you test positive within five days before your planned arrival at the conference, please follow these procedures:
2. No registration refunds will be made for
— If you have all-state students: You will need to find another teacher
cancellations made after December 15, 2026,
to supervise your students and pick up your badges in accordance
except for emergency situations.* These will
with conference policy #5 on the previous page. Because director
be reviewed on a case-by-case basis.
conference registration is a requirement for all-state student
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, 2027. Requests received after that date will be denied.
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
w If you are not showing symptoms, get re-tested a few days later. If the request a refund in accordance with the policies above.
subsequent test(s) are negative and you still do not have symptoms,
5. All refunds will be issued after the conference is completed.
research has found that you are most likely not contagious, so you are welcome to attend the conference.
6. There are no refunds for concert tickets or membership dues.
Security Procedures
Code of Conduct
The Florida Music Education Association is
FMEA is dedicated to providing a positive
Allied Security at the Tampa Convention Center
environment of respect and civility for all
(TCC) to enhance the conference experience for
attendees, including members, students, parents,
students and attendees.
working with the Tampa Police Department and
speakers, clinicians, exhibitors, sponsors, staff, volunteers, and guests. All attendees are asked
Great News!
to follow all applicable laws and conference
In order to help keep attendees safe, there will be a
policies and to refrain from physical and verbal
heightened security presence throughout the TCC and at
harassment, bullying, disorderly conduct, or
various hotels. All entrances to the TCC will be patrolled
any actions or behaviors that create unsafe
by uniformed officers of the Tampa Police Department
conditions or interfere with presentations or
and uniformed Allied Security personnel. They will be patrolling the TCC
performances. Harassment, bullying, and sexual
as well. The Tampa Police Department will be at the crosswalks between
language and imagery are not appropriate
Marriott Tampa Water Street and the TCC, at concerts, and patrolling some
for any conference venue, including clinics,
of the downtown hotels during rehearsals.
workshops, concerts, rehearsals, social events,
All attendees (this includes members, exhibitors, chaperones, and student
online, and social media. Violations should
participants) must wear their conference badge during the conference once
be reported to convention center security or
the authorized registrant obtains the conference packet.
conference staff in a timely manner. Violators
Please be prepared for random bag and/or purse searches. It is
and their registered students may be expelled
encouraged, if at all possible, to use a clear bag, similar to those used at
from the conference without a refund at the
sporting events, for entrance to conference events.
discretion of the FMEA Executive Committee.
14
FLORIDA MUSIC DIRECTOR
Enjoy the Conference Experience.
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
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 with a QR code and asked to display it on the last slide of their presentation. Scan that QR code to confirm your attendance and add the session to your Verification Report.
w Register for the conference, either via preregistration or on expenses for these types of situations. FMEA is not responsible site. for any registrant’s personal injury (i.e., physical, psychological, w Make sure you can log in to the FMEA website using being postponed or cancelled. Some registrants consider travel insurance to cover the cost of the registration, travel, and
or emotional stress) or property damages while attending an FMEA conference or event. Conference registrants assume
all risks inherent in attending an FMEA conference for which the registration covers, whether before, during, or after the conference.
Photographic Release
Requirements
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
w Learn how to scan a QR code with your phone. With conference.
iPhones and newer Androids, you just need to open your
By attending the conference and/or associated
camera, point it at the code, and a box will appear for you to
activities, you grant permission for FMEA to
click.
use any and all photographic imagery and video footage taken of you and your students
FMEA does NOT automatically submit your hours for you.
at this event and activities pertaining to this event, without
It is up to you to follow the process outlined by your school
payment or any other consideration. You understand that such
or school district to apply for the professional learning points
materials may be published electronically or in print or used in
toward your certificate renewal.
presentations or exhibitions. SEPTEMBER 2026
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All-State Ticket Policies CLICK TO
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 at right, or plan to visit the second floor of the Tampa Convention Center to purchase your tickets before walking to the Marriott.
PURCHASE ALL-STATE TICKETS
5. There is no longer a need for directors to pre-purchase any tickets for their students or their families. Instead, they should direct students and their families to the online ticket sales website. Any directors who still wish to purchase tickets should take care to correctly enter the names and
1. Registered (BADGED) attendees do not require tickets
email addresses of the people who will be using the tickets
to attend any all-state concert. This includes directors/
into the online sales portal or transfer the tickets to those
members, directors’ non-teaching spouses, performing
who will be using the tickets using their correct name and
all-state students, registered chaperones, collegiate student members, retired members, and VIP guests that you entered as part of your conference registration.
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
2. All non-registered (NONBADGED) attendees (parents,
like to pay by cash or who do not want to use electronic
family members, guests, etc.) are required to purchase
tickets. Paper ticket sales for all-state concerts will begin
tickets for any all-state concert they wish to attend.
on Thursday morning and continue Friday and Saturday
3. There are no “free” or “allotted” tickets. All concert
at the FMEA registration desk. There is no requirement
attendees must either wear their conference badge or
that the director or any other registered attendee be the
purchase a ticket.
person purchasing these tickets. If a concert starts after
4. Tickets will be electronic and sold online utilizing a
the registration desk is closed, only electronic tickets will
mobile-friendly website. The link will be available on the
continue to be sold before that concert. No tickets will be
conference website well in advance of the conference, and
available for sale at the Marriott. To attend a concert at
directors are encouraged to share the link with all of their
Marriott Water Street, you must pre-purchase electronic
all-state students and their parents or guardians. On site at
tickets online or plan to visit the Tampa Convention
the conference, the links and QR codes will be posted on
Center’s second floor to purchase your tickets before
signs in the venue so attendees may purchase tickets using their smartphones. Anyone who wishes to attend a concert
walking to the Marriott. 7. All ticket sales are final. There are no refunds for any
can purchase an electronic ticket online anytime up until
concert tickets. Tickets may be transferred or exchanged
30 minutes after the concert’s published start time.
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
All-Ticket Sales Are Final. No Refunds.
of time. An example of a “concert” for purposes of entrance and ticketing would be the 12:30 pm concert on Thursday
Please make sure you know the exact name of the all-state
that features the All-State Middle School and High School
ensemble for which you need tickets before approaching the
Guitar Ensembles or the 6:30 pm concert on Saturday
ticket sales window. Exchanges may only be made through the
that features the All-State Concert, Middle School, and
online portal.
Symphonic Bands.
16
FLORIDA MUSIC DIRECTOR
Frequently Asked Questions
?
Do I get free tickets for my students’ family members to attend the concert? No.
Can I get free tickets to any concerts? No. Registered attendees (directors, chaperones, students) are allowed admission to concerts with their name badge, so no ticket is necessary. Attendees that are not registered for the conference (parents, family, etc.) must purchase tickets.
Can I buy extra tickets anytime? Anyone can purchase tickets online. Electronic tickets will go on sale in September, and sales will close 30 minutes after each concert’s scheduled start time. Paper tickets will be sold at the FMEA Registration Desk during its regular hours Thursday through Saturday.
Can I buy tickets on site at the Marriott? No, on-site paper ticket sales are only available at Tampa Convention Center in the second-floor registration area. If your concert is in the Marriott Water Street, you must pre-purchase your tickets online or make plans to first visit the convention center to buy tickets and then walk over to the Marriott.
Does my young child need to buy a ticket?
Chaperone Registration Chaperone registration is based on the following rules: Elementary Students — For each elementary student registered, one free chaperone and one paid chaperone may be registered. — Any additional attendees must purchase a “Guest Pass” at on-site registration for entry into the convention center. Middle School and High School Students — For every six (6) students registered, one free chaperone and one paid chaperone may be registered. No other chaperones may be registered until the seventh student is registered. — Any additional attendees (chaperones or guests) must purchase a “Guest Pass” at on-site registration for entry into the convention center. EXCEPTIONS — 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
Everyone who will be taking up a seat will need a ticket. Babies
you to register an additional paid chaperone
that are being held by a parent or sitting on a parent’s lap for
in addition to the one free and one paid
the duration of the concert are welcome without a ticket, but
chaperone per six (6) students normally
children who are old enough to sit in their own seat will need a
allowed.
ticket. 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
Concert Re-Entry Procedure
conference badges are allowed in and around the
Once a ticket’s barcode is scanned to gain entry, that ticket is
rehearsal areas. Directors are asked to make sure
marked as “used” and will no longer be eligible for another
their chaperones are aware of this policy and make
entry into the concert. Attendees who need to exit and
babysitting arrangements for their other children
re-enter the concert should be prepared to show their ticket
before agreeing to serve as chaperones.
and a photo I.D. to confirm they are the ticket owner to gain re-entry. SEPTEMBER 2026
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Cancellation Deadline We urge any guest holding surplus reservations/rooms to cancel the excess reservation(s) as soon as possible and no later than 5 pm on November 7, 2026, and you must secure a cancellation confirmation number. This courtesy will make surplus rooms available to other FMEA members and conference attendees.
Conference Hotels
FMEA has contracted with several Tampa hotels to provide you with the best rates possible.
Nonrefundable Deposit On November 11, each room reserved and not cancelled by November 7 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 conven-
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
w FMEA is not offering a housing bureau service. All rehearsing.
tion 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
participants MUST reserve online or call the hotel
w Room blocks will open on Saturday, September 26, at
they will need for all-state students and chaperones. They
directly to secure reservations.
cancel the rooms they don’t need after the audition results are
that time, along with the reservation links and phone
results are released and teachers cancel rooms for students
numbers for each hotel.
who don’t need them.
9 am Eastern Time. The hotels will be listed online at
w If calling, be sure to request the “Florida Music
Education Association” room block rate and confirm
w Credit cards are required for online reservations, and the guest room rate posted online.
Try again in late October or early November after all-state
Try again after the cancellation deadline. All cancelled rooms will return to the FMEA blocks by December 14. Please do not reserve a room outside of the FMEA blocks! We must fill most of our allotted room blocks to receive dis-
the credit card name must match the name on the res-
counts for the ballrooms we use for all-state rehearsals. If we
ervation.
do not meet our required minimum number of hotel nights
w If paying by check, reservations must be made over the phone, and a check for the full amount must be mailed
w You do not need to register for the conference before directly to the hotel no later than December 14.
sold, we will need to raise conference registration rates to compensate for the added cost of the rehearsal space. 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
reserving your hotel rooms, but this is something we
for that hotel may be full, and they are showing you full-price
are considering for future conferences.
rooms instead. Try again in November after all-state results
w Each hotel will have contract terms, such as parking charges, etc., on its reservation link.
18
released (late October and early November).
FLORIDA MUSIC DIRECTOR
come out.
Frequently Asked Questions
?
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
Why are FMEA hotels so expensive?
you are contacted by someone claiming to represent
The prices we contract with the hotels are much lower than their stan-
the FMEA offering discounted housing or alterna-
dard room rates during the same dates. In many cases, it is less than
tive housing arrangements, be aware it is a scam.
half their normal rates.
If you receive such communication, please contact Val Anderson at
Why is it so hard to get a room? When the blocks first open, everyone tries to get as many rooms as they can in case they need them for all-state students, so they fill up very fast. If you wait until after the all-state results come out, many people will have cancelled their rooms, making it much easier for everyone else to get a reservation.
Why don’t you wait and open the hotel block after all-state auditions are released? Our hotel partners are uncomfortable waiting until we are so close to the start of the conference to book room reservations.
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
I tried calling, but it was busy or they put me on hold forever.
get to your room and settle in. Someone calls the
We recommend booking online instead. Otherwise, try again in early
answer, and the person on the other end says the
November after the all-state results are released. Many people will cancel rooms they no longer need if their students aren’t accepted.
front desk and asks for room 620 (which happens to be your room). Your phone rings in your room. You following: “This is the front desk. When checking in, we came across a problem with your charge card
Is there a cancellation fee?
information. Please re-read me your credit card num-
No, as long as you cancel all the rooms you no longer need by the
side of your charge card.”
