Sept 20 proof 1

A Method
for
Teaching
Call Response
Meeting IEP Goals in Music Education
PLUS:
30-Year Anniversary of ADA
Cultural Responsiveness
Virtual Ideas and Resources


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2 Florida Music Director


ents
Executive Director Florida Music Education Association Kathleen D. Sanz, PhD Hinckley Center for
Fine Arts Education
402 Office Plaza Tallahassee, FL 32301 (850) 878-6844 or (800) 301-3632 ([email protected])
Editor-in-Chief
D. Gregory Springer, PhD
Florida State University College of Music 122 N. Copeland Street Tallahassee, FL 32306 (850) 644-2925 (office) ([email protected])
Editorial Committee
Terice Allen
(850) 245-8700, Tallahassee
([email protected])
Judy Arthur, PhD
Florida State University, KMU 222 (850) 644-3005 ([email protected])
William Bauer, PhD
University of Florida, Gainesville (352) 273-3182; ([email protected])
Alice-Ann Darrow, PhD
College of Music, FSU, Tallahassee (850) 645-1438; ([email protected])
Jeanne Reynolds
Pinellas County Schools, Largo (727) 588-6055; ([email protected])
John K. Southall, PhD
Indian River State College, Fort Pierce (772) 462-7810; ([email protected])
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September 2020 Volume 74 • Number 2
DEPARTMENTS
Corporate & Academic Partners . . . . 2 President’sMessage............ 5 Advocacy Report . . . . . . . . . . . . . 6-7 2020-21FMEADonors. . . . . . . . 8-9 ComponentNews............. 19 ResearchPuzzles............. 26 CommitteeReports ........... 28 Executive Director’s Notes . . . . . . . 34 OfficersandDirectors. . . . . . . . . . 35
FEATURES
In Memoriam of
Bobbie Smith. . . . . . . . . 4
A Method for Teaching CallandResponse.... 10
Meeting IEP Goals in Music Education . . . . . 14
Florida Music Director
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Visit FMEA.org/membership to learn more about the benefits of active membership.
2020-21 FMEA Membership:
September 2020 3
Cont


4 Florida Music Director
In Memoriam of Bobbie Smith
A Life Well Lived November 30, 1944–August 7, 2020
Barbara J. Smith (Bobbie) was a well-loved member of the Florida Music Education Association family. She and her husband, Byron, served for many years as exhibit managers of the annual exhibition of music education products and services held in conjunction with the FMEA Professional Development Conference held in Tampa each January.
A musician herself, Bobbie was a pianist and sang in her church choir. Music was Bobbie’s life, and she enjoyed seeing others, including her
grandchildren, involved in music. She provided guidance to countless young musicians and music educators for more than 25 years, offering inspiration and providing direction for the future of music education.
We will miss her smile and her work with our exhibitors to ensure they are equipped for the FMEA conference. Bobbie’s earthly
journey is complete, and she has earned her wings.
Her daughter-in-law recently paid tribute to her, quoting from the Gospel of Matthew.
“Well done, thy good and faithful servant” (Matthew 25:23)


President’sMessage
SHOW YOUR VALUE: Celebrating Success and AHdvocating for Our Future
ello, FMEA members. As I write this article Florida Seal of Fine Arts Program bill in the next leg- at the beginning of August, there are still so islative session, and the next round of cohort enroll-
many uncertainties, so much anxiety. Yet, I have been so impressed with the commitment, dedi- cation, creativity, and resourcefulness of Florida music teachers in confronting the return to school. Still, like so many of you, I am frustrated by the constantly moving target of ever-changing policies, public debate, and mandates. It is often too easy to get isolated in our classrooms, and this isolation can contribute to a lack of professional self-awareness and impact.
Among all of our challenges, however, we still have reasons to celebrate. For example, at the sum- mer NAfME National Assembly meeting, FMEA was awarded the Membership Award for large associations. This award indicates that FMEA is currently the largest state MEA in the country. While we are certainly in no competition with our fellow states, this award does signify the importance that our state music teachers place on being FMEA members. This award marks the second year in a row that FMEA has received a major award from NAfME. (We received the Advocacy Award in 2019.) The announcement of this award could also be con- strued to be a passive reminder to renew your FMEA membership if you have yet to do so!
More good news. Forty-seven Florida students either made an ensemble or were selected as alter- nates in the NAfME All-National Honors Ensembles. This is further evidence of the successful music teaching in our state.
Still more good news. In June, Dr. Mary Palmer hosted an incredible Emerging Leaders workshop that attracted more than 50 participants from around the state. The energy was amazing! This event is a tremendous way to begin developing the future of FMEA leadership.
And yet more good news. I am pleased to report that the Early Childhood Bill, which FMEA support- ed, survived the governor’s veto and will be imple- mented. This will be a great boost for our K-3 music teachers. Furthermore, FMEA will re-introduce the
ment data that you can use to support your students’ music participation will be coming out soon.
As you can see, through all of our challenges, music has succeeded. But there is work to be done. Perhaps at no other time in the history of our pro- fession has being an advocate for your program been more important. You MUST speak up about the value and worth of music in our schools and your specific program. You MUST be involved and informed. Visit the FMEA and NAfME websites to learn about the latest resources and techniques for successfully teaching music in a virtual setting. Be directly involved in decisions being made for your school, including decisions that may not initially affect your music classes. Talk to your principals, guidance counselors, and other colleagues. Contact your superintendents and school board members. Get your students’ parents involved. Tell every- one that music is important, and may be the most important class of the day as students return to school.
We MUST keep music in music education. Students join music classes to sing and to play their instruments. Reducing music to worksheet packets being sent home or other nonperforming filler activ- ities eliminates the very essence of a music class. Programs that will survive best after COVID-19 will be those that are visible NOW. Be your best advo- cate! Show the value of active music making and the many different ways that music education contrib- utes to every student’s complete education.
I hope you will enjoy reading this issue of Florida Music Director. I also hope you will be able to take care of yourself. Thank you for all you do. Please know that if I can ever be of assistance, I hope you will contact me.
Steven N. Kelly, PhD, President Florida Music Education Association
September
Steven N. Kelly, PhD
President
Florida Music Education Association
2020 5


6 Florida Music Director
AdvocacyReport
Jeanne W. Reynolds
Chairwoman
Government Relations Committee
Democracy Is Not a Spectator Sport
I have written many articles with this same title. The pandemic has reminded me it’s time for a review.
Do you know that one of the primary responsibilities of state govern- ment is to educate Florida’s students? The constitutional language follows here:
The education of children is a fundamental value of the people of the State of Florida. It is, therefore, a paramount duty of the state to make adequate provision for the education of all chil- dren residing within its borders. Adequate provision shall be made by law for a uniform, efficient, safe, secure, and high-qual- ity system of free public schools that allows students to obtain a high- quality education and for the establishment, maintenance, and operation of institutions of higher learning and other public education programs that the needs of the people may require (Florida Constitution, Article IX, Section 1, emphasis added).
If you are satisfied that your state leaders are fulfilling this constitu- tional duty successfully, please make sure to thank them and support them in upcoming elections. If you have concerns, please engage vigor- ously in the democratic process. Express your concerns and make sug- gestions for improvement and/or support different candidates. Decision makers cannot be held accountable if you don’t make your concerns known. Decision makers cannot be held accountable if you are not a knowledgeable voter or, worse yet, if you do not vote.
As I watch friends and colleagues post passionate comments on social media, I wonder how many of these friends have contacted the governor or their legislators who can actually do something. Your time is better spent crafting a well-written, respectful tweet or post to a decision maker than hoping public sentiment will magically make it to your deci- sion maker’s desk.
See the sidebar for a list of the people responsible for carrying out the requirements of the state constitution. Let them know your thoughts.
You are not powerless.
Click here to find YOUR legislators


FLORIDA
GOVERNOR: GOVERNOR:
LIEUTENANT Ron DeSantis Jeanette Nuñez
FLORIDA
FLORIDA SENATORS
Ben Albritton Dennis Baxley Aaron Bean Lizbeth Benacquisto Lori Berman Lauren Book Randolph Bracy Rob Bradley
Jeff Brandes Oscar Braynon II Doug Broxson Janet Cruz Manny Diaz, Jr. Gary M. Farmer, Jr. Anitere Flores George B. Gainer Bill Galvano Audrey Gibson Joe Gruters Gayle Harrell
Ed Hooper Travis Hutson Tom Lee Debbie Mayfield Bill Montford Kathleen Passidomo Keith Perry Jason W.B. Pizzo Bobby Powell Kevin J. Rader Jose Javier Rodriguez Darryl Ervin Rouson David Simmons Wilton Simpson Kelli Stargel Linda Stewart Annette Taddeo Perry E. Thurston, Jr. Victor M. Torres, Jr. Tom A. Wright
Ramon Alexander
Vance Arthur Aloupis, Jr.
Thad Altman
Robert Alexander “Alex” Andrade
Bruce Antone
Loranne Ausley
Bryan Avila
Melony M. Bell
Mike Beltran
Robert Charles “Chuck” Brannan III
Kamia L. Brown
James Buchanan
Colleen Burton
Dr. James Bush III
Cord Byrd
Michael A. “Mike” Caruso
Joseph A. “Joe” Casello
Charles Wesley “Chuck” Clemons, Sr.
John Cortes
W. Travis Cummings
Dan Daley
Kimberly Daniels
Tracie Davis
Ben Diamond
Nick DiCeglie
Byron Donalds
Brad Drake
Fentrice Driskell
Bobby B. DuBose
Wyman Duggan
Nicholas X. Duran
Dane Eagle
Anna V. Eskamani
Javier E. Fernandez
Juan Alfonso Fernandez-Barquin
Elizabeth Anne Fetterhoff Randy Fine
FLORIDA REPRESENTATIVES
Jason Fischer
Heather Fitzenhagen
Joseph Geller
Joy Goff-Marcil
Margaret Good
Michael “Mike” Gottlieb
Erin Grall
James “J.W.” Grant
Michael Grant
Tommy Gregory
Michael “Mike” Grieco
Brett Thomas Hage
Dianne “Ms Dee” Hart
Adam Roger Hattersley
Mike Hill
Delores D. “D” Hogan Johnson
Blaise Ingoglia
Al Jacquet
Evan Jenne
Shevrin D. “Shev” Jones
Dotie Joseph
Sam H. Killebrew
Mike La Rosa
Chip LaMarca
Chris Latvala
Thomas J. “Tom” Leek
MaryLynn “ML” Magar
Randall Scott “Randy” Maggard
Amber Mariano
Ralph E. Massullo, M.D. Stan McClain Lawrence McClure Kionne L. McGhee
Amy Mercado Wengay “Newt” Newton Jose R. Oliva
Anika Tene Omphroy Tobin Rogers “Toby” Overdorf Bobby Payne
Daniel Perez
Cary Pigman
Scott Plakon
Rene “Coach P” Plasencia
Cindy Polo
Tina Scott Polsky
Mel Ponder
Sharon Pritchett
Holly Raschein
Paul Renner
Spencer Roach
William Cloud “Will” Robinson, Jr.
Ray Wesley Rodrigues Ana Maria Rodriguez Anthony Rodriguez
Bob Rommel
Rick Roth
Anthony Sabatini David Santiago
Jason Shoaf
David Silvers
Tyler I. Sirois
Emily Slosberg
Carlos Guillermo Smith David Smith
Jennifer Mae Sullivan Geraldine F. “Geri” Thompson Jackie Toledo
Josie Tomkow
Jay Trumbull
Susan L. Valdes Barbara Watson
Clovis Watson, Jr. Jennifer Necole Webb Matt Willhite
Patricia H. Williams Jayer Williamson
Clay Yarborough Ardian Zika
September 2020 7


FLORIDA MUSIC EDUCATION ASSOCIATION 2020-2021 DONORS
Thank you to all of the donors who have shown their dedication to the improvement of music education in Florida by supporting our Mission through financial contributions.
Our donors support specific causes by donating to the FMEA funds of their choice:
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Florida Music Director


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Visit FMEA.org to learn more information about each fund and to make a donation.
September 2020 9


AMethod
for Teaching ...
Call R
by Jeff Benatar, DMA
AS MORE Florida music educators seek to include
Black American musical content into their program-
ming, rehearsal techniques like call and response
from the jazz canon can help. Call and response is a
fun and effective pedagogical tool to engage your music
students, and it will also improve the authenticity of your
performances. The following step-by-step process was designed for
high school and collegiate small jazz ensembles, but can be simplified for all ages and musical groups.
Call and response is when a soloist states a musical phrase, and the rhythm section (or the rest of the ensemble) reacts with a connected rhythm, harmo- ny, or motive. Encourage your students to think about call and response as a conversation. A speaker will periodically leave space for a listener to respond;
Continued on page 12
10 Florida Music Director


esponse
September 2020 11
R


Call & Response
Continued from page 10
this response might be “I hear ya” or “gotcha,” and the person speaking is being reassured that he or she is being heard. Musically, the soloist knows his or her idea is being acknowledged by hearing a related response. Remind your students that response is not imitation. (See Step 12 below.) In music, as in conversation, imitation is sometimes viewed as a teasing or sarcastic response.
The blues is an ideal vehicle for teaching call and response. I recommend using a blues piece in your rep- ertoire so your students are improving on music they will be performing. For the purposes of this article, I am using trumpeter Blue Mitchell’s solo from Blue Soul as an example. It is accessible on YouTube or as the title track on Blue Mitchell’s recording on the Riverside label. Here are the steps to teaching call and response:
1. Play the recording until the first solo begins. For
Blue Soul, make sure you listen to both iterations of the
head (or melody).
2. Play the recording of the solo. Step 1 and Step 2 are
here to establish context.
3. Guess the form. Blue Soul is in a 12 bar blues form. If
you have not yet discussed the blues form, an import- ant tradition of Black American music, spend some time before continuing. Remind your students that the 12 bar blues form is AAB and often contains call and response in each four-measure section. (Listen to singers like Bessie Smith or Robert Johnson for good examples.)
4. Count to see when the melody repeats. Establish if there are two-, four-, six-, or eight-measure phrases.
5. Listen actively and mark the form with tactile cues.
Blue Mitchell’s solo is the first one and is four choruses long. I recommend that students raise their hands at the top of the form. If they are more advanced, have students hold up one finger for the Roman numeral I chords and four fingers for the IV chord and bring their hands down on the downbeat of each chorus. This engages both the tactile and aural senses. If stu- dents are watching their peers or you, they are poten- tially learning visually as well.
6. Introduce the concept of call and response. Use any definition. Just make sure you juxtapose it against the “call and imitation” methodology. (See Step 12.)
7. Re-listen to the solo. The solo starts at 0:36. Have stu- dents raise their hands each time they hear a paired call and response.
8. Identify the caller and the responder. The caller is often the trumpet (Blue Mitchell). The responder in the
first example is the drums (Philly Joe Jones) from 0:38
to 0:43. Listen to the high hat on beat 4.
9. Show the transcription. (See Example 1.) Have each
student pick one of the parts and sing along with that part as you replay the recorded excerpt. If your group is not great at sight singing, have the whole class sing one line at a time. The most important ones to sing are the trumpet call and the drum response.
10. Play or sing along. Now have students play their instruments or sing along. Note that the transcription is in concert pitch, concert B-flat.
11. Repeat Steps 8-10. Example 2 takes place at 1:45-1:53. It is during the last chorus (fourth) during the second four measures of the AAB blues form (beginning with the IV chord). Remind students that this type of interaction happens organically throughout the course of a solo. I recommend that the students play or sing (Step 10) the pitches in the trumpet (call) and the top note of the piano voicing (response) as it demonstrates how the caller and the responder are listening to one another.
12. Clarify non-imitation. Pianist Wynton Kelly is play- ing back the same rhythm. Isn’t that imitation? Point out that the rhythm is the same but the note choices and direction of the two pitches are different. This shows the depth of call and response compared to
Example 1
12 Florida Music Director


Example 2
imitation. First, the call note choice is two D-flats. The response starts on D-flat but then goes up. Trumpeter Blue Mitchell hears the ascension response and goes up in his second iteration of the call. Second, the response reiterates that D-flat to keep the theme, but the pianist chooses to descend. Third, the call repeats ascending, so the response descends again—they’ve definitely heard each other. Note how the top piano note is now a D natural to ensure that the chord returns to the I chord rather than the IV where this interaction began. Fourth, the final call ends on B-flat (tonic) and, as a result, so does the response. Then new ideas for both the caller and responder continue.
13. Practice solos on 12 bar blues. Have each member of the ensemble take a solo—trying to leave space for the rhythm section or ensemble to interact. Remember to emphasize that responses should not be imitations. If you are doing this activity with an individual student, I recommend accompanying the student on piano. In a group setting, you may also prescribe a specific response for your ensemble members. (Suggest a particular rhythm, measure number, and/or set of pitch options so that ensemble responses are not total cacophony.) Make sure to clarify who is the soloist (caller) and who is the responder (individuals or the ensemble). In short, encourage your students to leave space as the caller. It forces clarity of ideas and rhythm and makes interaction easier. Although this feels con- trived at first, it helps students (both as soloists and ensemble musicians) to really listen to each other. This is the beginning of good interaction.
14. Interact. Perform this or your selected blues piece and let as many students solo as time allows. Applaud their abilities to utilize space. Ask them to appreciate how space lets the music breathe and creates mean- ingful dialogue between each soloist and the ensem- ble responses.
15. Repeat. Repeat this lesson three to five times for best results. Use examples from your repertoire, if possible. Then you can begin to introduce other types of inter- action such as phrase punctuation, texture change, instigation, and anticipation.
Enjoy the process. This methodology will be fun for you, too. Call and response is so much more dynamic than a “repeat after me” or a “Simon says” rehearsal. A wonderful byproduct of this methodology is that your students will be more willing to take solos, and their improvisations will be more interesting and successful. Teaching the call and response interaction technique reinforces the influence of Black American music, a tra- dition that has impacted almost every genre of music we perform.
Jeff Benatar, DMA, is a jazz pianist with a
passion for teaching. He is assistant professor
of music, director of jazz studies, and coordina-
tor of music management at Florida Southern
College. Dr. Benatar directs FSC’s big band
and combos, leads the Jazz Piano Studio, and teaches jazz and music management courses.
September 2020 13


MEETING AIEP GOALS
in Music Education by Amalia Allan
An Individualized Education Plan (IEP) according to IDEA, 2004, and the infor- can take this concern to a member of is one of the most helpful tools a music mation below is an overview of these the child’s IEP team to submit a request educator can use to help students with rights and responsibilities. Teachers’ (VanWeelden, 2015). Schools must provide disabilities in music classes. IEPs are legal rights include: and pay for accommodating materials, documents outlined in the Individuals (1) receiving a written copy of all such as assistive technology (AT), for stu- with Disabilities Education Act (IDEA, students’ IEPs (Wrightslaw, 2020b); dents who need it. AT can include low-tech 2004), and they apply to students who fit (2) requesting additional music-specific items, too, such as pencil grips (FDOE, within one (or more) of 13 disability cate- supports, materials, and/or training; 2015; Wrightslaw, 2020a). Therefore, a rea- gories (e.g., visual impairment/blindness, and sonable music support should be sup-
deafness, autism, speech or language impairment). Within IEPs, you will find lists of individualized goals and strat- egies to help students with disabilities succeed in school (IDEA, 2004). Though IEPs rarely contain music goals and music teachers are not often on IEP teams, there are ways that music educators can be more involved in IEP processes (Adamek & Darrow, 2018; VanWeelden, 2015). IEPs can sometimes be challenging to inter- pret, and applying non-music goals in music class may seem like a daunting task. Fortunately, documents and training opportunities exist to help music teachers with IEP goals (Adamek & Darrow, 2018; FDOE, 2015; VanWeelden, 2015), and this article suggests ways to incorporate IEP information in music instruction.
It is important for educators to under- stand their rights and responsibilities
14 Florida Music Director
(3) determining student placements on the same basis as students without disabilities (IDEA, 2004; VanWeelden, 2015).
All teachers have a right to see their students’ IEPs (IDEA, 2004; Wrightslaw, 2020b). According to IDEA, 2004, all teach- ers are responsible for:
(1) familiarizing themselves with students’ IEPs;
(2) implementing IEP goals as applicable;
(3) consulting with IEP team members regarding questions and student feedback; and
(4) providing equal opportunities
to all students despite their abilities (Adamek & Darrow, 2018; VanWeelden, 2015).
Also, if you think a certain student requires a specific music support, you
plied.
In a book chapter titled “Understanding
the Individualized Education Program Model within the United States,” Dr. Kimberly VanWeelden (2015) presented four IEP segments that music educators can look for in IEPs to facilitate accommo- dation planning. These included:
(1) Present Levels of Academic Achievement and Functional Performance;
(2) Measurable Annual Goals;
(3) Supplementary Aids and Services;
and
(4) Program Modifications/Supports for
School Personnel.
In the following sections, I discuss each
of these IEP segments and give examples of how the information provided in the respective segments can be used in music
Continued on page 16