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.
ber and verify the three-digit number on the reverse Not thinking anything is 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
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?
hotel’s front desk. They ask for a random room num-
Only after December 15. Before that date, all the cancelled hotel rooms
talking to a hotel employee at the front desk.
in the FMEA blocks will be returned to the FMEA blocks and can be
ber, and then, sounding very professional, they ask you for credit card information and address information. They are so smooth, you will think you are If you ever encounter this problem, tell the caller
reserved by other FMEA conference attendees at the low FMEA rate.
you will come down to the front desk to clear up
The price on the hotel’s booking page doesn’t match the price listed on the FMEA’s hotel page.
any problems. Then, go to the front desk and ask if
If the FMEA block is full at that hotel, they may be showing you
desk employee called to scam you of your credit card
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.
there was a problem. If there was none, inform the manager of the hotel that someone acting like a front information. This type of scam may also happen with room service charges. Be alert! SEPTEMBER 2026
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All-State Rehearsals
All-State Concert Band
Concert Tampa Convention Center, Ballroom A Saturday, January 16, 2027, 6:30pm Reseating Auditions Hotel Tampa Riverwalk, Bayshore Ballroom Thursday....................................9am-11am Rehearsals Hotel Tampa Riverwalk, Bayshore Ballroom Thursday..................................... 1pm-5pm Thursday............................... 7pm-9:30pm Friday...............................8:30am-11:30am Friday.......................................... 1pm-5pm
All-State Concert Chorus
Concert Tampa Convention Center, Ballroom A Saturday, January 16, 2027, 11am Rehearsals Tampa Convention Center, Room 114 Thursday (Registration) ......... 8am-8:30am Thursday..........................8:30am-11:30am Thursday........................... 1:30pm-4:30pm Thursday................................ 6:30pm-9pm Friday...............................8:30am-11:30am Friday................................ 1:30pm-4:30pm
All-State Concert Orchestra
Concert Tampa Convention Center, Ballroom A Saturday, January 16, 2027, 2:30pm Reseating Auditions Marriott Water Street, Florida Ballroom, Salons 5-6 Thursday (Registration) ......... 7:30am-8am Thursday...............................8am-11:30am Rehearsals Marriott Water Street, Florida Ballroom, Salons 5-6 Thursday (Registration) ......... 8:30am-9am Thursday...............................9am-11:30am Thursday..................................... 1pm-5pm Thursday..................................... 7pm-9pm Friday...............................8:30am-11:30am Friday.......................................... 1pm-5pm
20
FLORIDA MUSIC DIRECTOR
All-State Elementary Chorus
Concert Tampa Convention Center, Ballroom A Thursday, January 14, 2027, 1:30pm Rehearsals Tampa Convention Center, Room 111 Wednesday (Registration) ......12noon-1pm Wednesday................................. 1pm-6pm Thursday..........................7:45am-12:45pm
All-State Elementary Or! Ensemble
Concert Tampa Convention Center, Ballroom A Friday, January 15, 2027, 1pm Rehearsals Tampa Convention Center, West Hall B Thursday (Registration) ........... 10am-11am Thursday................................... 11am-6pm Friday....................................8am-11:30am
All-State High School Guitar Ensemble
Concert Marriott Water Street, Grand Ballroom Thursday, January 14, 2027, 12:30pm Rehearsals Marriott Water Street Tuesday ..........................7pm-9pm, MR 10 Wednesday.............8:30am-12noon, MR 8 Wednesday.......................1pm-5pm, MR 8 Thursday.................. 8:30am-10:30am, GB Thursday............. 10:30am-11:30am, MR 5
All-State High School Jazz Band
Concert Marriott Water Street, Grand Ballroom Friday, January 15, 2027, 8:30pm Rehearsals Tampa Convention Center, Room 407 Wednesday............................ 2pm-5:30pm Wednesday................................. 7pm-9pm Thursday..........................8:30am-11:30am Thursday..................................... 1pm-5pm Friday.................................8:30am-12noon
All-State Intercollegiate Band
Concert Marriott Water Street, Grand Ballroom Friday, January 15, 2027, 4:15pm Rehearsals Barrymore Hotel Tampa Riverwalk, Crown Ballroom Thursday (Registration) .............. 8am-9am Thursday..........................9:30am-11:30am Thursday................................ 1pm-4:30pm Thursday..................................... 6pm-9pm Friday......................................8am-12noon
All-State Middle School Guitar Ensemble
Concert Marriott Water Street, Grand Ballroom Thursday, January 14, 2027, 12:30pm Rehearsals Marriott Water Street Tuesday ............................7pm-9pm, MR 8 Wednesday.............8:30am-12noon, MR 5 Wednesday.......................1pm-5pm, MR 5 Thursday.............. 8:30am-10:30am, MR 5 Thursday................. 10:30am-12noon, GB
All-State Middle School Jazz Band
Concert Marriott Water Street, Grand Ballroom Friday, January 15, 2027, 7:30pm Rehearsals Westin Tampa Waterside, Conch Room Wednesday................................. 2pm-5pm Wednesday................................. 7pm-9pm Thursday..........................8:30am-11:30am Thursday..................................... 1pm-5pm Friday.................................8:30am-12noon
Grand Ballroom = GB; Meeting Room = MR
All-State Middle School Band
Concert Tampa Convention Center, Ballroom A Saturday, January 16, 2027, 6:30pm Reseating Auditions Hilton Tampa Downtown Palma Ceia Ballroom Thursday....................................9am-11am Rehearsals Hilton Tampa Downtown, Palma Ceia Ballroom Thursday..................................... 1pm-5pm Thursday..................................... 7pm-9pm Friday...............................8:30am-11:30am Friday..................................... 2pm-5:30pm
All-State Middle School Mixed Chorus
Concert Tampa Convention Center, Ballroom A Friday, January 15, 2027, 5:30pm Rehearsals Hilton Tampa Downtown, Bayshore Ballroom 1-3 Thursday (Registration) ...... 11am-11:30am Thursday.......................... 11:30am-1:30pm Thursday..................................... 3pm-5pm Thursday........................... 6:30pm-8:30pm Friday............................... 8:30am-11:15am Friday.............................. 12:45pm-2:45pm
All-State Middle School Orchestra
Concert Tampa Convention Center, Ballroom A Saturday, January 16, 2027, 2:30pm Reseating Auditions Marriott Water Street, Meeting Room 8 Thursday (Registration) ......... 7:30am-8am Thursday...............................8am-11:30am Rehearsals Marriott Water Street, Meeting Room 8 Thursday..................................... 1pm-5pm Thursday..................................... 7pm-9pm Friday...............................8:30am-11:30am Friday.......................................... 1pm-5pm
All-State Middle School Treble Chorus
Concert Tampa Convention Center, Ballroom A Friday, January 15, 2027, 5:30pm Rehearsals Hilton Tampa Downtown, Bayshore Ballroom 5-7 Thursday (Registration) ...... 10:30am-11am Thursday.............................. 11am-1:15pm Thursday........................... 2:45pm-4:45pm Thursday............................6:15pm-8:15pm Friday.............................. 8:45am-11:30am Friday.......................................... 1pm-3pm
All-State Popular Music Collective
Concert Marriott Water Street, Grand Ballroom Thursday, January 14, 2027, 6pm Rehearsals Tampa Convention Center, Room 403 Wednesday.............................8am-12noon Wednesday................................. 1pm-5pm
All-State Reading Chorus
Concert Tampa Convention Center, Ballroom A Saturday, January 16, 2027, 8:45am Rehearsals Embassy Suites Downtown, Gandy Meeting Room Thursday (Registration) ......... 8am-8:30am Thursday..........................8:30am-11:30am Thursday........................... 1:30pm-4:30pm Thursday................................ 6:30pm-9pm Friday...............................8:30am-11:30am Friday..................................... 1:30pm-4pm Friday..... 4:15pm-5:15pm, TCC, Room 120
All-State SSAA Chorus
Concert Tampa Convention Center, Ballroom A Friday, January 15, 2027, 7:30pm Rehearsals Westin Tampa Waterside, Oasis Ballroom Thursday (Registration) ......... 8am-8:30am Thursday..........................8:30am-11:30am Thursday........................... 1:30pm-4:30pm Thursday................................ 6:30pm-9pm Friday...............................8:30am-11:30am Friday..................................... 1:30pm-4pm
All-State Symphonic Band
Concert Tampa Convention Center, Ballroom A Saturday, January 16, 2027, 6:30pm Reseating Auditions Tampa Convention Center, Room 122 Thursday, 8:30am-10:30am Rehearsals Tampa Convention Center, Room 122 Thursday......................... 12:30pm-4:30pm Thursday................................ 6:30pm-9pm Friday...............................8:30am-11:30am Friday.......................................... 1pm-5pm
All-State Symphonic Orchestra
Concert Tampa Convention Center, Ballroom A Saturday, January 16, 2027, 2:30pm Reseating Auditions Tampa Convention Center Thursday..........................8:30am-11:30am Woodwinds, Room 403 Brass, Room 404 Percussion, Room 405 Rehearsals Tampa Convention Center, Room 124 Thursday (Registration) ......... 8am-8:30am Thursday..........................8:30am-11:30am Thursday..................................... 1pm-5pm Thursday..................................... 7pm-9pm Friday...............................8:30am-11:30am Friday.......................................... 1pm-5pm continued on page 22 SEPTEMBER 2026
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All-State Rehearsals Grand Ballroom = GB; Meeting Room = MR
continued from page 21
All-State TTBB Chorus
Concert Tampa Convention Center, Ballroom A Saturday, January 16, 2027, 8:45am Rehearsals Embassy Suites Downtown, Bayside Ballroom Thursday (Registration) ......... 8am-8:30am Thursday..........................8:30am-11:30am Thursday........................... 1:30pm-4:30pm Thursday................................ 6:30pm-9pm Friday...............................8:30am-11:30am Friday................................ 1:30pm-4:30pm
High School Honors Band
Concert Marriott Water Street, Grand Ballroom Saturday, January 16, 2027, 2:30pm Reseating Auditions Four Points Tampa Airport Westshore Pasco/Sarasota Room Thursday....................................9am-11am Rehearsals Four Points Tampa Airport Westshore Pasco/Sarasota Room Thursday..................................... 1pm-5pm Thursday................................ 7pm-9:30pm Friday...............................8:30am-11:30am Friday..................................... 2:30pm-5pm
High School Honors Big Band
Concert Marriott Water Street, Grand Ballroom Friday, January 15, 2027, 8pm Rehearsals Embassy Suites Tampa Airport Westshore, Cypress Room Wednesday............................ 2pm-5:30pm Wednesday................................. 7pm-9pm Thursday..........................8:30am-11:30am Thursday..................................... 1pm-5pm Friday.................................8:30am-12noon
High School Honors Orchestra
Concert Marriott Water Street, Grand Ballroom Saturday, January 16, 2027, 11am Rehearsals Embassy Suites Downtown, Skyway Room Thursday (Registration) ......... 8am-8:30am Thursday..........................8:30am-11:30am Thursday..................................... 1pm-5pm Thursday..................................... 7pm-9pm Friday...............................8:30am-11:30am Friday.......................................... 1pm-5pm
Middle School Honors Band
Concert Marriott Water Street, Grand Ballroom Saturday, January 16, 2027, 2:30pm Reseating Auditions Hilton Tampa Downtown, Esplanade Suite Thursday, 9am-11am Rehearsals Hilton Tampa Downtown, Esplanade Suite Thursday..................................... 1pm-5pm Thursday................................ 7pm-9:30pm Friday...............................8:30am-11:30am Friday.......................................... 2pm-5pm
Middle School Honors Orchestra
Concert Marriott Water Street, Grand Ballroom Saturday, January 16, 2027, 11am Rehearsals Holiday Inn Tampa Westshore, Royal Palm Ballroom, Section 3 Thursday (Registration) ......... 8am-8:30am Thursday..........................8:30am-11:30am Thursday..................................... 1pm-5pm Thursday..................................... 7pm-9pm Friday...............................8:30am-11:30am Friday....................................... 1pm-5pm
Help Us Support Music Education in the Schools! Donate today for a stronger tomorrow. Donations are submitted monthly by individuals. Your donation keeps the pipeline full of innovation, advancements, and funding through grants and other initiatives. FMEA.org/Donate A copy of the official registration and financial information may be obtained from the Division of Consumer Services by calling toll-free 1-800-HELP-FLA (435-7352) within the state or www.FloridaConsumerHelp.com. Registration does not imply endoresement, approval, or recommendation by the state. Registration number CH7379.
22
FLORIDA MUSIC DIRECTOR
Conference Sessions for Students and Parents Student Leadership Workshop Wednesday, January 13, 2027
Music Parent Workshop Thursday, January 14, 2027
Dr. Matthew Arau will headline the Student Leadership
Dr. Matthew Arau will headline the Music Parent
Workshop for high school and college students. Attendees
Workshop. Parents will be inspired and learn how to
will learn tangible skills to lead effectively and live a life
move from exhausted to energized.
of impact.