“... there
are ways
that music educators can be more involved ” in IEP processes.
September 2020 15


IEP Goals
Continued from page 14
lesson planning for students with disabil- ities. All examples relate to two hypothet- ical students with IEPs, Jeremiah and Lila. As you read through the examples, please consider how these IEP-inspired ideas might also help other students, including those who do not have IEPs.
1. Present Levels of Academic Achievement and Functional Performance
In this segment of the IEP, there are descriptions of the student’s present lev- els of academic and functional accom- plishment. Academic achievement refers to “a child’s performance in academic areas” (e.g., math, science, language arts), and
Table 1
functional performance pertains to “skills of daily living” (e.g., dressing, social skills, behavior skills, mobility skills) (CPIR, 2017a, paras. 3 and 6). Though everything in this segment may not always apply to what a child does in music, it might still be useful for planning accommodations. Begin by taking note of the student’s strengths and challenges, which I like to mark on a separate document with a “+” for strengths and a “-” for challenges, even if they are not directly related to music (see Table 1). It is best to begin by emphasizing a student’s strengths rather than deficits. Then, start to brainstorm accommodations based on the student’s strengths that are applicable to music.
The second IEP segment, Annual Goals, is directly related to the current segment, Student Levels. Music accommodations are presented in the next table (see Table 2).
2. Measurable Annual Goals
This segment addresses important aca- demic and functional goals, which stem from the student’s present levels of aca- demic achievement and functional perfor- mance listed above (CPIR, 2017b). The U.S. Department of Education describes these goals as being a type of road map for the student, asking the question, “Where’s the child heading this year [academically and functionally]?” (CPIR, 2017b, para. 1). Though IEPs do not usually include music goals, federal law requires that all teach- ers, including music teachers, help stu- dents meet their annual IEP goals where applicable (IDEA, 2004; VanWeelden, 2015). Many of these annual goals can be connected to music, either directly or through thoughtful transfers (see Table 2).
3. Supplementary Aids and Services
In this segment, there is a list of nec- essary aids and services for helping a student meet his or her annual goals. The U.S. Department of Education defines supplementary aids and services as “aids, services, and other supports that are pro- vided in regular education classes, other education-related settings, and in extra- curricular and nonacademic settings, to enable children with disabilities to be educated with nondisabled children to the maximum extent appropriate” (CPIR, 2017c, para. 6). This definition clearly encompasses music activities, and this section of the IEP is one of the most useful to music educators (VanWeelden, 2015). Supplementary aids and services include environmental needs (e.g., pref- erential seating), staff support (e.g., one- on-one assistance), equipment needs (e.g.,
Examples of Present Levels and Student’s Strengths and Challenges
Examples of Present Level of Academic Achievement and Functional Performance
Student’s Strengths and Challenges
Jeremiah is a fourth grader who shows strength in reading and weakness in math. He has difficulty paying attention in class and struggles with following directions.
+ reading
– math, focus
Lila is a seventh grader who is gifted in math. In sixth grade, she completed a senior-level math class at the high school and received an A in the class. She needs accommodations for activities like writing, which make use of fine motor skills, and she has great difficulty with transitions between activities.
+ math
– fine motor skills,
transitions
Examples of Present Level of Academic Achievement and Functional Performance
Student’s Strengths and Challenges
Jeremiah is a fourth grader who shows strength in reading and weakness in math. He has difficulty paying attention in class and struggles with following directions.
+ reading
– math, focus
Lila is a seventh grader who is gifted in math. In sixth grade, she completed a senior-level math class at the high school and received an A in the class. She needs accommodations for activities like writing, which make use of fine motor skills, and she has great difficulty with transitions between activities.
+ math
– fine motor skills,
transitions
16 Florida Music Director


Table 2
Examples of Annual Goals and Ideas for a Music Education Setting
Examples of Annual Goals
Activity Ideas for a Music Education Setting
Jeremiah will complete math word problems that involve multiplication and division with 85% accuracy on 8/10 classroom worksheets.
+ Compliment Jeremiah on any good work and take note of specific musical strengths.
– Incorporate meter activities to improve math skills and use strategic “buddy breakouts” while monitoring student progress.
– Help Jeremiah with following directions. Start with 2-step instructions, and then increase to 3-step instructions.
Jeremiah will complete actions in response to 3-step verbal requests with 90% accuracy.
Lila will pick up small objects using an inferior pincer grasp with thumb and fingers with her right hand with 80% accuracy in 4/5 trials.
+ Compliment Lila on any good work and take note of specific musical strengths.
– Incorporate activities and exercises to encourage rehearsing of motor skills, particularly through instrument playing. Create instrument modifications as needed (Adamek & Darrow, 2018).
– Help with transitions through an established music routine and music activity schedule.
Lila will increase ability to transition from one activity to another to 90% of the time.
assistive technology), pacing needs (e.g., frequent breaks, more time on tests), alternative presentation of material (e.g., video lectures, sign language), material needs (e.g., large print or Braille), and testing adaptations (e.g., modified for- mats, extended time). With this informa- tion, music teachers can provide accom- modations and modifications while also finding ways to present and evaluate lesson material (Adamek & Darrow, 2018; VanWeelden, 2015) (see Table 3). Also, it is important to remember that if there is a specific music aid or service that you think might be beneficial to a child with an IEP, you can speak with one of the IEP team members to request that the aid or service be added to the document and
Table 3
provided to the child. Schools must pro- vide and pay for any assistive technology (AT) that a student needs to make prog- ress, and this includes music class (IDEA, 2014; Wrightslaw, 2020a). A device as sim- ple as a pencil grip is considered a low- tech type of AT (FDOE, 2015; Wrightslaw, 2020a).
4. Program Modifications/Supports for School Personnel
This segment includes specific supports that are provided to any school faculty or staff member who works with the stu- dent. Again, this is all intended to help the individual student meet his or her annu- al goals. Supports for personnel might include attending a conference or training
related to the child’s needs, getting help from another staff member or admin- istrative person, having an aide in the classroom, or getting special equipment or teaching materials (CPIR, 2017d). Music educators can use this section of the IEP to make special requests regarding training (VanWeelden, 2015) (see Table 4).
Organizing and Using IEP Information
After finding the information you need in the above IEP segments, you can begin to plan and create accommodations and modifications for individual students. Though IDEA does not define accom- modations and modifications, there is
Continued on page 18
Examples of Supplementary Aids and Services as Applied to a Music Education Setting
Examples of Supplementary Aids and Services
Applications to a Music Education Setting
Jeremiah needs preferential seating near the front of the classroom. Also, provide visual cues and prompts, extended time on tests, and use of a calculator on math tests.
Provide preferential seating, visual cues and prompts, and allow extended time on tests.
Lila needs preferential seating, adapted writing utensils, assistive technology, a visual daily schedule, and visual and verbal cues regarding transitions.
Provide preferential seating, adapt musical instruments
and manipulatives (Adamek & Darrow, 2018), incorporate a visual music schedule, and implement visual and verbal cues between activities.
September 2020 17


IEP Goals
Continued from page 17
Table 4
Examples of Supports for School Personnel as Applied to a Music Education Setting
Examples Supports for School Personnel
Applications to a Music Education Setting
Any school personnel who work with Jeremiah can receive curriculum modification assistance and behavioral consultation with the school psychologist.
Take your school up on this offer and get assistance when and if needed.
Any school personnel who work with Lila can attend the (name of conference) to learn more about Lila’s disability and implement accommodation strategies.
Take your school up on this offer and attend the conference if you can.
general agreement in education on their distinct meanings. With an accommoda- tion, the particular student is still expect- ed to know the same material and answer questions fully like other students; how- ever, the student is offered flexibility with things such as formatting, setting, or the amount of time needed for a response (Adamek & Darrow, 2018). A modification, on the other hand, allows a change in what the student is expected to learn as compared to other students, and modifi- cations might include completing only a portion of an assignment or participating partially in a music activity (Adamek & Darrow, 2018). Both accommodations and modifications are included in IEPs, and their details are defined and reviewed by the students’ IEP teams.
It can be extremely helpful for teachers to organize students’ IEP notes while keeping a record of accommodations, modifications, and students’ progress. This can be done in a variety of ways, from an index card filing system to digital documents. I have always used an Excel spreadsheet for my students with disabil- ities where I create a single document for all my music classes. With my general music classes, each classroom teacher is listed on a separate tab (at the bottom), but tabs might also be organized by grade level. Within each spreadsheet, columns can include students’ names, current strengths, current goals as applicable to music, supplementary aids and services,
18 Florida Music Director
and any additional notes to track your ideas and students’ progress. This sug- gestion is just an example of something that has worked for me. Feel free to try it or use another system that works better for you. Keeping record of your inclusion strategies is helpful not only for the sake of recording your ideas (that you might reuse in the future), but also for tracking students’ progress and helping to meet their IEP goals.
All of our students deserve the best education possible, and it is our responsi- bility to provide all students with reward- ing experiences, especially those with IEPs who may experience more obsta- cles to learning than other students. One of the wonderful things about music is its multisensory nature and how it can encompass aspects of the core subjects. Therefore, it is important to consider how a music accommodation designed for a particular student might also be helpful to other students, including those without IEPs. Everyone learns differently, and we are all deserving of success, so let’s help every child find their joy in
music.
Amalia Allan is a PhD
student and graduate teach-
ing assistant at Florida State
University. She taught elementary music and directed choirs in Texas for seven years, and later taught music at a private school for children with special needs and an autism
center. Amalia holds the MM from Southern Methodist University and the BME from SUNY Fredonia.
References
Adamek, M. S., & Darrow, A.-A. (2018). Music in special education (3rd edition). American Music Therapy Association.
IDEA, Individuals with Disabilities Education Improvement Act of 2004, Pub. L. No. 108- 446, 118 Stat. 2647. https://www.parentcenter- hub.org/wp-content/uploads/repo_items/ PL108-446.pdf
Center for Parent Information & Resources (CPIR) (2017a). Present levels. https://www. parentcenterhub.org/present-levels/
Center for Parent Information & Resources (CPIR) (2017b). Annual goals. https://www. parentcenterhub.org/iepgoals/
Center for Parent Information & Resources (CPIR) (2017c). Supplementary aids and services. https://www.parentcenterhub.org/iep-supplemen- tary/
Center for Parent Information & Resources (CPIR) (2017d). Program modifications for school personnel. https://www.parentcenterhub.org/ modifications-personnel/
Florida Department of Education (FDOE) (2015).
Developing quality Individual Education Plans: A guide for instructional personnel and families. http://www.fldoe.org/core/fileparse.php/7690/ urlt/0070122-qualityieps.pdf
VanWeelden, K. (2015). Understanding the Individualized Education Program model within the United States. In Blair, D. V., & McCord, K. A. (Eds.), Exceptional music pedago- gy for children with exceptionalities: International perspectives (pp. 278-295). Oxford University Press.
Wrightslaw (2020a). The Wrightslaw Way to Special Education Law and Advocacy: Assistive tech- nology. https://www.wrightslaw.com/info/atech. index.htm
Wrightslaw (2020b). The Wrightslaw Way to Special Education Law and Advocacy: Confidentiality and IEPs. https://www.wrightslaw.com/blog/con- fidentiality-and-ieps/