Headliner: Matthew Arau Internationally renowned speaker, author, and conductor Matthew Arau, DMA, empowers people to their shatter limiting beliefs, unlock their full potential, and lead with confidence and energy. As the founder and CEO of Upbeat Global and author of the bestselling book Upbeat! Mindset, Mindfulness, and Leadership in Music Education and Beyond, Dr. Arau believes in the power of gratitude and joy to make meaningful, transformative change from within. Drawing on his 30 years as a conductor, music educator, leadership expert, and professor, Matthew empowers high-performing educators and leaders to move from exhausted to energized through focusing on mindset, mindfulness, and leadership. Additionally, Dr. Arau is an associate professor of music education and symphonic band conductor at Lawrence University in Appleton, Wisconsin, a Conn-Selmer educational clinician, and the leadership editor for GIA Publications. Dr. Arau has guest conducted, led professional learning, and presented clinics on leadership, mindfulness, overcoming burnout, growth mindset, rehearsal techniques, and creating positive cultures in 42 states and four continents. Thousands of high school students and educators have attended his Upbeat! Leadership Workshops across the United States to develop their leadership
CLICK HERE
Visit Dr. Arau’s website: upbeatglobal.com
skills and make a positive impact. In addition to being in demand as a keynote speaker, presenter, and professional learning facilitator, Dr. Arau has conducted honor bands in Australia, Thailand, Greece, Cyprus, and Malaysia, and all-state honor bands across the United States. Dr. Arau draws on a deep reservoir of 15 years of experience as a successful middle school and high school band director in Loveland, Colorado, where he led his bands at Walt Clark Middle School and Loveland High School to numerous honor performances and championships and pioneered the Leadership Symposium. He lives with his wife Merilee in Neenah, Wisconsin, accompanied by their sugar glider, Flash, and two Dachshunds, Savannah and Eli. SEPTEMBER 2026
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F E AT U R E
First published in the Utah Music Educators Journal 71:3 (2026), a publication of UMEA. Craig Ferrin, editor
Integrity of the Vowel The Quickest Hack to Intonation Improvement
T
BY PE TER STEENBLIK , DMA
The bulk of my career has been spent working with amateur choruses. Groups of this nature often have the reputation of singing “out of tune.” However, I assert that intonation is usually not the problem. What our ears perceive as “out of tune” is actually a group of people singing on the same pitch, but “out of vowel” or “out of placement” with one another. This article will address the first of these two diagnoses. I intend to offer some of the quickest ways to heighten vowel awareness and alignment. A renowned conductor once coached, “Never scold your choir for singing ‘flat.’ Why? Because one of two things is usually true. Either (1) they don’t know they are singing under pitch and simply need a reminder to listen across the group; or (2) they do know, are frustrated by it, and don’t know
In this article, I will be referencing the International Phonetic Alphabet (IPA), the industry standard for pronunciation. IPA is not isolated to vocalists but is also heavily used by our friends in theater and journalism. In recent years, we have witnessed a significant increase of IPA online, at the head of Wikipedia articles, for example. If you need a refresher, refer to my online IPA guide at uwfsingers. com/fva.
how to solve it. Instead of a reprimand, give them pedagogical guidance.” Such instruction usually takes the form of recommended vocal placement or vowel alignment within the ensemble. First, are we setting our chorus up for success during warm-up routines? Are we including time to align vowels? Are we conscious of the lasting effects of the order in which we sequence? For example, repeated [u o ɑ ɛ i] is going to have a darkening effect on the ensemble, whereas [i ɛ ɑ o u] is going to brighten the sound over time. Are we reinforcing pure vowels in even the simplest of exercises? For example, in the popular do, do re do, do re mi re do …warm-up, are we monitoring our group to ensure they are singing [do, do ɹe do, do ɹe mi ɹe do]? Or are we reinforcing bad habits by approving [doʊ, doʊ reɪ doʊ]? Such repeated actions can adversely impact vowel, and perceived intonation, in habit-forming ways. continued on page 26
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FLORIDA MUSIC DIRECTOR
SEPTEMBER 2026
25
Integrity of the Vowel continued from page 24
Most noticeably, if we are using the ever-common [ɑ] vowel
How do we heighten such awareness in even the most novice
in a warm-up, whether a five-note scale, or something more
ensemble? I advocate for regular review of the 13 most-common
fancy, are we insisting on the alignment of that vowel? [ɑ] is
vowels in western languages. Although they appear differently
actually the vowel most guilty of intonation problems because
on a typical IPA chart, I prefer to string them into a continuous
there are so many variants. Are we asking for [a], [ɑ], or [ɔ]? We
bright-to-dark “pearl necklace” as follows: [i ɪ e ɛ æ a ɑ ɔ o ʊ u].
may even have one or two voices negligently and unawaredly
When rehearsing, it is imperative that singers do not break
singing [æ] or [ʌ]. A finely tuned, specific [a], [ɑ], or [ɔ] in uni-
the phrase by breathing between vowels. Encourage them
son alignment can each, in turn, collectively invite the presence
to pause on each vowel and breathe “during” as needed, but
of noticeable overtones, a strong indication of solid intonation.
never between. Rehearsing these primary 11 on their own will
Figure 1: Suggested display idea: Five Latin vowels on top with modification arc highlighting [ɑ ], common vowel variants below.
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FLORIDA MUSIC DIRECTOR
heighten vowel awareness. In situations where conductors are asking for a specific vowel, singers will not only critically and precisely recognize the singular vowel sought, but also which 10 that specific vowel is not. Yes, there are two more: the fraternal twins [ʌ] and [ə]. I handle these two independently because they generally operate contextually, tending to take on the color of the vowels around them. In addition to reinforcement during warm-ups, I recommend keeping these 13 displayed somewhere. Just like an early elementary classroom has the ABCs in plain sight. One pro tip is to print the five most-common Latin vowels in green, as you will be asking for them the most often. Figure 1 gives a suggested format for display. I recommend an arc with the [ɑ] vowel as a high point, since vowel modification at the extremes of tessitura tend to gravitate toward the [ɑ]. Having the vowels displayed in this fashion, or something similar, enables you to reference vowel specifics at any time. A laser pointer (keep it locked up)
exact, desired pronunciation of their name. If what Dale
or some similar device may prove useful.
Carnegie1 wrote is true, that “the average person is more
You noticed the last two: [ɝ] and [ɚ]. For centuries, we choral
interested in his or her own name than all the other names
directors have been guilty of begging, pleading, imploring our
on earth put together,” then it seems like a good place
singers to “not sing the R” in the word “Earth,” for example.
to start when encouraging vowel purity and awareness.
What often goes unsaid is that [ɝ] is the vowel of that word.
You may even find that singers with the same name on
We owe it to our singers to suggest the alternative we seek.
paper have a slightly nuanced preferential pronunciation.
There are options, depending on preference. Would we like to
What a great way to combine pedagogy with establishing
hear [ʌθ], [øθ], [ɑθ]? I generally recommend [ʊθ] in such situ-
relationships.
ations. Nevertheless, we often forget to indicate to our singers
To conductors who suggest they “don’t have time”
the desired replacement, leaving them on their own to select
to teach IPA or some other method of vowel precision
misaligned solutions.
to their choirs, I would argue that such activities save
The real fun begins when singers start to identify the
significant rehearsal time in the long run, if scaffolded
six common diphthongs: [eɪ aɪ aʊ ɔɪ oʊ ju]. Notice that
properly and taught early. To sum up, choirs that sing “in
four of the commonly cited “five vowels” are actually
alignment and in vowel,” have a greater command of the
diphthongs (underlined): [eɪ i aɪ oʊ ju]. These four require
audience’s perception of intonation. Any activity we do to
a significant amount of cleaning due to the contrary rein-
heighten vowel integrity is worth our effort and will pay
forcement received in nonmusical settings from kinder-
significant dividends.
garten onward. In addition to maintaining a display, and referencing
Peter Steenblik, DMA, is director of choral
it regularly during rehearsals and warm-ups, other strat-
activities at the University of West Florida
egies for reinforcement can include handing out an IPA
and artistic director of the Choral Society of
guide at the start of every rehearsal cycle. You’re welcome
Pensacola. He is president of FLACDA and
to download one I have created at
recipient of the 2023 FMEA College Music
uwfsingers.com/fva.
You’ll also find a large collection of flash cards you may
Educator of the Year. His degrees are in conducting, vocal peda-
use for display, or in rehearsal.
gogy, and music education.
At the start of every school year, after teaching the basics of IPA of course, I ask each singer to write their name in IPA on the whiteboard. I give them 20 minutes to use the IPA guide and work in pairs to figure out the
Endnotes 1 Carnegie, Dale, How to Win Friends & Influence People (New York: Pocket Books, 1936), pg. 76–77.
SEPTEMBER 2026
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F E AT U R E
Imagine these scenarios … You’re a first-year middle school choir director and feel unsure about your repertoire selection for the end-of-year performance assessment. You’ve been asked to start a beginning orchestra program at your school, but you’ve never built one from scratch.
You’re a high school band director, and you need help justifying the purchase of an expensive new sound system to your administration.
Your class enrollment is declining, and your program is at risk of being reduced or eliminated.
You’re feeling anxious about an upcoming evaluation by an administrator who doesn’t have a background in music.
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It Takes a District Arts Leadership and the K–12 Music Teacher BY R ACHEL SORENSON , PHD As music educators, we have all run into problems like these at some point in our careers. We are often the only ones on campus navigating a very specific and unique set of challenges, and finding someone to turn to for help can feel impossible at times. Fortunately, many districts have individuals whose entire role is to support you in solving these problems. District arts supervisors are district-level employees whose primary role is to support and advocate for music and other fine arts teachers. The role (and title) of district arts supervisors can look different from place to place. Some positions are more general in nature (e.g., performing or fine arts specialist/supervisor) and oversee a broad range of programs across the fine or performing arts. In other districts, these roles are more narrowly focused, serving specific content areas (e.g., music supervisor). Although not all districts throughout the country have music supervisors, these types of positions are growing in number. The role of music supervisor is not a new one. In fact, music supervisors have a long history and played a pivotal role in the development of the National Association for Music Education. According to the NAfME website, “The association [NAfME] began with a small meeting of 104 music supervisors in Keokuk, Iowa in 1907, known at that time as the Music Supervisors’ National Conference” (National Association for Music Education, n.d.). This organization changed its name to the Music Educators National Conference (MENC) in 1934 and then again to the National Association for Music Education (NAfME) in 2011. Although music supervisors play an important role in supporting music teachers, many classroom educators have only a general sense of what the position entails and how much they can help. To gain a better understanding of the day-to-day responsibilities of district arts supervisors—as well as how one might pursue that career path—I spoke with three current arts supervisors from Florida and Georgia, summarized on the following pages. continued on page 30 SEPTEMBER 2026
29
Building Community and Culture continued from page 29 Although these supervisors work in different districts and contexts, many of their perspectives and experiences overlap. Across our conversation, a few clear themes emerged that help paint a realistic picture of what the role actually looks like.
John Dupuis, MM, is a performing arts specialist in Volusia County Schools in Florida, where he focuses on secondary music and dance programs. He spent 15 years as a band director before moving into district leadership and is now in his eighth year in this role. He currently serves as president of the Florida Music Supervision Association.
Craig Uppercue, EdD, is director of the Fitzgerald Performing Arts Center (Flagler Auditorium) and K–12 Visual & Performing Arts in Flagler County, Florida. At the time of our interview, he served as a fine arts specialist in Volusia County Schools, where he oversaw elementary music, theater, and performancerelated resources across the district. He has more than 20 years of experience in public education, primarily in elementary music, and previously served as both a classroom teacher and a district resource teacher. His background also includes work as an artistic director in community theater.
Sara Womack, EdD, NBCT, is the supervisor of general and choral music, dance, and theater for Cobb County Schools in Georgia and is president-elect of the Georgia Music Educators Association. Before moving into district leadership, she taught elementary music for 15 years and later served as an arts coordinator in Atlanta Public Schools. Now in her third year in Cobb, she works with a team of arts leaders to support teachers, provide professional learning, and expand access to the arts across the district.
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FLORIDA MUSIC DIRECTOR
At the Heart of the Role: Supporting Teachers Although music supervisors wear many hats and work with a wide range of stakeholders, their primary responsibility is supporting the music teachers in their district. Over the course of our conversation, it became clear just how deeply these arts supervisors value that part of their work. Having been classroom teachers themselves, they understand the many demands music teachers face and how meaningful it is to have support and advocacy at the district level. “One of the things that we’d all say is that we support teachers … We are the liaison between teachers and the district.” – J.D. “We’re kind of like a bridge in a way between what’s happening with teachers in the classroom and what’s happening with district administration above us … We give that 50,000-foot view and support our teachers in that regard.” – C.U. “‘Support’ is probably the word I use the most [to describe my job].” – S.W. The Scope of the Work The number one goal of music supervisors may be to support music teachers. But what does that actually look like? Because music supervisors oversee a broad range of music offerings and grade levels, the work of supporting teachers and their programs looks different from day to day and may change to meet the needs of the moment.