ComponentNews
FLORIDA NAfME COLLEGIATE
Julian Grubb, President
Welcome our guest author, Florida NAfME Collegiate member Alexis Hobbs
Tips for Success
by Alexis Hobbs
1T
taking your first step on the road to success. A good way
he Florida NAfME Collegiate Executive Board is beyond
excited for this school year. During these unprecedented times, we would like to provide three major tips for setting you and your NAfME Collegiate chapters up for success!
«
1. Increase communication
By increasing communication within your chapter, you are
to increase communication is through a virtual approach. « There are a lot of great apps that can help this process, such
as Zoom, GroupMe, Skype, etc.
Be consistent! While adapting new forms of communication
is great, being consistent is the key to keeping members
involved and up-to-date. • Hold a practice competition (e.g., chapter members log- Communicate with other chapters around the state. When ging their practice times as a friendly competition while you reach out to other chapters, you have the opportunity to improving their musicianship).
network and to share ideas that could positively impact your
«3
We are here to serve your chapter and to help with your While everything might seem to be chaotic, taking a moment
2«
Coming up with ideas for chapter meetings can be difficult ber to stay active and participate! Although this may not
« chapter, as well as a chance to get to know future colleagues 3. Stay motivated
in your field. Focus on your why. Keeping your mind focused on why
Contact your Florida NAfME Collegiate Executive Board. you are studying to be a music educator is a great motivator!
chapter’s needs.
«. Ideas for chapter meetings It is easy to let the work fall to a few members, so remem-
2
derful inspiration.
•
Pre-sell fund-raisers.
« to look back on the moments you have had in music is a won-
and sometimes intimidating. Depending on your institu- be an ideal situation, focusing on making the most of your
« chapter’s situation will help you and others around you stay ideas for both virtual and face-to-face chapter meetings and motivated and driven.
tion’s guidelines for the year, we would like to list a few
social events.
• For virtual meetings:
• Provide recorded or virtual l
ive sessions from guest
Keep making music. As future music educators, we all have one thing in common: we love music! Inspire the musician in you with a new piece of music you have been dying to play or a new attainable practice schedule.
speakers.
• Platforms such as Houseparty or Jackbox allow members
While we may not know what the future holds, we can begin to take the first steps into this new season of music education by starting with our NAfME Collegiate chapters.
Alexis Hobbs is a junior music education major at Southeastern University in Lakeland, Florida. She is actively involved in Southeastern’s NAfME Collegiate chapter, where she serves as president-elect. She is a multi-instrumentalist and plays in the Southeastern String Orchestra, Symphony Orchestra, Jazz Ensemble, and Athletic Pep Band.
September 2020 19
to interact virtually outside of business meetings.
• Host a karaoke or performance party over a virtual plat-
form.
« • Host a social media spirit week (e.g., Motivation Mondays
or Fine Arts Fridays). For face-to-face meetings:
• Hold small group gatherings (socially distanced, of course).
• Host a chapter spirit week (e.g., “Throwback Thursday” playing a piece from the 1800s).


ComponentNews
FLORIDA ORCHESTRA ASSOCIATION
Matthew Davis,
President
The 2020-21 school year has finally arrived! I would like to welcome our new district chairpersons:
Raine Allen
District 8
Samantha Felber
District 10
Shelby Montgomery
District 12
Joshua Lennox
District 14
Besnik Hashani
District 16
Lauren Pardee
District 18
Thank you to our district chair- persons for setting the stage for a successful year for your district! Remember that your district chair- person is there to support you with any FOA questions or suggestions you may have throughout the year.
As we navigate this most unusual year, I thank you for your flexibil- ity and patience. Please check the FOA website for the most up-to-date information and changes for events this year.
To assist you during this difficult time, I have asked FOA member and director Victor Fernandez to pro- vide some online teaching ideas he has found helpful.
20 Florida Music Director
Every week, students recorded several 1-2 minute clips for which I could provide
When the Coronavirus epidemic shut our school district on Friday, March 13, 2020, our entire world pivoted to online instruction overnight. Speaking as an orchestra director who has led orchestras of 50 to 60 students for over 15 years across all grades, this transition was difficult on many levels. I missed the daily human connection we shared during our rehearsals, the music making, the collective striving to create beauty through music, the performances, etc. The list could go on!
What I hope to share in this writing are the actions taken and resources created or used to ensure my students continued to receive a high-quality musical education. High school, middle school, and elemen- tary school programs can all benefit from the ideas shared. Should the resources I created apply to your teaching area, I share them freely for you to use. If you are interested in learning how I created, pro- duced, and published any of the content, I will be delighted to connect with you and teach you how.
YouTube
From March 13 to the end of the school year, I recorded, edited, and published more than 100 teaching videos focused on string playing and piano accompani-
ments. CLICK HERE They consist of scales and arpeggios (1 and 2 octave flavors) up to four flats and four sharps with harmon- ic accompaniment. Additionally, I started the project of recording the Suzuki books on violin and viola, which was helpful to have on the channel.
With this resource at my fingertips, I assigned scales and ensured that students were practicing their scales in harmonic context while developing their ear and playing in tune. I intend to continue add- ing content this year.
I also collaborated with professional colleagues to create materials that stu- dents could practice with, regardless of the instrument played. In the example below, you will see us playing an orches- tra arrangement of a technical exercise from Schradieck’s “The School of Violin Technique.” CLICK HERE
FlipGrid
This site provides students the ability to record themselves and then upload and share their videos for feedback and eval- uation. Because it is not
streamed content, the audio and video quality is considerably higher.
CLICK HERE


detailed and specific feedback on intona- tion, tone quality, posture, and position, etc.
Google Classroom
b. What happens here is that to the students, perceptually they are playing in-sync with you since they hear you and follow you.
2. Ask individuals to unmute and play the passage, allowing you to assess and provide feedback.
3. When coaching students in a 1-1 set- ting:
a. Set the incoming student audio to headphones (wear them!).
b. As you lead the student through passage work, scales, or warm-ups, you can hear him or her roughly a half-second delayed on your head- phones, although to the student you are in-sync.
The point here is you can still assess your students’ performance while adapt- ing to the limitations of the current tech- nology. Lastly, consider upgrading your
microphone, as your students will hear you better and more clearly. Also consider upgrading your speakers so you can hear your students more clearly.
Closing Thoughts
Even if your classroom starts in person this coming year, I believe elements from the tips listed here can still enhance and enrich your instruction. In our case, we are starting virtually, but I can tell you right now that when we go back to in-per- son instruction, many of these pieces will remain in my tool box.
I wish all of you a successful year ahead. As a global society, we are in uncharted waters, and our students need us and music more than ever. Let’s col- laborate, evolve, adapt, and share to meet the challenges of this time. Our advocacy and actions today will have far-reaching repercussions as we carry the torch for the music profession. Stay in touch, stay connected, and continue to give students the very best of yourself!
For inspiration, CLICK HERE to see my virtual performance from last spring.
Have a safe and successful school year!
Victor Fernandez
[email protected]
In the School District
of Palm Beach County,
Google Classroom was
adopted for online
instruction. With my orchestra class con- nected, I could post listening, playing, and writing assignments; respond to com- ments; and track completed work. Because the class itself can host content, I was able to upload PDF materials covering orches- tra music, scales, technical development, solo repertoire, etc.
If your district does not use Google Classroom, speak with your administra- tor to explore the possibility of using it as a hub for your ensemble or classroom.
Tips for Using Google Meet or Zoom for Ensemble Practice Because of internet lag, playing at the same time is not a possibility; however, it is possible to lead some modified ensem- ble activities. These practices evolved while trying to keep engagement levels high and adapt to online learning.
1. Ask your students to mute themselves while you play or “lead” your ensem- ble through scales or warm-ups.
a. Alternatively: ask a proficient stu-
dent to lead while other students mute themselves.
CLICK HERE
September 2020 21


ComponentNews
Cultural Responsiveness in the
Elementary Music Classroom
I See You.
We are charged to create Inclusive Learning Communities in our class- rooms; we want our students to feel “seen” in our classroom lessons and experiences. These lessons should include compelling inclusions that sup- port affirming and celebrating our stu- dents as unique individuals to help nour- ish empathy and to help create enduring relationships, which is an incredible part of social emotional learning.
What is cultural responsiveness?
Cultural responsiveness as coined by the National Center for Culturally Responsive Educational Systems is “the ability to learn from and relate respect- fully with people of your own culture as well as those from other cultures.” It is a pedagogy that recognizes the impor- tance of including students’ cultural ref- erences in all aspects of learning.
Why now?
Issues of social injustice have been the focus of media, conversations, and the lives of our students more than ever before. Many of our students have been exposed to challenging situations and unfortunate events in the past several months that children should not have to deal with. Many of the students we serve will have experienced some level of emo- tional trauma before they take a seat in our classrooms this fall. Trauma comes in various forms and faces, whether the issue is poverty, racial injustice, food insecurity, or lack of stability.
Inequitable representations of the stu- dents in our classrooms must be addressed by us as the educators. As music educators, the ability to “see your students” through a more authentic lens is more important than ever. Cultural responsiveness prac- tices in the music room can play a pivotal role in the social emotional development
of our students’ achievements in every aspect. We are fortunate enough to have the privilege of influence to share openly with our students, to show emotion, to encourage creativity and expression, and to motivate musicianship.
Let’s use this incredible time of change and flexibility to invest in making inten- tional decisions to make responsive and relevant impact in our students’ lives. I hope we are all doing this daily; however,
CLASSROOM LESSON CONNECTIONS RELEVANT RESOURCES
Edward’s Rhythm Sticks
by Franklin Willis
Rhythm and Found Sound Lessons
Three Little Birds
by Cedella and Bob Marley
Genre, Meter, Tempo, SEL
Say a Little Prayer
by Burt Bacharach and Hal David
Family Connections, SEL, Timbre
I’ve Got Rhythm
by Frank Morrison
Rhythm Lessons
The Day You Begin
by Jacqueline Woodson
SEL, Orff, Form
Say Something
by Peter H. Reynold
SEL, Movement, Orff
Because
by Mo Willems and Amber Ren
SEL, Composers, Conductors
Whole World
by Christopher Corr
Folk Songs, Global Connections, SEL
What If?
by Samantha Berger
Creative Arts, Orff, Composition, SEL
The Proudest Blue:
A Story of Hijab and Family
by Ibtihaj Muhammad
Movement, Form, SEL
Maybe Something Different
by F. Isabel Ch
Rhythmic Chant, Orff, SEL
Favorite Folk Songs
by Peter Yarrow
Songs, Music, Historical Context
22 Florida Music Director


FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION
Ernesta Chicklowski, President
this is a great opportunity to reflect on the academic and emotional decisions in our music classrooms and program.
Classroom Lesson Connections (Relevant Resources)
Providing positive opportunities for crit- ical self-reflection is key to our students’ social emotional development and creat- ing culturally responsive learning envi- ronments for them. See sidebar on previ- ous page for a list of relevant resources.
Consider the following:
Exercise thoughtful choice and careful selection of musical and visual materials in your classroom teaching space and lessons so that all students are represent- ed. Unconscious bias of selections shared in your music room makes an impact on students’ attitudes and music experiences.
Ensure authentic representation of cul- tural references, relevant messages, and innovative practices that embrace the “past” while ensuring the “present” is represented and evolving with the cur- rent climate of our schools and society.
Take a risk to develop yourself and learn more about cultures other than your own. Research shows that “teachers’ his-
tories count” in the classroom. We bring in our own personal stories, experiences, and interactions that shape the way we teach our students.
Reshape your way of doing things in your classroom for the betterment of all of your students.
Thoughtful Considerations
«Move beyond the month (i.e., Black History Month, Hispanic Heritage Month, etc.)
Be intentional about your selections of « material.
Diversity should be woven into your entire curriculum. Consider moving away from months of celebration, embracing all at all times.
Every story, every song, every music experience shows what YOU value and what YOU think is important. Choose wisely!
Know your resources and their con- « text before you share them with your
« sons that may challenge their think- ing.
Revisit and select folk songs that you « share with care and concern for your
student audience.
Take thoughtful care in verbal group- ing of race, cultural identity, gender, and sexual identity.
«
Dig in deeper
«
“Pause, Pivot, Plan, and Proceed with Passion”
students.
Allow students opportunities to share, connect, and reflect when sharing les-
«
« Consider curriculum, historical con-
Opportunities for Growth
text of selections, and sequencing. Recognize that your “choice” may be interpreted as your “voice” in your
« classroom.
Add more diversity in your music listening and text library.
Reach out and connect with others who may offer other perspectives and experiences.
R«
Responsive Practices
Culturally Responsive Teaching in Music Education: From Understanding to Application—Constance McKoy Responsive Classroom for Music,
Art, PE, and Other Special Areas— The Responsive Classroom Publications
September 2020 23
esources About Culturally


ComponentNews
Off we go into the wild ...
FLORIDA NAfME COLLEGIATE
Mark A. Belfast, Jr., PhD, Advisor
Welcome back! Since the last publication of Florida Music Director, many K-12 school systems, colleges, and universities across the country have resumed some form of instructional delivery. In Florida, the methods of providing that instruction are as diverse as the institutions and the people who attend them. Some will be returning to the physical classroom with hopes that mitigation strategies (i.e., social distancing, mask wearing, upgraded HVAC systems, etc.) will be enough to slow or prevent con- tagion. Out of an abundance of caution, others will resume virtual education with promises of better infrastructure, more adequately prepared instructional staff, and flexible schedules. The decisions being made by educational and political leaders, at all levels, have a direct impact on you as you continue your professional development and prepare to teach in the post-pandemic era.
Of greatest concern this academic year is your ability (or inability) to get practical experience in K-12 classrooms. Many of you may find your typical field study and internship experiences will involve fewer hands on activities with students. Although when it comes to teacher preparation, there is no substitute for being in a classroom with children, there are resources available to help you bridge the gap:
Education, the FMEA homepage is a gateway to resources related to the most current issues affecting music education today. Additionally, from the “Programs” tab, you can visit the FMEA component organizations’ websites to view resources specific to your specialty area of interest.
«
« NAfME – If you have paid your NAfME Collegiate dues (not just your local chapter dues), you should have access to a number of publications just like this one. Visit NAfME.org and click the “Research” tab in the top right section of the page. From there you can access five practitioner and research journals:
• Music Educators Journal
• General Music Today
• Journal of Music Teacher Education • Journal of Research in Music
Education, and
• Update: Applications of Research in
Music Education.
NAfME’s Amplify platform also serves as a professional networking community where educators from
across the country pose questions and receive guidance from their colleagues within the profession. It has been fas- cinating (and at times frightening!) to watch the hive mind at work during this pandemic season. Even if you’re not a fully paid collegiate member of NAfME, the “For Teachers” tab on the NAfME homepage includes a great deal of useful (and free) resources.
YouTube – Many professional orga- nizations (including FMEA) have YouTube channels where they are uploading webinars, conference recordings, tutorials, and other pro- fessional development material. Simply search for your organiza- tion of interest (e.g., Florida Music Education Association, International Society for Music Education, College Band Directors National Association, National Association of Teachers of Singing, etc.). There are also COUNTLESS videos of special top- ics related to teaching and educa- tion in general. Some of my favorite videos related to classroom manage-
«
FMEA – Similar to NAfME, FMEA’s website (FMEA.org ) provides access to a significant number of resources you might find helpful during this time. In addition to gaining access to back issues of Florida Music Director and Research Perspectives in Music
« ment have been uploaded by Agape Management. Check them out!
Free Professional Development Conferences/Webinars – Ask your NAfME Collegiate chapter advisor and other college music professors to let you know when professional organizations announce free virtual conferences or webinars. Attending
24
Florida Music Director


those during this time could provide invaluable experiences that might oth- erwise be inaccessible on your usual budget. This summer, I enrolled in Jazz at Lincoln Center’s Summer Jazz Academy for the first time ... and it was free. WOW!
I recognize it might be difficult to find focus during these unusual circumstanc- es, and we’re still trying to finish up a hurricane season just in time to enter flu season. I was recently reminded that even amidst the worst of the worst storms, the sun is shining brightly just on the other side of the clouds. If you’ve ever taken off in a plane during a storm, you remember that feeling of trepidation as you watched the rain falling from darkened skies and pounding the tarmac while lightning filled the sky. You’ve heard a calm (too calm?) pilot remind you to stay seated and buckled because it was going to be a bit of a rough ride at the start. You recall the feeling of your stomach jumping into your throat as the plane dipped, hopped, and (are we falling out of the sky?!) plopped through the turbulent air as the pilots navigated their way through the storm. It was FRIGHTENING ... and then it wasn’t. I’m sure you also remember the sigh of relief as the plane breached the top layer of clouds only to find a breathtak- ingly blue sky and blinding sun. The ride became smooth as silk, and you could feel the release of tension in the air (give that pilot a raise!) as seatbelts were unfastened and beverage carts began to roll. 2020 has been quite a ride, but it too will pass. Have faith and trust your pilots. Don’t freak out! That doesn’t help anyone. Remember, that tiny cup of ginger ale awaits you just above the clouds.
Be well.
FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION
Marc Decker, DMA, President
This morning, seeking insight into the challenges we are facing in the upcoming semester, I recalled a tremendously powerful journal article. After 30 minutes of searching through my poorly labeled binders, I finally unearthed the treasure I was seeking. “How Music Can Help Win the War” by William Revelli, published in Etude Magazine in November 1942. This article was composed less than a year after our country declared war on the Axis powers. It is hard to imagine the complicated feelings of our nation back then. Surely many experienced uncertainty about the future and a fear of war while witnessing major societal challenges. Revelli’s mes- sage during this terrible time was that music holds tremendous power. It is strong enough to sway hearts and minds to help win a war. Music is mighty indeed!
Our challenges today are different than those of the Greatest Generation. We are struggling against a pandemic that has changed our professional and social lives. Of equal concern are issues of social injustice and inequality. These challenges are not the same ones faced nearly 80 years ago, but music’s innate ability to help remains constant. Reading through Revelli’s article, there is much we can borrow to enlight- en us about the challenges of today.
Competitions, music festivals, traditional concerts, and football games seem less important now. Instead, what I contemplate daily are methods of student engage- ment, maintaining student wellness, adapting to new technology, and exploring different ways of teaching and performing music. Like so many of you, I have been challenged with teaching music ensembles online. Although the teaching platform is new, educational goals remain the same. Those goals are simply the individual and collective growth of students. We can still accomplish this as we have always done. This is a semester to champion collaboration and service learning activities, while teaching our students that we can still accomplish greatness.
In light of the many social challenges our country faces today, the need to consider programming trends is greater than ever. American culture is wonderfully diverse, and the music we select should be equally so. Music about national identity and social injustice can help students understand how they fit in to the modern world. For concert programming there are numerous online databases that can assist with finding diverse repertoire, and the payoff for doing so is tremendous.
Revelli called on music educators during World War II to approach challenges to the profession with enhanced creativity, ingenuity, and foresight. The world today faces very different challenges, but the power of music can still serve to provide both comfort and understanding. I wish you all a great semester and hope you are encouraged, because you wield the power of music. Teach well and stay safe!
September 2020 25