And micro … “We work hard at supporting teachers in the classroom, not just with curriculum, but classroom management, classroom instruction, program support.”– C.U. “So this teacher’s having an issue with planning or classroom management. What can we do on that micro level too?” – S.W. “The role could be all the way from community fundraiser to sitting next to a flute player and playing along with them in a middle school band.” – J.D. Other ways music supervisors support teachers include purchasing new instruments, serving as a liaison between teachers and school administration, and mentoring new teachers. Across these areas, the supervisors I spoke with emphasized the importance of being accessible and keeping communication open and personal. “It’s texting a teacher like in-between classes or late at night when they actually do have time.” – S.W. “Always making sure that we’re checking in with our teachers … small little glimpses … ‘Is there anything that you need? Tell me how things are going.’”– C.U. A Voice in Hiring Decisions Another important component of a music supervisor’s job is their involvement with the hiring process for music teachers in their district. Although music supervisors are not directly responsible for hiring or firing teachers, they
The responsibilities of arts supervisors are
can have a significant impact on hiring decisions. The
both macro …
extent of their input often depends on their relationships
“We deal with all county budgets. We run all of the all-county showcase concerts … and we have 80 schools … 130 performing arts teachers alone … and we just work to support all of those.” – J.D. “Being able to see what the comparisons are from school to school … like do you have really low enrollment in your chorus classes? What can we do to make that better? Being that advocate and showing that kind of global perspective.” – S.W. “We actually report right to a cabinet member … we meet regularly with senior leadership to give them an update every two weeks … what is current, what is happening, and what’s on the horizon … making sure that decision makers above us understand and know what the needs are.” – C.U.
with administrators and the level of trust they have built over time. In many cases, they provide valuable insight into candidates’ musical and instructional backgrounds, help guide interview conversations, and advocate for candidates who are a strong fit for the position. “A lot of times principals will say, ‘I don’t know a whole lot about music … can you just lead the interview?’ They usually have a good sense of a good teacher, but we know what questions to ask that are tailored toward our performing arts people.” – J.D. “It is really important to have a principal’s trust … that they’ll say, ‘If you’ve got a bad feeling about this or a great feeling about this, I’m going to trust you on that.’”– J.D. continued on page 32 SEPTEMBER 2026
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Building Community and Culture continued from page 31
“I don’t wait for them [principals] to ask. I’m like, ‘Here are the three candidates that you need to interview.’ I already have background information on them before the principal even asks the question. We already have people that have given us resumes … we’ve had conversations with collegiate students … and we do mock interviews … so we’re already building relationships with people that are graduating.” – S.W. “It is really, really important to find and be ahead of who are the candidates? Constantly looking … meeting with students who are in their final year of music education and maintaining relationships with our university partners.” – C.U. Advocacy, Every Day As a music teacher, especially if you’re the only content specialist in your school, it’s easy to feel like you’re in a silo. Feelings of isolation (Sindberg, 2011) and a lack of understanding from administrators, school board members, and even the broader community are common experiences for music teachers (Conway, 2012). Advocating for your program can seem like a daunting and time-consuming task when tacked onto your many other assigned (and unassigned) duties. At best, advocacy might mean simply trying to get the word out about your concerts and events. At worst, it can mean having to justify the existence of a program that’s at risk of being cut. The good news is that this is exactly where music supervisors can step in. In fact, advocacy is one of the core parts of their role. “It really comes down to advocating for every single tiny thing that we have … from even offering a program to making sure that we’re advocating for the teacher … advocating for supplements … advocating for more music positions … advocating for finances … We’re going to bat for the teachers, and we’re going to bat for the students, and we’re going to bat for the community that needs music in every school.” – J.D. “We make sure that we’re seen and heard. So we’re constantly talking to senior leadership … ‘hey, school board member, would you like to come with us to this event?’ … Making sure that they can see and hear and report back so connections keep growing.” – C.U.
“My favorite advocacy quote is, ‘if you’re not at the table, you’re on the table.’ So making sure that you’re in all of those rooms is really important to make sure that those programs continue to grow.” – S.W. Beyond 8 to 5: A Job Without a “Typical Day” Although the life of a music teacher can be hectic and full of extracurricular events, an average day in the classroom is somewhat predictable. For music supervisors, however, there is no such thing as a “typical day.” Most music supervisors wear many hats, serving in both administrative and instructional capacities. “Our official working hours are 8 am to 5 pm. However, a lot of what happens in the visual and performing arts happens after school hours. There are many evening and weekend hours that are extended beyond our official contracted hours. It is not terribly uncommon for our phone to ring at 8 o’clock at night … ‘I really need your support with this … I need you at this school at 7 am tomorrow morning.’ … it really does require a great amount of flexibility. It’s kind of a quick punt and a quick adjust.” – C.U. “If we were to make a list of how many hats we actually wear, it would be pretty crazy … almost every day is different. What we did yesterday is not what we’re doing today. And what we do tomorrow will be different as well.” – J.D. “I think of it as a year, right? Not every week, that’s too micro. But I can tell you [in] July, we’re prepping … And then August is mentoring and visiting brand new teachers to our district. I can tell you what December looks like and March, but week to week, not exactly.” – S.W. From Classroom to District: Pathways to Leadership How exactly does someone transition into a career in district arts leadership? For the music supervisors I spoke to, it wasn’t something they set out to pursue, but rather something they grew into over time. While there is no single pathway into these positions, they shared several common experiences and pieces of advice for those who are starting to wonder what that next step might look like. If you are interested in district arts leadership as a potential career path, keep the following things in mind.
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Sometimes the right opportunity appears when you’re not actively looking for it. “I don’t know if I ever considered it super seriously until the position just came available. And then I thought, ‘this is something that I would really like to try. I’ve been teaching for 15 years. Maybe I have something to offer.’” – J.D.
The Role of Graduate Degrees and Special Certifications When asked whether graduate-level coursework was required or helpful for a role in district arts leadership, John, Craig, and Sara all agreed that it can be incredibly valuable. Between the three of them, they hold a range of graduate degrees and certifications, including music education, conducting, and educational leadership. Craig and
If you’re looking to make a broader impact in your field, this may be the role for you.
Sara, in particular, emphasized how much their instruc-
“I’ve always known that I’ve wanted to serve beyond the leadership of just one general music classroom … I wanted to serve in a more global position.” – C.U.
their current roles by giving them a better understanding
“Knowing that I could have a larger impact was interesting to me … I mean, it was great in elementary … but realizing I could have a larger impact—that was the shift.” – S.W.
of building a wide range of experiences so you’re ready
tional or educational leadership degrees helped them in of what school and district-level administrators deal with on a daily basis. All three also stressed the importance when a position opens up. That might include leading professional learning in your district, presenting at conferences, taking on leadership roles, or pursuing graduate study in your field.
There is no single path, and it can take time. “I think probably about 10 years into teaching … I realized I could have a larger impact and then started looking out of state … I mean, it probably took five years that I was applying for jobs … but luckily it worked out and somebody gave me a chance.” – S.W.
Don’t have a district arts supervisor? District arts supervisors can be an invaluable resource for music teachers. Their support can range from helping you choose the right method book to helping advocate for your program at the district or state level. But what if you don’t have a music supervisor? While it can be more
Be ready when opportunities arise. “Those jobs are so few and far between. So when they come open, be ready … if you’re thinking about it, be ready to take that step forward.” – S.W.
challenging to find content-specific support without one in your district, there are still ways to seek out guidance and advocate for your program. Make connections and avoid isolation.
Prioritize your art form, embrace multitasking, and build meaningful relationships.
“Utilize your resources. What resources are available
“You have to be good at your art form … because you go into a lot of classrooms and you have to be able to back up what you say. That can really have an effect on your ability to influence others.” – J.D.
you can’t be a silo at your school, even though you
“You have to be really, really good at juggling a lot of balls in the air all at the same time … you have to know very quickly how to prioritize … a million things can be happening.” – C.U.
valuable thing. Secondly, make sure that you’re well
“If I hadn’t had that [state leadership] experience, I don’t know that I would have gotten the job … because I did some of the same things that you would do as a supervisor.” – S.W.
to you? I would say that you have to be bold and that are, right? You’re sometimes the only music teacher at your school … If you don’t know the right questions to ask, even just having coffee and reaching out is a very connected … make connections with the neighboring school music teacher, and make sure that’s intentional.” – C.U.
continued on page 34 SEPTEMBER 2026
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Building Community and Culture continued from page 33
“If you are wanting support and how to handle situations, ask another supervisor [from a different district]. I don’t think Craig or John would say, ‘no, sorry, I can’t help you.’ We’re here and we want music to be accessible to all students, not just the ones in our district.” – S.W. Find mentorship.
working both behind the scenes and alongside teachers to strengthen programs, solve problems, and make sure music education continues to thrive. Next time you encounter a problem that feels beyond your scope—or you’d just like a little advice—reach out to your district arts supervisor. And if you don’t have one in your area, don’t fret. Consider reaching out to a supervisor in a neighboring district who may be able to point you toward
“Make sure that you have a mentor teacher, someone who’s also been doing this for quite some time that you can kind of pick their brain … always making sure that you’re well connected.” – C.U.
helpful resources or connections, or look for ways to build
Step into leadership yourself.
Rachel Sorenson, PhD, is assistant professor of
“Be that person … my job where I had the longest tenure, I became that person. Like, ‘oh, we want to do this? I’ll do the application … We need instruments?’ … You can step up and be that leader.” – S.W.
those connections with other educators in your area. You might even find yourself stepping into a leadership role along the way!
music education at Kennesaw State University, where she teaches music education courses, supervises student teachers, and conducts one of the university bands. Her research on music teacher preparation, beginning teacher support, and impostor
Final Thoughts
phenomenon appears in leading music education journals.
Being a music teacher is a challenging job—one that can feel isolating at times. Your work spans from the micro
References
(“What boomwhackers should I order?”) to the macro
Conway, C. M. (2012). Ten years later: Teachers reflect on perceptions of beginning teachers, their mentors, and administrators regarding preservice music teacher preparation. Journal of Research in Music Education, 60(3), 324–338. https://doi.org/10.1177/0022429412453601
(“How do I plan an overseas trip with my ensemble?”) and everything in between. On top of that, there is often a disconnect between what you do on a daily basis and what administrators, community members, and school board or political leaders think you do. Fortunately, there is a person at the district level whose sole job is to help with all of this. Music supervisors exist to support
National Association for Music Education. (n.d.). NAfME history. https://nafme.org/about/nafme-history/ Sindberg, L. (2011). Alone all together: The conundrum of music teacher isolation and connectedness. Bulletin of the Council for Research in Music Education, (189), 7–22. https://doi.org/10.5406/ bulcouresmusedu.189.0007
and advocate for K–12 music teachers in their districts,
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FLORIDA VOCAL ASSOCIATION
Jeannine Stemmer President
Be the Best Version of You Today
I
used to struggle with my temper. Maybe it was a
little bit of a Napoleon com-
As educators, it is easy to
got married. It shattered into
children with forgiving
a million pieces.
spirits. My boys have never
carry our past experiences
allowed one of my ugly
with us. Maybe it was the class that didn’t go well.
It would have been
plex, or maybe I was just
sufficient to be disappointed.
moments to define me as
born feisty. Either way, I’ll
Maybe even yell a little. But,
their mom. They have given
The parent conversation we
never forget what it was like
of course, I had to go the extra
me grace, and in doing so,
wish we could redo. The
when my boys were in middle
mile.
they have reminded me of the
decision we regret. The year
importance of giving myself
that was harder than we
grace, too.
expected. Or maybe it was
school. Asking them to do anything was like torture. One Christmas, I was especially excited to decorate
I picked up another glass ornament and chucked it
simply a moment when we
across the room. I honestly can’t remember
Who are you today?
weren’t the teacher, colleague, administrator, or person we
the Christmas tree as a
if I was genuinely angry or if
At our Open House the
family. I told my boys that,
I was simply trying to make
other day, my principal gave
after lunch, we were going
a statement. Needless to say,
our faculty a charge before
But here is the beautiful
to decorate the tree together.
it was not one of my finer
we walked out to meet our
thing: yesterday does not get
They begrudgingly obliged
moments.
new students and parents.
to define today.
and proceeded to take out
Thankfully, I have learned
She reminded us not to allow
wanted to be.
Every new day gives us an opportunity to begin again.
the glass ornaments with
to keep the dragon asleep a
anyone to define us by a
minimal effort or care.
little more often. The amount
past experience. Instead, she
After about the third
of energy it takes to reach
encouraged us to focus on
that might help us approach
ornament, one of my sons,
that point of frustration has
right now.
each new day as the best
who shall remain nameless,
not proven to be particularly
Be the best version of
dropped an expensive glass
beneficial to me, or anyone
yourself right now. Define
ornament that I had received
around me!
who you will be today.
when my husband and I first
And thank God for
That really stuck with me.
I came up with five words
version of ourselves. REFRESH your mind with positive and encouraging words that inspire you. Surround yourself with people who speak life into you and remind you why you do what you do. REFLECT on how far you have come, not simply on the mistakes you have made. Growth is often found in the places where we once struggled. REFRAIN from behaviors that lead you toward becoming a lesser version of yourself. We know the things that push our buttons. Sometimes wisdom is simply recognizing the trigger and choosing a different response.
38
FLORIDA MUSIC DIRECTOR
FLORIDA BANDMASTERS ASSOCIATION
Michael Antmann, EdD President
H
ello there! I hope your school year is off to a great start. I look forward to September each year; it’s nice to settle into routines and procedures that were cultivated in
REBUKE statements that
August. As a high school director, I enjoy watching my students have fun at football games,
hold you back and trap you
and I particularly enjoy watching my freshman students become confident members of our
in a past experience. You are
program. When I taught middle school, I loved watching my beginners get excited about
not defined by your worst
their first notes.
day, your biggest mistake, or someone else’s perception. We all have moments we
One exciting development this fall is the debut of the FBA Public Relations Committee. Chaired by Jennifer Zahn, this committee is dedicated to showcasing the incredible work of our band directors and the successes
wish we could take back. We
occurring in Florida band rooms. The committee has introduced
all have days when we don’t
a public Facebook page that, alongside our Instagram page, will
quite live up to the person we
let us share the amazing things happening across the state. Our
want to be.
private Facebook group will continue to serve as a space to have
REFUSE to allow those
productive conversations and share ideas. Under Ms. Zahn’s
moments to become your
leadership, this committee will highlight our collective journey for
identity.
parents, school leaders, and our local communities. Now, we need
Give yourself grace. Start fresh. Choose who you will be today. As we begin another school
ZAHN
your help! Please follow the page, engage with the content, and encourage your supporters to join in. This is another effective tool on our advocacy tool belt. Speaking of advocacy, it’s election season! “One of the penalties of refusing to participate in politics is that you end up being
year, I hope you will give
governed by your inferiors” (Plato).
yourself permission to leave
About two-thirds of Florida voters
some things behind. Don’t let
participated in the 2024 General
last year define this year. Don’t
Election. That sounds great until you
let one difficult interaction
look a little deeper to see that over
define your relationship with a
five million eligible voters stayed
student. Don’t let one mistake
home (UF Election Lab). Local and
define your ability to lead.
statewide elections have significant
And don’t let a past version of
implications for education. Every
yourself convince you that you
voice matters, and this November is
cannot grow.
an opportunity to use yours.
Start every day fresh and
Advocacy is one of the many things we must tend to in our profession, in addition to
ready to make beautiful music
recruitment, retention, community involvement, classroom management, administration,
with the beautiful humans
and so much more—the list is never-ending. Yet, the foundation beneath all of them is
who have been placed in your
pedagogy. Great teaching must be the core of everything we do. It gives us something
path.
worth advocating for, it keeps kids in our classrooms, and it keeps them engaged. Let’s
And if you happen to drop
not lose sight of our primary role: music educator. Continue to work on both the craft and
a glass ornament along the
science of teaching, as well as the art of music. To quote my daughter, Julia, from a recent
way … take a breath. Keep the
essay: “The loss of creativity through developing technology can be avenged by leaders
dragon asleep.
fired with passion for art.”
Refresh. Reflect. Refrain. Rebuke. Refuse. And then get back to the
I am constantly in awe of the work my colleagues are doing throughout the state. Despite the challenges we face, Florida band directors continue to serve our students at the highest level. “The achievements of an organization are the results of the combined effort of each
beautiful work of being the
individual” (Vince Lombardi). An organization is truly defined by its membership, and ours
best version of YOU today.
is strong. I look forward to working alongside all of you this year. SEPTEMBER 2026
39
FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION
Meghan Alfaro President
This FEMEA president’s message is from Jessica Gronberg,
vibrant and supportive community of elementary music educators
FEMEA membership engagement chair. The Florida Elementary
who understand both the joys and challenges of our profession.
Music Educators Association (FEMEA) exists to connect,
As we begin another school year, we are excited to continue
inspire, and empower elementary music teachers throughout
providing resources, professional learning opportunities, and
our state. Whether you are entering your first year of teaching,
meaningful connections that help educators thrive both personally
transitioning to a new school, or beginning another season as
and professionally. Please read on for information about our new
a seasoned educator, one thing remains true: you are part of a
member benefit!
Introducing the FEMEA
MENTOR SHIP PROG R AM BY JESSICA GRONBERG
O
ne of the most
feel isolating at times. Many
was created to address this
they do not have to navigate
exciting initiatives
music educators are the
need by fostering supportive
this journey alone. Together,
launching this year is the
only specialists in their
relationships among
we can build a stronger, more
FEMEA Thrive & Connect
building or district, making
educators across Florida.
connected elementary music
Mentorship Program.
it difficult to find others
Designed for teachers
community across Florida.
Teaching elementary
Elementary music
who truly understand the
at every stage of their
music is incredibly
unique demands of the
careers, the program offers
educators have a unique
rewarding, but it can also
profession. Thrive & Connect
opportunities to build
opportunity to shape
meaningful professional
lives through creativity,
connections, exchange
collaboration, and self-
ideas and resources,
expression. Every song
celebrate successes, navigate
learned, rhythm performed,
challenges, and learn
and musical experience
from one another. New
shared has the potential to
educators can gain guidance
leave a lasting impact on a
and encouragement from
child.
experienced colleagues while veteran teachers have the opportunity to share their
remains committed to
expertise and impact the
supporting, celebrating, and
next generation of music
connecting music educators
educators.
across Florida. We look
Most importantly,
40
FLORIDA MUSIC DIRECTOR
As we begin this new school year together, FEMEA
forward to learning alongside
Thrive & Connect is about
you, sharing resources,
reminding every teacher that
building new relationships,
for unexpected schedule
Give Yourself Grace
thank you.
reminder of all: you do not
Document the Journey
program, and performance
work samples, and record
arrive. Focus first on building
artifacts become valuable
routines, and fostering joyful
evaluations, grant
will come with time.
celebrations, and year-end
auditioning students for all-
changes. Your future self will
and continuing the important
technology helpers, or
music education to students
ownership not only supports
work of bringing quality throughout our state.
KEEPING UP THE MOMENTUM
rhythm captains. Student
classroom management but also helps build confidence and responsibility.
Now that the school year is
Have a “Survival Kit”
a few helpful reminders to
from a collection of ready-
off and running, here are
keep the learning going and the momentum strong.
Focus on Procedures
Before Performances
Invest time early in teaching classroom routines,
instrument procedures,
Every music teacher benefits to-go activities. Stock your toolkit with community-
building songs, name games, movement experiences,
quick formative assessments, and a few no-prep lessons
mapped out before students
special moments. These
relationships, creating
tools for advocacy,
musical experiences. The rest
applications, social media
state and regionals, we wish
Build Family
you for taking the time to
Strong family engagement
students.
season. Sharing classroom
Jessica Gronberg
and upcoming opportunities
music teacher
families feel connected
Elementary in
encourages greater support
Membership Engagement
Connections Early
begins long before concert
making throughout the year.
throughout the year helps
at Hawkes Bluff
to your program and
Broward County, and FEMEA's
for music education.
Co-Chair.
Leaders
If you are interested in getting more involved in advocacy initiatives or need local support, please contact the FMEA office.
opportunities to contribute.
(850) 878-6844 or (800) 301-3632 jeannewrey@gmail.com
Empower Student Elementary students love
Consider creating classroom leadership roles such as instrument managers,
make that happen for your
is elementary
GET INVOLVED!
environment and allow more
you the best of luck! Thank
highlights, student successes,
instructional time for music-
Strong procedures establish
Finally, for all of you
reflection.
a positive learning
and discussion norms.
need to have every lesson,
Take photos, save student
For decades, FMEA has been a leader in championing music education in Florida by providing support for local coalition building and actively supporting state legislative priorities.
movement expectations,
Perhaps the most important
CLICK HERE
movement leaders, music SEPTEMBER 2026
41
FLORIDA ORCHESTRA ASSOCIATION
Andrea Szarowicz President
W
elcome to the 2026–27
are many experienced
for all-state, MPA, district
expand online resources,
school year! I hope
teachers across this state who
deadlines, and local FOA
to provide opportunities
each of you has returned to
remember exactly what those
information.
for ensemble feedback, and
your classroom refreshed,
first few years felt like and
Our current all-state and
excited, and ready for another
genuinely want to help you
honors orchestra coordinators
statewide network of support.
year of making music with
succeed.
are Steven Bossert, 11–12
Their mission is centered
to build an even stronger
Symphonic Orchestra;
on supporting early-career
Welcoming Our
Sarah Guarrine, 9–10
educators, developing their
teachers, whether you are
2026–27 Leadership
Concert Orchestra; Marcey
instructional and leadership
beginning your very first year
As we begin the year, I would
Sperr, 7–8 Middle/Junior
skills, and strengthening
in the classroom, moving to
also like to recognize our
High Orchestra; Samantha
orchestra programs
a new school, or beginning
current Executive Committee.
Felber, High School Honors
throughout Florida.
your first year teaching
I am honored to continue
Orchestra; and Jennifer
orchestra, welcome to the
serving as your president,
Erickson, Middle School
teacher—or simply a teacher
Florida Orchestra Association!
alongside Lauren Pardee,
Honors Orchestra. Thank
who would benefit from
Please know that you are
president-elect; Matthew
you to each of them for
another set of ears, another
not expected to navigate
Davis, past president; and
the tremendous amount of
perspective, or someone to
this profession alone. FOA
Cheri Sleeper, executive
work that happens behind
answer questions—please
exists to support, promote,
director.
the scenes to provide these
reach out. Mentoring is not
experiences for our students.
remediation; it is professional
your students. To our new orchestra
and expand school orchestra
Please also welcome several
If you are a new
collaboration. Some of the best
programs throughout Florida
directors serving in new
while providing our members
district leadership positions
Supporting Our
ideas in our profession come
with professional learning,
this year: Jillian Savia, District
Newest Teachers
from teachers simply being
leadership, advocacy,
6; Samantha George, District
I am especially excited
willing to share what works.
mentoring, and opportunities
8; Shawna Grimes, District 9;
about the continued work of
to connect with one another.
Andres Delgado, District 10;
our Mentoring Committee,
Important Updates From
One of the most important
Amanda Bauman, District 11;
chaired by Marcey Sperr. The
Your FOA Board
things I can tell a new teacher
Linda Cartagena, District 15;
committee has established
Your Executive Board and
is this: ask for help. Your
and Sofia Ventura, District
regional mentoring
committees were busy this
district chair, fellow orchestra
16. Our district chairs are
representatives and is
summer. The FOA Handbook
directors, FOA Mentoring
one of the most important
working to identify first-
was updated in July 2026, and
Committee, Executive Board,
connections between our
and second-year teachers,
I strongly encourage every
and Executive Committee
membership and the state
to connect educators with
director to review the current
are resources for you. There
organization, particularly
one-to-one mentors, to
version rather than relying on a previously downloaded copy. Several changes are particularly important for directors preparing for MPA. A separate purchased e-print score is required for each adjudicator when e-print music is used, and concert
PARDEE
42
FLORIDA MUSIC DIRECTOR
DAVIS
SLEEPER
MPA score envelopes now
include the performance
not guaranteed an acoustic
were approved by the board
date and time as part of the
instrument.
and are now available with
required identification.
The board also approved a
audition materials. Remember that directors
FOA’s policies and governing
of students accepted into
documents.
an all-state ensemble are
The solo & ensemble
model for state concert MPA
language has also been
using two sites—Titusville
clarified. Performances
High School and Gulf
All-State Is Here!
attend the FMEA Professional
should not exceed eight
Coast High School—with a
All-state audition materials
Learning Conference. The
minutes; works longer
combination of clinician time
for the 2026–27 ensembles
2027 conference and all-state
than eight minutes may
and performance blocks.
are available, and auditions
rehearsals and performances
be appropriately cut while
Current planning in the July
will take place in September
will take place January 13–16,
preserving their musical
minutes lists tentative dates
on dates established by each
2027, in Tampa.
integrity, while works totaling
of April 14–15 in Titusville
district. FMEA and FOA
eight minutes or less may not
and April 16–17 in Naples.
membership must be current
FOA/FLASTA
be cut. Performers choosing
Please continue to watch
by September 1, and directors
Fall Conference –
should communicate with
October 15–16
their district chair regarding
I hope to see you at the
their local audition date and
2026 FOA/FLASTA Fall
literature longer than eight minutes and no longer than 16 minutes may request a
myFOA.org as final details are published. Our Ethics Committee’s
required to register for and
consecutive second entry slot.
Ethics and Professional
procedures. Please continue
Professional Development
The updated handbook also
Conduct Policy and Ethics
checking the FOA website
Conference, October 15–16 at
states that piano soloists are
Violation Reporting Form
for corrections or updates to
continued on page 44 SEPTEMBER 2026
43
continued from page 43
saying, “Let’s go to
the Hilton Orlando. Our keynote
Fall Conference
speaker is
together.”
Bruce Walker, Celebrate Our
and this year’s conference
Members and
includes sessions
Students
designed for educators at every stage
WALKER
Please help us recognize the remarkable
of their careers.
people doing great
We are also
work throughout
excited to offer a
Florida. The
Pre-Conference
Student
Conducting
Composition
Symposium
Contest deadline
with the UCF
is October 1,
Orchestra, Dr.
and nominations
fill out the interest form
they have an entire state of
for other FOA awards
sent via email or to contact
colleagues standing beside
are due November
the executive director by
them.
Robert Hasty, and Dr.
HASTY
Tiffany Lu, along
1. Last year the
with reading
September 1.
Stay involved in your district. Attend your
sessions,
composition
pedagogy
contest received
Moving Forward Together
meetings. Volunteer for
sessions,
17 submissions,
Every August we enter
all-state. Come to Fall
program-
and this
rooms filled with new
Conference. Nominate a
building ideas,
year’s winning
students, new schedules,
deserving colleague. Mentor
compositions will
new challenges, and new
someone. Ask for help
ultimately receive a live
possibilities. Somewhere in
when you need it. And most importantly, remember why
conducting sessions, and a
LU
performance by the Winter
performance opportunity.
Florida right now, a student
Park High School Chamber
The board also approved
is holding a violin, viola,
we chose this profession in
Orchestra. The performance
the creation of a Roll of
cello, or bass for the first time.
the first place.
will also feature the winning
Distinction Award to
Somewhere else, a young
works from FOA’s student
recognize individuals who
teacher is standing in front of
your students, and your
composition contest.
have made significant
an orchestra for the first time
families an outstanding
contributions to orchestra
wondering whether they can
2026–27 school year. I look
and orchestra education in
really do this.
forward to seeing you
For our newest colleagues, FOA is offering a special first-year teacher conference registration rate of $55 in
Florida. Finally, three state offices
They can—and we can help.