How are researchers exploring the risks of spreading COVID-19 while making music?
Email your questions and feedback to
[email protected]
Research Puzzles.
26 Florida Music Director
RESEARCH COMMITTEE CHAIRMAN
Don D. Coffman, PhD
University of Miami
ResearchPuzzles FOR MUSIC TEACHERS
This on-going column seeks to stimulate awareness of research issues for FMEA teachers and researchers.
Preliminary Results
We have news as of August 1 (my submission deadline for the September issue) from studies being done at the University of Colorado, Colorado State University, and the University of Maryland. In these studies, wind players enter an aerosol testing chamber and play notes at loud and soft volumes. The flow of air (and particles) emerging from the instruments is being mea- sured to get an overall understanding of relative airflows from the instrument bell, fingerholes, fipples, and the musician’s nose and mouth. They also measure the effect of various mitigations (plastic shields or music stands placed at the
end of the instruments, wearing surgical/ homemade masks, wearing N95-certified respirators, wearing face shields, and utilizing low-resistance filtering mouth- pieces). There are plans to assess the potential impact of aerosol generation
in a rehearsal room with multiple players, if that can be done safely, to gauge the effectiveness of passive control techniques (e.g., social distancing and isolation, room ventilation and filtration, and personal protective equip-
ment).
On July 13, the National
Federation of State High School Associations released this summary of prelimi- nary results during week 3 of this six-month study:


« Wind instruments produce aerosol, which vary by instrument as well as intensity. Trends that the team has measured include:
• Woodwinds have aerosol coming from keyholes and bell.
«• Brass instruments have aerosol coming from bell.
At this time, it appears that if players wear surgical-style masks with a slit for mouthpiece and bell covers, aero- sol emission is reduced. Flute players can put the headjoint between their mouth and mask CLICK HERE and
« use a “flute sock” attached to the foot CLICK HERE .
Bell covers tested so far were made
« from pantyhose made of 80 denier in
two layers.
Singers produce aerosol, which vary
« with consonants, vowels, and inten-
sity.
At this time, it appears that if sing- ers wear surgical-style masks (others
« will be tested soon), aerosol emission is reduced.
Face shields are only effective at close range to stop large
« droplets; they do not prevent aerosol from being inhaled or
released, so a mask must also be worn.
Plexiglass partitions or barriers between musicians are not recommended because the room’s HVAC system cannot
« properly change the air as designed. “Dead zones” or areas where aerosol can build up are a concern.
Rehearsal space recommendations in order of preference:
• Outdoor rehearsals, using individual mitigation tech- niques described above
• Outdoor gazebo style tents with open sides and a high- pitched ceiling with mitigations
• Indoors with elevated outdoor air exchange rate from HVAC
• Indoors with typical outdoor air exchange rate from HVAC plus recirculation of air through MERV 13 filters or addition of appropriately sized HEPA air purifiers
• Indoors with outdoor air exchange rate from open win- dows supplemented with appropriately sized HEPA air
«
purifiers when airflow is reduced under certain outdoor
wind conditions
Please refer to the Association for Heating, Ventilating and
« Air-Conditioning Engineers’ (ASHRAE) guidance on venti- lation during COVID-19 CLICK HERE .
General procedures
• Masks must be worn at all times.
• Follow CDC guidelines for social distancing of 6x6 feet,
with 9x6 for trombone players.
• Indoor rehearsals should last for 30 minutes followed by
clearing the room for 20 minutes to allow the HVAC sys-
tem to change the air indoors with outside air.
This webpage has links to the press release and the full pre- liminary report, which is a pdf of a PowerPoint presentation, so it is mostly pictures and graphs with some YouTube links to some fascinating measures of airflow from a singer, a clarinetist,
and a trombonist: CLICK HERE .
Stay safe! I will continue to update you with more information
as soon as I can.
September 2020 27


CommitteeReports
Celebrating the 30-Year Anniversary of
DIVERSE LEARNERS COMMITTEE
Alice-Ann Darrow, PhD,
Chairwoman
ADA and Its Impact on the Arts
July 26 marked the 30th anniversary of President George H.W. Bush signing into law the American with Disabilities Act (ADA). This antidiscrimination law transformed American society and ensured Americans with disabilities full access to and equal opportunities within their communities. Nevertheless, barriers to access and opportunities still remain for many persons with disabilities. There are numerous organizations and indi- viduals, however, working to make the promise of ADA a reality, to enable all
Americans with disabilities the opportu- nity to achieve their full potential. The arts are no exception to the importance of the Americans with Disabilities Act, from thinking through accommodations for performance venues or parking spaces, to interpreting performances in sign lan- guage for those with hearing loss or nar- rating performances for those with vision loss, to making printed programs or ticket sale websites visually accessible. The ADA affects the ways many Americans partic- ipate in, experience, and enjoy the arts.
The Americans with
Disabilities Act (ADA)
During my years of teaching, I was disap- pointed to find many students had never heard of the Americans with Disabilities Act or its predecessor, Section 504 of the Rehabilitation Act, or learned in their civics or American history classes about the disability rights movement that led to these two federal statutes. Many music educators today were not yet born or were very young in 1990 when Congress passed the most sweeping antidiscrim- ination disability legislation to date, the Americans with Disabilities Act (ADA). For those who may not be familiar with this civil rights law, the ADA prohib- its discrimination against individuals with disabilities in all areas of public life, including jobs, schools, transportation, and all public and private places that are open to the general public. The law guarantees equal opportunity for indi- viduals with disabilities in public accom- modations, employment, transportation, state and local government services, and telecommunications. The ADA is divided into five titles (or sections) that relate to these areas of public life (ADA National Network, 2020):
1. Employment (Title I): Title I requires
covered employers to provide reason- able accommodations for applicants
Protests prior to the Americans with Disabilities Act (ADA) passes in 1990
28 Florida Music Director


and employees with disabilities and prohibits discrimination on the basis of disability in all aspects of employment. Reasonable accommodations include, for example, restructuring jobs, mak- ing work sites and workstations acces- sible, modifying schedules, providing services such as interpreters, and mod- ifying equipment and policies.
2. Public Services (Title II): Under Title II, public services (which include state and local government agen- cies, the National Railroad Passenger Corporation, and other commuter authorities) cannot deny services to people with disabilities or deny partic- ipation in programs or activities that are available to people without disabil- ities. In addition, public transportation systems, such as public transit buses, must be accessible to individuals with disabilities.
3. Public Accommodations (Title III):
Public accommodations include facil- ities such as theaters, concert halls, restaurants, hotels, grocery stores, retail stores, etc., as well as privately owned transportation systems. Title III requires that all new construction and modifications must be accessible to individuals with disabilities. For
existing facilities, barriers to services
must be removed if readily achievable.
4. Telecommunications (Title IV):
Telecommunications companies offer- ing telephone service to the general public must have telephone relay ser- vice to individuals who use telecom- munication devices for the deaf (TTYs) or similar devices. Mobile phone tex- ting has made such services dated and rarely used.
5. Miscellaneous (Title V): This title includes a provision prohibiting either (a) coercing or threatening or (b) retal- iating against individuals with dis- abilities or those attempting to aid people with disabilities in asserting their rights under the ADA.
In 2008, the ADA Amendments Act (ADAAA) was signed into law and became effective on January 1, 2009. The ADAAA made a number of significant changes to the definition of “disability.” When the ADA was first passed into law in 1990, an individual was considered to have a disability if that individual either (1) had a physical or mental disability that substan- tially limits one or more of that person’s major life activities; (2) had a record of such a disability; or (3) was regarded by the ADA-covered entity as having such a
disability (ADA National Network, 2020). “Federal courts were strict in determin- ing who met the ADA’s definition of a ‘disability.’ As a result, many cases of dis- crimination were dismissed. Such court rulings made it increasingly difficult for individuals with disabilities to qualify for the law’s protections. Consequently, Congress passed the ADA Amendments Act of 2008 (ADAAA), which made five changes to the ADA that are significant” (Cope, 2020, p. 1).
1. It provides that the definition of the ADA “disability” must both be more “flexible” and “broadly construed.”
2. It expands the list of “major life activ- ities.”
3. It provides that courts can no longer consider whether “mitigating mea- sures,” such as medication or assis- tive technology, reduce the impact of impairment on an individual.
4. It states that diseases that are “epi- sodic” or in remission may still be “disabilities.”
5. It provides that employees who claims they are “regarded as” disabled can now make an ADA claim, even if the “perceived” disability does not impact a major life activity.
Continued on page 30
September 2020 29