I wish each of you,
throughout the year and hearing the incredible music
That is what I hope
being created in orchestra classrooms across Florida.
advance. Preregistration
will be elected by the
closes October 12. I strongly
membership in January 2027:
FOA continues to be: an
encourage our veteran
president-elect, 11–12 all-
organization where our
teachers to personally
state symphonic orchestra
students are challenged
school year, and thank you
invite a first-year teacher to
coordinator, and 7–8 honors
to achieve excellence, our
for everything you do for
attend. Sometimes the most
orchestra coordinator.
experienced teachers remain
Florida’s orchestra
meaningful professional
Members interested in being
inspired and connected, and
students!
support begins simply by
considered were asked to
our newest teachers know
44
FLORIDA MUSIC DIRECTOR
Have a wonderful
Research Puzzles
FMEA RESEARCH COMMITTEE
D. Gregory Springer, PhD, Chair Florida State University
FOR MUSIC TEACHERS
This on-going column seeks to stimulate awareness of research issues for FMEA teachers and researchers.
How Prepared Are Elementary Music Teachers to Teach Students With Disabilities? ll teachers should be well prepared to teach
in a web-based format. The questionnaire included a
students with disabilities. In the United States,
variety of demographic items and questions about the
students with disabilities are entitled to a free
participants’ preparation for teaching students with
appropriate public education in the least restrictive
disabilities. Among many important findings, Allan
environment possible under the Individuals with
(2026) reported that the majority of participants (57.5%)
Disabilities Education Act (Hammel & Yee, 2024).
learned about teaching students with disabilities
Therefore, many students with disabilities will
through professional development opportunities
participate in music classes every school day. Adamek
outside a university context, whereas fewer participants
and Darrow (2018) posited that in music classes,
(42.5%) learned this content in an undergraduate course
there are three common barriers to inclusion of
outside the music department. Still fewer participants
students with disabilities: (a) organizational barriers,
(23.0%) learned this content in an undergraduate
such as environmental characteristics and classroom
course within the music department. Given the unique
management strategies; (b) knowledge barriers, such as a
aspects of teaching music compared to other academic
lack of knowledge, skills, and pedagogical “best
subjects, this finding highlights an important need for
practices” for teaching students with
music teachers to have more focused pedagogical
disabilities; and (c) attitudinal barriers,
instruction for teaching students with disabilities
such as teachers’ beliefs and attitudes
in their primary content area.
related to teaching students with
There are too many important results reported
disabilities.
in Allan’s (2026) study to be summarized here
Dr. Amalia Allan (South Carolina
in this brief column. Therefore, I encourage
School of the Arts, Anderson University) recently conducted a study
everyone to read the article in its entirety because ALLAN
examining elementary music teachers’
it offers strong implications regarding common barriers to inclusion in music classes. The Journal
preparation for teaching students with disabilities,
of Music Teacher Education is freely available to all
which was published in the Journal of Music Teacher
members of NAfME. To access it, log in to
Education (Allan, 2026). According to the author, the
and you can view all the NAfME journals.
nafme.org,
purpose of the study was “to examine elementary music teachers’ perceptions of their preparation to
References
teach students with exceptionalities using Adamek
Adamek, M. S., & Darrow, A.-A. (2018). Music in special education (3rd ed.). American Music Therapy Association.
and Darrow’s (2018) Three Inclusion Barriers as a framework” (Allan, 2026, p. 25). Using a systematic process, Allan (2026) developed a questionnaire based on prior research on teaching students with disabilities, which she administered to elementary music teachers throughout the United States
Allan, A. (2026). Three inclusion barriers: An examination of elementary music teachers’ preparation to teach learners with exceptionalities. Journal of Music Teacher Education, 35(2), 22–40. https://doi.org/10.1177/10570837241307249 Hammel, A. M., & Yee, R. L. (2024). Teaching music to students with differences and disabilities: A practical resource (2nd ed.). Oxford University Press.
Email your questions and feedback to dgspringer@fsu.edu with a subject heading Research Puzzles. SEPTEMBER 2026
45
FLORIDA NAfME COLLEGIATE
Mark A. Belfast, Jr., PhD Advisor
NAfME Collegiate Leadership Training and Kickoff Week s another school year
participate in a new advisor-
begins, I hope you’re
focused track designed to
excited about everything that
support and strengthen
lies ahead. One of the best
collegiate chapters. Register
parts of being involved in
for the Leadership Training at
Florida NAfME Collegiate is
the link below.
the opportunity to connect
Next, mark your calendars
with future music educators
for NAfME Collegiate
from across the country,
Kickoff Week, September
and this fall offers several
14–18. This annual celebration
opportunities to learn, lead,
is all about showcasing
and build your professional
the energy, passion, and
across Florida. Tag
profession or preparing
community.
impact of collegiate music
@flnafmecollegiate and
for student teaching, this
The semester kicks off
education students. Whether
@nafmecollegiateofficial on
conference is designed with
with the NAfME Collegiate
your chapter hosts a social
all your posts! Register for
you in mind! Check the
Chapter Leadership Training
event, community service
these events and find more
on September 3. If you’re
project, professional learning
details on how you and your
serving as a chapter officer
workshop, recruitment
chapter can participate at the
this year, or you’re interested
activity, or simply gathers
link below.
in taking on a leadership role
to make music together,
It is also time to start
Collegiate has always been
in the future, I encourage
Kickoff Week is a chance to
planning for your attendance
our willingness to learn from
you to participate. This
celebrate who we are and
at this year’s Florida NAfME
and support one another.
virtual training is a great
why we chose this profession.
Collegiate Fall Conference
Every conversation, every
opportunity to learn practical
You’re also invited to a
at Stetson University
new connection, and every
strategies for leading a
virtual Membership Rally
on October 24–25. This
shared experience helps
successful chapter, to discover
on Wednesday, September
conference is always one of
strengthen our profession and
new ideas for engaging
16. Be sure to share your
my favorite events of the year
reminds us that we’re part of
members, and to connect with
chapter’s activities on social
because it brings together
something much bigger than
collegiate leaders from across
media so we can celebrate
students from every corner
our individual campuses.
the country. Chapter advisors
you and highlight the
of the state who share the
I encourage you and your
are also encouraged to
amazing work happening
same passion for music
chapter to take advantage of
education. You’ll have the
these opportunities and make
opportunity to learn from
this a year of growth, service,
outstanding presenters,
and meaningful connections.
exchange ideas with fellow
FLORIDA MUSIC DIRECTOR
One of the greatest strengths of Florida NAfME
I hope to see you this fall,
collegiate members, and build
and I wish you a successful
friendships and professional
and rewarding semester!
connections that often last
46
Fall Conference website for more info.
Click here for
well beyond graduation.
Leadership Training, Kickoff
Whether you’re a first-year
Week, Membership Rally, and
student just exploring the
more.
FLORIDA NAfME COLLEGIATE
Grace E. Wieckowski President
T
he 2026–27 school year is finally starting to take shape, and this means it’s time to get talking about all the big
In January, like always, we have our annual FMEA Professional Learning Conference. Florida NAfME Collegiate will be sponsoring three informative sessions. In addition
things we have coming up this year.
to our sessions, we will also conduct our general business
The thing I’m personally most excited for this year is the Florida NAfME Collegiate Fall Conference. This event
meeting and our elections for the state board. I highly
brings together collegiate members from across the state to
recommend running for the state board if you have an
make connections with each other and to further our own
interest. Serving as state president has been the highlight
professional development as music educators. This year’s
of my college experience, and it has given me so many
theme is Florida NAfME Collegiate: Impacting Music Education,
opportunities to do incredible things. If you’re interested in running and have questions, please feel free to reach
Today and Tomorrow. I picked this theme because, as collegiates, we’re so often told we are the
out to me or anyone else on the board. We will be
“future” of music education, and while we
more than happy to answer any questions you
may be the future of the profession, there is
may have. Finally, looking to the spring, we have
so much we can be doing now to get involved
our 11th annual Collegiate Advocacy Day in
and make an impact in music education. The conference will take place at Stetson
Tallahassee. If you’ve never been, this is an
University on October 24 and 25 and will
amazing event where we as collegiates get
feature keynote speaker Deb Confredo, along with presenters Chandler Wilson, Ryan Person, Zoë
to make our voices heard at our state’s capitol. CONFREDO
Throughout the course of this event, you will have
Trumble, and Jarrod Koskoski. I hope to see you all at the
the opportunity to share your story surrounding music
conference.
and explain why legislation supporting music teachers and
Another exciting thing we are launching this year is the
students in the classroom is so important.
chapter spotlight. There is so much amazing work being done
These are just a few of the things we have planned for this
by our chapters, and we want to highlight what our collegiate
year school year. I hope you will take advantage of all these
members are capable of. I’m so excited to get to celebrate all of
wonderful events and opportunities. Have a great school
our chapters in this way.
year, and, as always, go, Florida NAfME Collegiate!
SEPTEMBER 2026
47
FLORIDA GUITAR EDUCATION ASSOCIATION
Christopher Perez President
ello, everyone. I trust
H
again hold All-State Guitar
you enjoyed and cre-
auditions through your
ated a positive start to the
respective Florida Orchestra
2027 FGEA Solo & Ensemble Guitar Festival
2026–27 school year!
Association districts in mid-
We currently have four sites for the 2027 FGEA Solo &
September. It’s expected
Ensemble Guitar Festival. Moving forward, I will look to
2027 All-State Guitar
that guitar directors with
guitar directors to assist with adding more sites and dates
September 1 was the date to
students auditioning for all-
from around the state. Please look at future Florida Music
renew your membership and
state will assist FOA with the
Director issues and FMEA/FGEA Guitar online for more
sign up students for all-state
audition process. Once the
info. Current 2027 site hosts and dates include:
auditions. Those auditioning
auditions are completed and
for FMEA All-State Guitar
evaluated, FGEA plans to
College of Central Florida, Ocala
should be making final
release the results and mail
preparations. Please work
music packets to accepted
Leon High School, Tallahassee
alongside your district FOA
students by mid-to-late
Host: Ed Prasse
counterparts as FGEA will
October.
Host: Jeremy Shepard
Sat., Feb. 20, 2027
Thurs., Feb. 25, 2027
Edgewater High School, Orlando Host: Oscar Vinson
Sat., Feb. 27, 2027
Durant High School, Plant City Host: Jason Emory
Sat., March 13, 2027
More dates and sites TBA soon …
FGEA Development This month I will reach out to our FMEA guitar education teachers/directors and schedule an online fall meeting to be held in late September/early October. Here we will
Join FGEA! I encourage colleagues from around the state that teach guitar to join our newest FMEA council, the Florida Guitar Education Association. By joining FGEA and FMEA, together we will continue to grow and support the best in music education to all students. Click to join or renew. JOIN NOW!
continue discussion, share our concerns, forward ideas, gain input, and seek assistance from our membership to
w Our FGEA Handbook w FGEA district chair nominations w FGEA Guitar Ensemble Music List committee/editors w FGEA Summer Professional Learning Conference/ Workshop w and more … develop:
We will have further discussions during our FGEA
General Business Meeting at the FMEA Professional Learning Conference come January. Continue amazing teaching and help create a fantastic year of music-making with your students! I look forward to working with our membership on future collaborations as we continue to grow the FGEA.
48
FLORIDA MUSIC DIRECTOR
FLORIDA STEELBAND EDUCATION ASSOCIATION
William Sahely President
AND SO IT BEGINS! First Steps for a Successful Year in Steelband BY ED ANDERSON
s we begin the year, it is important to lay the
in which your group will participate during the year.
foundation for a successful
Establish dates for your
2026–27 by completing the
fundraisers and complete the
essential steps that help
required forms accordingly.
organize our school year and
Ensure that your fundraisers
steelband ensembles.
are placed on the calendar
First, all relevant
first to avoid conflicts with
paperwork must be completed
schoolwide fundraisers.
by at least the first week of
Additionally, do not forget
classes. While our time is
to pay your FMEA dues.
primarily devoted to setting
Check with your bookkeeper
up our steelband instruments
regarding available funds,
and engine rooms, it is
and consult with your
crucial that all school board
administration if necessary.
paperwork be completed.
Third, meet with your
Ed Anderson … is a music teacher at Beverly Shores Elementary School in Leesburg, specializing in steel drum education. He teaches steel drums
For those of us who have
department and your
and Brazilian Capoeira in Central Florida. As a freelance steel drum
ensembles meeting as before-
department administrator to
performer, Mr. Anderson has extensive experience across the United
or after-school programs, all
establish the dates for your
States and Caribbean, performing at festivals, weddings, and corporate
relevant organization and
concerts. It is important that
events. He has opened for notable artists including Jake Owen and
club applications, charters
your dates be placed on the
Jimmy Buffett.
and bylaws, and permission
calendar as soon as possible.
forms must be completed
Finally, begin
Program your concerts to
us encourage our students to
and submitted to principals
programming your concerts
take your students on a
explore solo literature as well.
for approval. Additionally, if
for the year. Remember that
musical journey and expose
Our Festival is a fantastic
any planned performances
our primary responsibility
them to music with which
opportunity for our students
will require overnight or
is music education. While
they are less familiar. Do
to perform a solo for an
out-of-county permission,
we are passionate about
not hesitate to include a
experienced adjudicator.
it is advisable to familiarize
our musical medium and
classical arrangement or a
I am looking forward to
yourself with those processes
the style of music it brings,
piece by one of our modern
witnessing the success of our
and check for any changes in
we have a duty to educate
steel drum composers.
students this year! I leave
procedure from the county.
our students not only about
Explore new literature
you with a quote from Lord
Second, assess your
calypso and soca, but also
while continuing to educate
Kitchener: “If you want to
financial resources and begin
about all musical styles.
your students in the proud
feel the spirit of the town,
planning how to fund any
Our instrument translates
tradition and history of the
you have to hear the iron and
initiatives or performances
almost any genre of music.
steel pan. Additionally, let
the pan sound down.” SEPTEMBER 2026
49
FLORIDA CONTEMPORARY MUSIC & MEDIA ASSOCIATION
Clint Randles, PhD President
Digital Music Showcase January 2027: Introducing New Category for AI-Assisted Digital Composition!
T
eachers and students are welcome to submit their original compositions for
the opportunity to have them presented at the annual
FMEA Professional Learning
Conference in January. Check out the new category for AI-Assisted Composition.
1.
4
There are four submission categories…
LIVE PERFORMANCE
This category includes musical
General Guidelines: 1. All Florida students in grades K–12 are eligible to participate. Students must, however, be nominated by an FMEA member teacher. 2. Students can enter one of
w elementary (K–5) w middle school (6–8), or w high school (9–12).
three divisions:
3. Students can submit
compositions individually or as part of a collaborative group. 4. Each student can only be involved in one submission. 5. The submission deadline
compositions that involve one or more live performers who manipulate sound in real time. Guidelines for Live
w Submissions can include original
Performance:
compositions, mash-ups, partner
songs, remixes, covers, etc. Live performance pieces must be no longer
w Compositions can involve any sinthan four minutes in length.
gle musical style or combination of musical styles. While live performance compositions can include any combination of instruments and vocalists, they must prominently feature at least one digital instrument (computers, electric guitars, phones, electronic toys, tablets, synthesiz-
w The inclusion of other performing arts, such as movement, dance, theater, poetry, and visual art, is encouraged. w The primary digital components must be performed live. Prerecorded sound files ers, midi controllers, microphones, electronic drums, loopers, etc.).
will be limited to short samples being triggered and secondary background material for pieces (i.e., soundscapes, drones, etc.). Longer prerecorded sound files that
w Students will have no more than eight minutes of set-up time and four minutes of play a significant role in the primary texture of the piece are prohibited. take-down time for personal equipment.
is 5 pm EST on November 6, 2027.
50
FLORIDA MUSIC DIRECTOR
2.
FIXED MEDIA
This category includes musical compositions that are
w Submissions can include original compositions, mashcompletely prerecorded. Guidelines for Fixed Media:
ups, partner songs, remixes, covers, etc. Fixed media
pieces must be no longer than four minutes in length.
w Compositions can involve any single musical style or combination of musical styles. w While fixed media compositions can include recordSubmissions can be via either an audio or video file.
ings of any combination of instruments and vocalists, they must prominently feature digitally produced
w Fixed media compositions can include video recordsounds.
ings of other performing arts, such as movement, dance, theater, poetry, and visual art.
3.
MUSIC
WITH VIDEO
This category includes musical compositions that include
w Submissions in this category combine original music with video. w Original sound can be any combination of synchrovideo. Guidelines for Music With Video:
nized music and sound effects that support on-screen
w Video can be any combination of original material or existing video. w Music With Video pieces must be no longer than four minutes in length. w Submissions must be in a video file. w While Music With Video compositions can include action/movement and/or mood.
recordings of any combination of instruments and
4.
vocalists, they must prominently feature digitally produced sounds.
MUSIC COMPOSITION
USING AI
This category includes musical compositions created with the assistance of artificial intelligence (AI) tools.
w Submissions may include original compositions, Guidelines for Music Composition Using AI:
remixes, mash-ups, partner songs, or other creative works that incorporate AI as part of the composition-
w Pieces must be no longer than four minutes in length. w AI may be used for tasks such as generating meloal or production process.
accompaniment. Students should demonstrate mean-
w Entries must comply with copyright and licens-
ingful creative input by selecting, editing, arranging,
for ensuring they have the right to use any
refining, or expanding upon AI-generated material.
AI-generated or third-party content included in
dies, harmonies, rhythms, lyrics, sound design, or
w Compositions may include any combination of digitally produced sounds, recorded instruments, and
w Students should disclose the AI tools used and vocalists.
ing requirements. Participants are responsible
w Submissions may be in audio or video format. w The emphasis of this category is on the thoughtful their submission.
integration of AI as a creative tool, with the stu-
briefly describe how AI contributed to the creative
dent’s artistic decisions and musical vision remain-
process.
ing central to the final work.
SEPTEMBER 2026
51
MULTICULTURAL NETWORK COMMITTEE
Arnekua Jackson, PhD Chair
BEYOND THE FIRST NOTE:
Creating Classrooms Where Every Student Belongs
S
eptember is an exciting time in our music class-
rooms. The first-day introductions have been made, music folders have been distributed, instruments are finding their way into students’ hands, and ensembles are beginning to discover their sound. Yet, as we settle into the rhythm of a new school year, there is something just as important as the notes we teach: the culture we create. Before our students can fully invest in the music, they must first believe there is a place for them within it. As music educators, we have the unique
about connecting what we
Introducing students to
never be about checking
opportunity to create spaces
teach to the people standing
music from cultures beyond
a box; it should be about
where students feel seen,
in front of us. Sometimes
their own not only broadens
expanding the musical world
heard, challenged, and val-
the most meaningful thing
their musicianship, but
our students are invited to
ued.
we can do is simply listen.
also creates opportunities
experience.
Our repertoire is
for conversation, curiosity,
belonging begins with
another powerful way to
empathy, and connection.
through the everyday
knowing the students who
communicate belonging.
Representation should
moments that may never
enter our classrooms. Who
The music we place in
are they beyond their voice
front of students sends
part or instrument? What
a message about whose
music do they listen to? What
stories, languages, cultures,
cultures, traditions, and
and experiences are
experiences do they bring
worthy of being studied
with them? What makes
and performed. As we
them excited to participate,
select literature this year,
and what might make
I encourage each of us
them hesitant? Culturally
to look beyond what is
responsive teaching does
familiar. Examine your
not require us to have all
concert programs and
the answers. It requires us
ask: Whose voices are
to remain curious about our
represented? Whose
students and to be intentional
voices might be missing?
Creating that sense of
52
FLORIDA MUSIC DIRECTOR
Belonging is also created
FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION
Kyle Prescott, DMA, President
W
elcome back to our colleagues throughout FMEA! We
appear on a concert program.
which will recognize one
hope your academic year is off to a great start. Over the
It happens when we learn a
elementary student and
summer, FCMEA continued its work supporting Florida’s high-
student’s name, recognize
one secondary student
er education music faculty, with several important initiatives
improvement, invite a
(middle or high school)
now underway.
quiet student to contribute,
at the upcoming FMEA
Applications for our Awards for Excellence in Teaching
celebrate different strengths,
Professional Learning
and Excellence in Research and Creative Activity are due
or give students meaningful
Conference. These
September 18, 2026, with recipients announced at our fall
opportunities to lead. It
initiatives are important,
business meeting. Applications for the Creative Explorations
happens when mistakes
but our greatest impact
Grant and Visiting Scholars Grant are due October 11,
become part of learning
continues to happen
2026, with recipients announced at our January 2027 business
rather than something to
every day—in classrooms,
meeting. Applications and additional information for all four
fear. Our students may
rehearsal halls, band rooms,
programs are available at
not remember every scale,
orchestra rooms, and music
rhythm exercise, or piece of repertoire we taught, but
fcmea.org.
Our January Professional Learning Conference sessions will
spaces across our state.
emphasize the collaborative role of higher education within
As you move beyond
FMEA. One panel will examine state legislation and policies
they will remember how
the first few weeks of
affecting both higher education faculty and the students
they felt when they walked
school, I encourage you to
entering our colleges and universities. A second session will
into our classrooms. Musical
ask yourself one simple
focus on our extraordinary Florida NAfME Collegiate members
excellence and belonging are
question: Does every
and explore ways higher education faculty can encourage,
not competing priorities. In
student who enters my
support, and expand this remarkably successful component of
fact, students often achieve
classroom know they
FMEA.
higher levels when they know
belong here? Our answer
they are part of a community
is revealed not only in what
Dr. Margaret Flood, assistant
that believes in them.
we say, but in what we
professor of music education
As we move further
program, how we teach,
at Florida Atlantic University,
into the fall, the FMEA
whom we encourage, and
as the 2026 recipient of our
Multicultural Network
the opportunities we create.
Creative Explorations Grant. Her
remains committed to
The work of building
project, Curriculum Development
supporting educators in this
inclusive and meaningful
for a Music and Arts Cultural
work. Through mentorship,
music classrooms does not
Diplomacy Fellowship in The Hague, The
professional learning, student
happen in a single lesson,
Netherlands, will support the development
opportunities, and continued
concert, or professional
of a new international learning experience for undergraduate
conversations surrounding
learning session. It happens
music students. Dr. Flood describes the project:
access and representation,
one relationship, one
MCN seeks to build
rehearsal, and one student
arts cultural diplomacy program for undergraduate music
bridges between educators,
at a time. This September,
students in The Hague. Students will engage directly with
students, and communities
may we continue creating
Dutch music and arts institutions, collaborate with local
throughout Florida. This
musical spaces where every
visual and performing artists, and create their own artistic
includes opportunities
student can confidently say,
projects. These authentic learning experiences will introduce
such as the MCN All-State
“There is a place for me
students to Dutch culture while exploring the role of the arts in
Student Scholarship Program,
here.”
international peace and diplomacy.”
FCMEA is also pleased to recognize
FLOOD
“This project will support the development of a music and
SEPTEMBER 2026
53
AWARDS COMMITTEE
Sondra A. W. Collins Chair
Y
I continue to share
the light this past year, as well as con-
that the 2026 FMEA
our FMEA Awards Committee wants to recognize and empower
the heroes among us who have been tinue to be the light, for their students and others. 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 or more years 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, 2026. Please check the
54
FMEA website for details about the nomination process.
FLORIDA MUSIC DIRECTOR
with you the brilliance awardees have to offer. In this edition, Dr. Marcus Scott, principal at Augusta Raa Middle School in Leon County Schools (nominated by Dr. Arnekua Jackson, on behalf of the Multicultural Network), inspires through a story of his own history and the difference one music educator made in his life:
➡
2026 F M EA SECON DA RY A DM I N I ST R ATOR OF T H E Y EA R
Marcus Scott
“One of the biggest
year (because I guess the band
classroom, you need to be doing
can get you, and it’s also where
reasons I got into middle
program had not been existent
schoolwide.” He encouraged
I made my biggest mistakes.
school education was
for about two or three years) and
me to go get my Master’s in
When I was going through
because of my middle school
she said, “You have one year to
Education Leadership and helped
my time in elementary and
band director. That was my
build this program. You have to
prepare me to be an assistant
my time in middle school
first favorite teacher, and when
recruit kids to the program and
principal. I did not want to,
and my time in high school,
I was in his band, I then decided
build it from there.” That first
because I loved what I was
it was that band director
that I was going to one day
year I hit the ground running
doing in my classroom, but he
who saw the potential in
become a middle school band
because I knew that if I didn’t
encouraged me to believe that I
me and cultivated it to push
director. I never wanted to be
build this program and pull these
could impact so many more lives
me to go to college and do
a high school band director. I
kids into the class, my job would
if I had a bigger platform.
anything that I wanted to
never wanted to be a college band
not exist and the program would
director. I wanted to come right
not exist. So I started doing that,
when it comes to building
a teacher and why I wanted
out of school and be a middle
and I recruited close to 60 kids
relationships with students. I
to go into education. It wasn’t
school band director. Once I got
that first year and then 160 the
can always relate to kids because
for the academic piece. It was for
out of college, there was only
next year, and so we built a band
I always see myself in them.
the impact on kids’ lives, their
one middle school band director
at Nims Middle School that was
My favorite place in life was
hearts, their minds, their souls,
position open, and it happened to
known in the city.
in middle school. It was the
and their destinies. Because I
I think I am a strong leader
do. And that’s why I became
As we grew the program,
craziest moments for me, but
want them to know that you can
the opportunity, and the rest is
the former principal at Raa
it’s where I found myself, it’s
still make a mistake, and you can
history.
Middle School was my
where I found my goals in life,
make mistakes as bad as I did,
assistant principal at the time,
it’s where I understood what
and still bounce back from it and
by the name of Pam Heyman, the
Dr. Christopher Small. He
true friends were and were not,
have a future if you make the
principal at Nims Middle School
encouraged me and said, “Listen,
it’s where I understood what
right decisions from that point
back in 2004. She gave me one
what you are doing in this
the results of determination
forward.”
be in Leon County. And so I took
I was hired under a principal
SEPTEMBER 2026
55
DIVERSE LEARNERS COMMITTEE
Christine Lapka, EdD Chair
Please Share What You’ve Learned!
O
ne of the best parts of
performances more accessible
description of your idea is
more confidently, or
serving as chair of the
for every student. These
just as valuable. You can even
experience success in music
Diverse Learners Committee
practical, classroom-tested
include a photo or two and
has the potential to impact
is hearing about the incred-
ideas deserve to be shared.
a few notes about why the
countless other classrooms.
strategy works. I’ll be happy
If something is working
ible work taking place in
Among other things, this
music classrooms across
column is a place where
to help turn your experience
well for your diverse
Florida. Every time I visit a
Florida music educators
into a column that others can
learners, I’d love to hear
school, attend a conference
can learn from one another.
learn from.
about it. Chances are another
session, or have a conversa-
You don’t need to conduct
tion with a colleague, I come
research, write an academic
away thinking the same
paper, or develop an
thing: More teachers need to
elaborate presentation.
hear about this.