CommitteeReports Diverse Learners continued from page 29
What ADA Has Meant for Musicians With Disabilities
To celebrate the 30th anniversary of ADA, The New York Times recently published a series of articles (NYT, 2020), and National Public Radio asked listeners what ADA has meant to them (NPR, 2020). Though challenges remain, it was heartening to know that because of the Americans with Disabilities Act, many obstacles have been removed for persons with disabilities, and consequently, their lives are better and more productive. Because of laws like ADA, IDEA, and Section 504 of the Rehabilitation Act, people with disabili- ties have been empowered, can exercise their rights, and have legal protections. Unfortunately, many persons with dis- abilities are underemployed or unem- ployed (U.S. Bureau of Labor Statistics, 2020), though for musicians with disabil- ities, many doors in the arts have opened to them. Ali Stoker, who uses a wheel- chair, won a Tony Award for her role as Ado Annie in Oklahoma. “I didn’t want to gethiredbecauseIwasdisabledandwrit- ers needed someone with a disability in their story. I wanted to get work based on my ability as an actor, singer and dancer. I wanted to work with creative, intelligent and innovative people” (Stoker, 2020). Ali
knew what she wanted for her life and her career. Our job as music educators is to help our students with disabilities fulfill their dreams and ambitions as we would any other student.
There are numerous other musicians with disabilities we all know such as Stevie Wonder, Ray Charles, Thomas Quasthoff, Itzhak Perlman, and now Ali Stoker, but there are others who are mak- ing their mark in the musical world and crediting the ADA for making venues, communication systems, and public ser- vices more accessible and consequently, the public’s perceptions more accepting. There is a host of rappers with disabilities who are part of Krip-Hop Nation, and there is Gaelynn Lea, a violinist, who “... is transforming our cultural under- standing of who can be a musician. She is known for her haunting original songs, innovative interpretations of traditional folk music and growing role as an advo- cate for disability rights” (Brown, 2019, p. 1). There are Justin Hines, a Canadian singer-songwriter, and violinist Adrian Anantawan. Many of these musicians credit the ADA for making their lives eas- ier and their careers possible, yet others have lamented unfulfilled promises of ADA.
Gaelynn Lea, American folk singer, violinist, public speaker and disability advocate.
Photo by Monika Lawrence: www.classicalmpr.org
The Americans with Disabilities Act and the Arts
As recently as 2014, nearly 25 years after ADA, world-renowned violinist Itzhak Perlman and other classical musicians recounted their experiences navigating the world’s concert stages and the hos- tilities they often faced when asking for basic necessities (Ramey, 2014). Many of these musicians’ difficulties were to be remedied when in March 2010, the U.S. Department of Justice revised the compli- ance regulations for Titles II and III of the Americans with Disabilities Act of 1990. Compliance was required for new con- struction, program accessibility, and bar- rier removal. These requirements were implemented to give people with disabil- ities the same experiences and opportu- nities as those without disabilities. In the arts, requirements include specifications for accessible seating, options to purchase tickets, and training staff to work with patrons who have disabilities.
Because of these revised regulations,
many arts organizations or performance halls now hire ADA compliance coor- dinators. ADA compliance coordina- tors must complete 40 credits approved for a certification program. Once the required credits are completed, there is an exam that must be passed for one to earn certification. An ADA coordinator ensures his or her arts association or venue is ADA compliant and monitors the implementation and use of accessi- bility accommodations. The Hollywood
Ali Stoker won a Tony Award for her role as Ado Annie in Oklahoma. PHOTO: NYTIMES.COM 30 Florida Music Director


Stevie Wonder performs onstage during 2015 Life Is Beautiful Festival in Las Vegas Nevada.
Bowl, one of the venues used by the Los Angeles Philharmonic, has delineated many of its accessibility accommodations on its website CLICK HERE . The website includes information on ticketing, acces- sible parking, accessible seating, open captioning and interpreting services, assistive listening devices, accessible rest rooms, escorts for wheelchair users, elec- tric cart services, service animals, dining accessibility, and access to security. Such public venues are required to publish accessibility information or to make it available to its patrons. Few school con- cert venues will have these numerous accessibility features, but they provide a good “wish list” for music educators who aspire to have their performances accessible to all.
Accessibility remains a barrier for many Americans with disabilities. An NEA study revealed there are an estimat- ed 11 million people who do not partici- pate in local arts due to lack of accessibil- ity (U.S. Census Bureau for the National Endowment for the Arts, 2015). For peo- ple with disabilities, frequent barriers are being unable to enter a venue and being unable to navigate the venue when there. Ace Ratcliff (2018), a music-loving blogger, wrote “ADA noncompliance means I have to physically and emotionally prepare myself for a night out to see the musicians I love” (Ratcliff, 2018, p. 1). Ratcliff report- ed that her love for live music is thwarted by lack of parking options, broken eleva- tors, no elevators, and sitting in the back
guarantee them access to schools, school programs, transportation, jobs, and pub- lic places to the same extent as anyone else. As music educators, we can do our part by knowing and abiding by the law, thus making the arts a part of our stu- dents’ lives and future.
of a crowded venue with no incline— resulting in no view of the stage or per- formers. As music educators, we may not be able to monitor the accessibility of our community venues, but we can monitor our school auditoriums so that parents, grandparents, siblings, and others with disabilities feel welcomed.
References
ADA National Network (2020). What is ADA? Retrieved from https://adata.org/learn- about-ada
Brown, J. (2019). How violinist Gaelynn Lea is redefining who can be a musician. Retrieved from https://www.pbs.org/newshour/show/ how-violinist-gaelynn-lea-is-redefining-who- can-be-a-musician
Cope, T. K. (2020). The ABCs of ADAAA. Retrieved from https://www.mcrazlaw.com/ the-abcs-of-the-adaaa-what-employers-need- to-know-about-recent-changes-to-the-ameri- cans-with-disabilities-act/
National Public Radio (NPR). (2020, July).
In their own words: How the American with Disabilities Act changed people’s lives. Retrieved from https://www. npr.org/2020/07/27/895651325/ameri- cans-with-disabilities-act-examining-its-im- pact-3-decades-later
New York Times (NYT). (2020, July). ADA at 30: Beyond the law’s promise. Retrieved from https://www.nytimes.com/interactive/2020/ us/disability-ADA-30-anniversary.html
Ramey, C. (2014, December). Navigating the stage with a disability. Wall Street Journal online. Retrieved from https://www.wsj. com/articles/itzhak-perlman-and-oth- er-classical-musicians-on-navigat- ing-the-stage-with-a-disability-1417458169
Ratcliff, A. (2018, April). Disabled people
don’t belong in music venues, apparently. Huffington Post. Retrieved from https:// www.huffingtonpost.com/entry/opinion-rat- cliff-disability-music_us_5acfc626e4b077c- 89ce6bfc2
Stoker, A. (2020, July). After #OscarsSoWhite, Disability waits for its moment. Retrieved from https://www.nytimes.com/2020/07/19/ arts/after-oscarssowhite-disabili- ty-waits-for-its-moment.html
U.S. Bureau of Labor Statistics (2020). Retrieved from https://www.bls.gov/news.release/ pdf/disabl.pdf
U.S. Census Bureau for the National Endowment for the Arts. (2015). A matter of choice? Arts participation patterns of Americans with disabilities. Survey of public participation in the arts. Retrieved from https://www.arts.gov/news/2015/ new-nea-research-arts-participa- tion-among-people-disabilities
September 2020 31
Participation of Persons With Disabilities in the Arts
A Survey of Public Participation in the Arts (SPPA) (U.S. Census Bureau for the National Endowment for the Arts, 2015) measured the participation of adults with disabilities in the arts. Over 23% of adults with disabilities report attending an arts event, such as a classical concert, play, or live dance performance at least once a year. This finding is 14% lower than the national average for adults without disabilities. There are numerous possi- ble reasons for lack of participation in the arts by persons with disabilities. As stated earlier, accessibility may be a bar- rier to participation. The survey data also revealed that people who have more edu- cation and higher socioeconomic status (SES) are more likely to attend concerts than people with less education or lower SES. Because people with disabilities are often underemployed or unemployed, their SES is also affected.
Nonparticipation in community arts is often the result of an individual’s lack of previous experiences with the arts. This is one factor that music educators can address by including students with dis- abilities in their music classes and ensem- bles and nurturing their musical develop- ment so they become lifelong musicians or supporters of the arts. Our students with disabilities are considered the ADA generation. They have grown up know- ing the transformative civil rights law as a birthright. They expect the ADA to


CommitteeReports
AWARDS COMMITTEE
Debbie Fahmie, Chairwoman
Sometimes, great innovation is driv- en by challenges to the status quo. I dare say that is an understatement in today’s climate of music education and the reopening of schools. I am continually awestruck and inspired by what I see coming from the field of music education when all we have known has
been turned upside down.
I’ve attended webinars, Zoom meetings, vir- tual performances,
Go to Meetings,
and more, and
have witnessed
the resiliency of
music educators.
I’ve seen amazing collaborations with
music teachers think-
ing way beyond their own school settings.
This time of year, most music teachers are in the thick of scheduling, program- ming, auditioning, fund-raising, arrang- ing MPAs, etc. Instead, I see lots of energy and ingenuity going toward new ways to keep students engaged in quality music education. If there is a silver lining to the seemingly unending pandemic, it is the growth and mindset that I see toward this end. With distance learning, something that all teachers were thrust into last March, the idea of individual musician- ship was given more attention. I’ve seen where this emphasis allowed students to do more creating, composing, arranging, and developing their own individual skill
levels. Although distance learning can never substitute for face-to-face music making in an ensemble, there are cer- tainly aspects of musicianship that came to the forefront during the last several months.
As the Awards Committee embarks on the task of selecting the 2021 FMEA 2021 award winners, I am sure that inno- vation, creativity, and resiliency will shine through on the applications, and I’m so excit- ed to see what our heroes of music education are up to. It will be such an honor to recognize music educators, adminis- trators, leaders, and business- es that have led the way for our state
through this historic time.
Whether you are new to FMEA or a
longtime member, I would like to remind you that the FMEA Awards Program is a dynamic part of our annual conference as it connects all components of the FMEA membership and brings together music educators, administrators, school board members, and the business community to celebrate individuals who have made outstanding contributions to music edu- cation. The awards ceremony also plays a pivotal role for music advocacy for all those who attend. It’s a great way to show- case models and to advocate to others
about all the great programs and partners we have throughout the state.
I am excited to lead the Awards Committee in selecting recipients in the following categories:
Hall of Fame Distinguished Service
District School Board/School Board Member of the Year
Superintendent of the Year
Administrator of the Year
Music Educator of the Year
Leadership Award for Music Education
College Music Educator of the Year
Exemplary Model Program/Project
The deadline for the above is September 11, 2020
Music Education Service Award (includes 25+ years of service and 50+ years of service)
The deadline for the above is November 3, 2020
Middle/High School Enrollment Award
The deadline for the above is TBD.
The latter two awards have very simple application processes. It takes approxi- mately 15 minutes to self-nominate for either award.
My thoughts are with all educators as you begin this remarkable 2020-21 school year. Don’t ever forget just how important you are to the students whose lives you touch. Here’s hoping we can all be togeth- er again this January to celebrate music education!
32 Florida Music Director