We want to hear about
The challenge is that many
ideas that have worked in
of those ideas never make it
real classrooms with real
beyond a single classroom.
students.
Too often I hear, “It’s
Your contribution can take
w A successful instructional strategy w An accommodation or Ideas might include:
Florida music educator is facing a similar challenge and would appreciate the opportunity to learn from
modification that has
your experience. Please
made a difference
send your submission to
w A favorite resource or technology tool w An inclusive rehearsal or
christine.lapka@ucf.edu. I look forward to sharing your ideas with music
nothing special,” or “I’m sure
many forms. If you enjoy
everyone is already doing
writing, send a brief article
that.” In my experience,
of 500 words or fewer (we
when we share what we’ve
this column may already
that’s rarely true. What seems
will include your brief bio
learned. Every strategy that
be happening in your
routine to you may be exactly
and headshot). If writing isn’t
helps a student participate
classroom. All you have to do
the solution another teacher
your favorite thing, a short
more fully, communicate
is share it.
has been searching for. I also know that time is in short supply. The thought of writing an article can feel like one more task on an already full to-do list. That’s why we’ve made contributing as flexible and manageable as possible. Perhaps you’ve modified a rehearsal routine so a student with autism feels more comfortable participating. Maybe you’ve developed a visual support that keeps your beginning musicians on track, found a technology tool that increases independence, or discovered a simple way to make
56
FLORIDA MUSIC DIRECTOR
performance practice
Our profession is strongest
educators across Florida. The next great idea in
F LO R I DA M U S I C E D U C AT I O N A SSO C I AT I O N
Officers and Directors
EXECUTIVE BOARD President
Harry “Skip” Pardee, EdD
Collier County Public Schools 5775 Osceola Trail; Naples, FL 34109-0919 (239) 377-0087; pardeh@collierschools.com
EX-OFFICIO MEMBERS
FMEA COMMITTEES & COUNCILS
Conference Planning Committee Chair ................. John K. Southall, PhD Indian River State College; 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 418-9133; johnsouthall@me.com
COUNCILS
DOE Arts Education Consultant .......................................David Pletincks Florida Department of Education (850) 245-0423; david.pletincks@fldoe.org
FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION
President....................................................................Kyle Prescott, DMA Florida Atlantic University; 777 Glades Rd.; Boca Raton, FL 33431-6424 (561) 297-3826; kpresco2@fau.edu
Past President
Editor-in-Chief ...............................................................Kelly Miller, DMA University of Central Florida; 12488 Centaurus Blvd.; Orlando, FL 32816-8009; (407) 823-4545; kelly.miller@ucf.edu
Orange County Public Schools 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; jasonlocker@FMEA.org
Executive Director .................................................................Scott Evans Hinckley Center for Fine Arts Education 402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793; scottevans@flmusiced.org
President-Elect
Florida NAfME Collegiate Advisor......................Mark A. Belfast, Jr., PhD (850) 644-3424; mbelfast@fsu.edu
President......................................................................Christopher Perez Freedom High School; 2500 W. Taft Vineland Rd., Orlando, FL 32837 (407) 816-5600; christopher.perez@ocps.net
Ocoee High School 1925 Ocoee Crown Point Pkwy.; Orlando, FL 34761 (407) 905-3009; berniehendricks@FMEA.org
FSMA President .....................................................................Keith Griffis keithallengriffis@gmail.com
FLORIDA MUSIC SUPERVISION ASSOCIATION
Jason P. Locker
Bernard (Bernie) Hendricks, Jr.
FBA President ...... Michael Antmann, EdD FCMEA President ........ Kyle Prescott, DMA FCMMA President ......... Clint Randles, PhD FEMEA President................... Meghan Alfaro FGEA President .............. Christopher Perez FMSA President..................... John J. Dupuis Florida NAfME Collegiate President ................. Grace E. Wieckowski FOA President ................ Andrea Szarowicz FSEA President ..................... William Sahely FVA President ...............Jeannine Stemmer Multicultural Network Chair ..................... Arnekua Jackson, PhD
Hall of Fame Chair ........................................................ Mary Palmer, EdD (407) 252-5172; mpalmerassoc@aol.com
President.....................................................................Clint Randles, PhD University of South Florida; 4202 E. Fowler Ave.; Tampa, FL 33620-9951 (813) 974-2311; randlesc@usf.edu
FLORIDA GUITAR EDUCATION ASSOCIATION
President............................................................................John J. Dupuis Volusia County Schools; 200 N. Clara Ave.; DeLand, FL 32720-4207 (813) 787-6790; jjdupuis@volusia.k12.fl.us
FLORIDA NAFME COLLEGIATE
FMEA COMPONENTS FLORIDA BANDMASTERS ASSOCIATION President.............................................................. Michael Antmann, EdD president@fba.flmusiced.org Past President...................................................................Jeff Cayer, EdD pastpresident@fba.flmusiced.org President-Elect ............................................................. Hannah Jennings presidentelect@fba.flmusiced.org Executive Director ................................................................ Neil Jenkins Florida Bandmasters Association; P.O. Box 840135; Pembroke Pines, FL 33084 (954) 432-4111; Fax: (954) 432-4909; exec@fba.flmusiced.org 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
Member-at-Large
President........................................................................... Meghan Alfaro Pinellas District Office; 301 4th St. SW; Largo, FL 33770-3536 (727) 588-6055; meghan@femea.flmusiced.org
Florida State University School of Music, KMU 330; Tallahassee, FL 32306 (850) 644-4069; skelly@admin.fsu.edu
Past President....................................................................... Ashley Peek Holley-Navarre Intermediate; 1936 Navarre School Rd.; Navarre, FL 32566-7504; ashley@femea.flmusiced.org
Steven N. Kelly, PhD
FLORIDA CONTEMPORARY MUSIC & MEDIA ASSOCIATION
President................................................................. Grace E. Wieckowski Stetson University; gwieckowski@stetson.edu
FLORIDA STEELBAND EDUCATION ASSOCIATION
President........................................................................... William Sahely Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308-4938 (850) 617-5700; william.sahely@gmail.com
MULTICULTURAL NETWORK
Chair ......................................................................Arnekua Jackson, PhD St. Thomas University; 16401 NW 37th Ave.; Miami Gardens, FL 33054 arnekuajackson@gmail.com
COMMITTEES All-State Eligibility ...........................................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 Diverse Learners ..................................................... Christine Lapka, EdD University of Central Florida; 12488 Centaurus Blvd.; Orlando, FL 32816-2372; christine.lapka@ucf.edu Emerging Leaders ........ Jason P. Locker/Bernard (Bernie) Hendricks, Jr. jasonlocker@FMEA.org; berniehendricks@FMEA.org
Executive Director ......................................................... Jennifer Sullivan 1750 Common Way Rd., Orlando, FL 32814; (321) 624-5433; slljenn@aol.com
Florida Corporate & Academic Partners..................................Fred Schiff All County Music; 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; fred@allcountymusic.com
FLORIDA ORCHESTRA ASSOCIATION
Government Relations ..............................Jeanne W. Reynolds, Co-Chair (727) 744-7252; jeannewrey@gmail.com
402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793
President...................................................................... Andrea Szarowicz Steinbrenner High School; 5575 W. Lutz Lake Fern Rd.; Lutz, FL 33558-9234; (813) 792-5131; aszarowicz@myfoa.org
Government Relations ................................Angela Hartvigsen, Co-Chair School Board of Sarasota County; 1960 Landings Blvd.; Sarasota, FL 34231; (941) 927-9000; angela.hartvigsen@sarasotacountyschools.net
President/CEO..........................................................Scott Evans (scottevans@flmusiced.org)
Past President...................................................................Matthew Davis Harrison School for the Arts; 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 499-2855; matthew.lawson.davis@gmail.com
Professional Learning ......................................................... Ajori Spencer Pinellas District Office; 301 4th St. SW; Largo, FL 33770-3536 (727) 588-6055; spencera@pcsb.org
Executive Director .......................................................... Cheri A. Sleeper 1915 S. 47th St.; Tampa, FL 33619; (813) 363-4139; exdirfoa@myfoa.org
Research ...........................................................D. Gregory Springer, PhD FSU College of Music; 122 N. Copeland St.; Tallahassee, FL 32306 (850) 644-2925; dgspringer@fsu.edu
CENTER FOR FINE ARTS EDUCATION
Director of Operations ...................Valeria Anderson, IOM, QAS (val@FMEA.org) Technology Director...................................Josh Bula, PhD, CAE (josh@FMEA.org) Marketing & Membership Coordinator .... Jasmine VanWeelden (jasmine@FMEA.org) Administrative Assistant ...................................... Siena Deaton (siena@FMEA.org)
PROFESSIONAL LEARNING CONFERENCE Exhibits Manager .................................fmeaexhibits@FMEA.org Local Chair .......................................Jon Sever (813) 272-4861; jon.sever@sdhc.k12.fl.us
FLORIDA VOCAL ASSOCIATION President.....................................................................Jeannine Stemmer Florida Christian School; 4200 SW 89th Ave.; Miami, FL 33165 (305) 226-8152; jeannine@fva.net
Student Engagement .................................................... Charlene Cannon 1107 Bobcat Chase Blvd.; Oakland, Fl 34787 (407) 388-4185; charlene.cannon@ocps.net
Past President..................................................................David Pletincks 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
SEPTEMBER 2026
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Executive Director’s NOTES
The mission of The Florida Music Education Association is to promote quality, comprehensive music education in all Florida schools.
Scott Evans Executive Director Florida Music Education Association
A Room Full of Retired Teachers and the Lessons They Still Teach
few weeks ago, I attended a gathering of retired elementary music teachers from Central Florida who
feel secondary. Yes, we struggle with schedules, class size, purchase orders, and access to performance spaces, but the
meet every year to reconnect and celebrate their careers
retirees reminded me why we show up each day. In our
and accomplishments. Their passion was prominent and
classrooms, music learning sparks a love of life, cultivates joy,
contagious. They laughed about performances, shared stories
and creates deep connections across ages and backgrounds.
about their various principals, and reminisced about that
I heard stories of how a student who finds a home in a music
“one student” they will never forget. It was clear: those
room becomes an adult who values human connection,
educators still bring active commitment to music and to our
champions culture, and remembers the teacher who helped
profession.
them find their voice. Those outcomes are the legacy the
They remain teachers in every meaningful sense. Even after leaving the classroom, they mentor first-year and
retired teachers celebrated and the legacy you all continue. They also spoke with the same enthusiasm about trips,
struggling music educators, conduct community ensembles,
cruises, family outings, and the simple pleasures they now
volunteer at events, and show up at school board meetings
savor. Their joy was a clear reminder that sustaining a long
to defend programs. Listening to them reminded me that the
career in music education requires intentional self-care. You
work we do is never merely a job. It is a calling that builds
cannot give and give without making time for yourself.
communities and shapes lives long after students graduate
Protect days off, pursue activities that refill you, and lean
and colleagues depart.
on your community for support. Doing so preserves your
Sitting among these veteran educators made the familiar music teacher challenges of the start of the school year
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health, your creativity, and your ability to keep giving your best to students for years to come.
A great way to support your personal health and growth is by renewing your membership and actively
THE ARTS MATTER. SO DOES YOUR VOTE.
participating in the Florida Music Education Association and your component organization. This is a fantastic way to stay connected to your community and to defeat feelings of isolation. Memberships provide a unified voice for advocacy, targeted professional growth, student opportunities, and the kind of support network highlighted by our retired music education heroes.
GENERAL ELECTION DAY: NOVEMBER 3, 2026
The retirees did more than reminisce. They demonstrated a vigilance in civic engagement. Their examples made it clear that protecting music programs requires action beyond the classroom. Supporting music education means making our voices heard where decisions are made. It means voting and encouraging families and colleagues to vote. It means attending meetings and speaking up about the value of arts for all students. As a reminder, here are some important voting dates for Florida
w Voter registration deadline: Monday, October 5, 2026 w Vote by mail request deadline: Thursday October 22, 2026, by 5 pm w Statewide early voting period: October 24 through
educators this fall:
October 31, 2026. Check your supervisor of elections for
w General Election Day: Tuesday November 3, 2026. Polls county-specific dates.
are open 7 am to 7 pm.
From local school boards to state leadership, the representatives we elect shape Florida’s cultural landscape. Research the candidates and make your voice heard. FLORIDA GENERAL ELECTION VOTER REGISTRATION DEADLINE: OCTOBER 5, 2026 RegisterToVoteFlorida.gov
As you step into your classroom this month, remember the room of retired teachers I referenced in this article. Their ongoing dedication is the through-line for everything we do. Lean on your professional network. Lift up your colleagues. Make your voice heard in your community. Take pride in the life-changing work you perform every day, knowing it will be celebrated decades from now. Thank you for your service to Florida’s music students and for carrying the torch forward into another school year. Scott Evans SEPTEMBER 2026
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