MULTICULTURAL NETWORK
Bruce J. Green, Chairman
Hello, Multicultural Network mem- bers. I hope this article finds you healthy and strong. During this unprec- edented time, we all have faced a fork in the road. One direction is Do What I Have Been Doing and the other is Do What Has Never Been Done. Educators have always taken the road least traveled and have confidently sped toward What Has Never Been Done. Before this pandemic, the minority students we teach were already facing many challenges that some of us have known or will never know. Those challenges have now been exacerbated for minorities amid this global pandemic and should embolden us, even more, to do What Has Never Been Done to meet the needs of all students.
I have made up my mind that I will embrace change and use change as the fuel to get me from what I have done before to what has never been done. That may be easier said than done, but those students who have had their situation compounded need us to forge ahead. «Here are suggestions to help us embrace change:
Acknowledge that things have changed. Sometimes we get so caught up in fighting change that we put off dealing with it. The time we spend fighting change can be better spent
« learning a new skill, creating or pre- paring for the task at hand.
Maintain a positive attitude. You always have to be optimistic and maintain a good attitude, regardless of where you find yourself. Come to terms that your new situation might not be perfect. Think about how you can best use your skills, experiences,
« and networks to maximize your new situation.
Recognize that change is constant.
You will have change happen to you
whether you like it or not, so you must accept that reality. The good thing about change is that it prevents you from getting bored in your current
« role and challenges you to work on projects that you haven’t before.
Stay connected to co-workers. Never forget about the people you’ve already had the chance to work with because they could become extremely benefi- cial to you down the road. They can also be a great resource for technol-
« ogy and/or creativity, or simply be a bounce board for thought. Communicate with others to learn your new role. Become good at asking questions because the more you know, the better equipped you will be in this role and the easier your life will be. If you wait too long to reach out
« to others, your performance will start lacking and people will notice.
Be optimistic even though you might not be currently happy. Whether or not you like your new role, you need to make the best of it. Who knows
« what a year or more in this role can do for you?
Self-reflect. Take some time to relax and think about what you’ve already accomplished and what your goals are for your new role. Think about the skills you need to acquire and who
« you need to meet, and evaluate your entire situation.
Learn new skills. You are now forced to learn new skills based on the type of work you have to do as a teacher. Make a list of the skills required for your new role and invest time each week in developing those skills.
Ask as many questions as possible.
There are no bad questions unless you ask something that has already been asked or explained. Asking questions will help you further develop yourself in a new role.
As we continue to navigate uncharted waters, let us strive every day to embrace the new norms that present themselves in our classrooms and on our campus- es. Know that the FMEA Multicultural Network is available as a resource on how to support minority students in arts education. Every student, especially the minority students, need you to Do What Has Never Been Done.
References
Sarkis Ph.D., S. A. (2017). 10 Ways to Cope With Big Changes. Retrieved from https://www. psychologytoday.com/us/blog/here-there- and-everywhere/201701/10-ways-cope-big- changes
Schawbel, D. (2014). 10 Tips For Handling Change in the Workplace. Retrieved from https://www.quickbase.com/blog/10-tips- for-handling-change-in-the-workplace
September 2020 33
«


FMEA Executive Director
Kathleen D. Sanz, PhD
The mission
of the Florida Music Education Association is to promote quality, comprehensive music education in all Florida schools.
34 Flor
ExecutiveDirector’sNotes Who knew?
ho knew we would still be struggling with COVID-19 and the question of how we will continue music
education in our schools? We have learned to be flexible in how we deliver content, whether we are teaching face to face, blended, or virtual. The pressure has come from having to plan for all these scenarios, while the increasing stress has come from the indecision created by the pandemic. Throughout July and August, school boards and school leaders have been making decisions and then changing those decisions soon after they are made. It has been stressful for everyone. We already had an issue with teacher shortage, and now many teachers have decided to retire, increasing the deficit of certified music educators.
Colleagues across the United States are working diligently to craft guidelines and processes to help music educators achieve a safe and healthy return to music making. Our key purpose is to be sure our students and teachers are safe.
Research
If you have not had time to read Dr. Coffman’s Research Puzzles article from August, please do so and to current studies on music making in classrooms during the COVID-19 pandemic.
The second release of preliminary results from a study on COVID-19 organized by the National Federation of State High School Associations and the College Band Directors National Association was released on August 6. Dr. Shelly Miller, along with a research team from the University of Colorado, Boulder and the University of Maryland, is continuing to conduct research on mitigating factors for music education. The final report will be disseminated in December 2020. While we know the published results are preliminary in nature and continue to be studied, the researchers are trying to ascertain potential risks and mitigations of these risks for our teachers and students. Additional information on the study and other recommendations can be found at NFHS.org. Links to the preliminary results and webinar recordings about the study are posted at FMEA.org.
Arts education is essential, and our legislators, governor, and education commissioner need to be made aware of just how essential it is for our students. Reach out to them and let them hear the stories of the impact and importance of the arts in students’ education, no matter the delivery system.
As schools continue to make plans for teaching, we want to continue to let principals and decision makers know that the arts are essential.
I want to reiterate key points from the August edition of Florida Music Director:
A«rts Education Is Essential
« Arts education supports the social and emotional well-being of students, whether through distance learn- ing or in person.
« Arts education nurtures the creation of a welcoming school environment where students can express
themselves in a safe and positive way.
Arts education is part of a well-rounded education for all students as understood and supported by federal and state policymakers.
Stay in touch with FMEA. Check the website often, as we continue to provide updates, and follow us on Facebook, Instagram, and Twitter.
Stay safe, stay well, and keep in touch.
Musically,
Kathleen D. Sanz, PhD
ida Music Director
CLICK HERE


FLORIDA MUSIC EDUCATION ASSOCIATION Officers and Directors
EX-OFFICIO MEMBERS
Historian/Parliamentarian &
Executive Director...................................................Kathleen D. Sanz, PhD Hinckley Center for Fine Arts Education
402 Office Plaza Dr.; Tallahassee, FL 32301-2757
(850) 878-6844; Fax: (850) 942-1793; [email protected]
Editor-in-Chief ....................................................D. Gregory Springer, PhD
FSU College of Music; 122 N. Copeland St.; Tallahassee, FL 32306 (850) 644-2925; [email protected]
FSMA President .......................................................................Valerie Terry
Carlos E. Haile Middle School
9501 SR 64 E.; Bradenton, FL 34212 [email protected]
FMEA COMMITTEE CHAIRPERSONS Awards................................................................................... Debbie Fahmie
[email protected]
Budget/Finance, Development................................. Steven N. Kelly, PhD
Florida State University, College of Music, KMU 330 Tallahassee, FL 32306; (850) 644-4069; [email protected]
Committee Council .............................................................. Debbie Fahmie
[email protected]
Conference Planning Committee ............................John K. Southall, PhD
Indian River State College; 3209 Virginia Ave.; Fort Pierce, FL 34981 (772) 462-7810; [email protected]
Contemporary Media.................................................. David Williams, PhD
University of South Florida; 4202 E. Fowler Ave., MUS 101 Tampa, FL 33620; (813) 974-9166; [email protected]
Diverse Learners ....................................................Alice-Ann Darrow, PhD
Florida State University, Music Education and Music Therapy 123 N. Copeland St.; Tallahassee, FL 32306
(850) 645-1438; [email protected]
Emerging Leaders........................................................... Mary Palmer, EdD
11410 Swift Water Cir.; Orlando, FL 32817 (407) 382-1661; [email protected]
FMEA Corporate & Academic Partners.. .................................Fred Schiff
All County Music; 8136 N. University Dr.; Tamarac, FL 33321-1708 (954) 722-3424; [email protected]
Government Relations................................................. Jeanne W. Reynolds
Pinellas County Schools, Administration Bldg.
301 4th St., SW, P.O. Box 2942; Largo, FL 33779-2942 (727) 588-6055; [email protected]
Multicultural Network..........................................................Bruce J. Green
(407) 927-3141; [email protected]
Professional Development .......................................................Scott Evans
Orange County Public Schools; 445 S. Amelia St.; Orlando, FL 32801 (407) 317-3200; [email protected]
Research..................................................................... Don D. Coffman, PhD
University of Miami; [email protected]
Secondary General Music............................................................Ed Prasse
Leon High School; 550 E. Tennessee St.; Tallahassee, FL 32308 (850) 617-5700; [email protected]
Student Development............................................. Michael Antmann, EdD
Freedom High School; 2500 W. Taft-Vineland Rd.; Orlando, FL 32837 (407) 816-5600; [email protected]
PROFESSIONAL DEVELOPMENT CONFERENCE
Exhibits Managers ............................................... Byron and Bobbie Smith
4110 Tralee Rd.; Tallahassee, FL 32309 (850) 893-3606; [email protected]
Local Co-Chairpersons
Ted Hope—(813) 272-4861; [email protected]
Melanie Faulkner—(813) 272-4461; [email protected] Hillsborough County Public Schools, School Administration Center
901 E. Kennedy Blvd.; Tampa, FL 33602
FLORIDA BANDMASTERS ASSOCIATION
President ..................................................................................Ian Schwindt
Titusville High School; 150 Terrier Trail S.; Titusville, FL 32780-4735 (321) 264-3108; [email protected]
Past President..................................................................... Cathi Leibinger
Ransom Everglades School; 2045 Bayshore Dr.; Miami, FL 33133 (305) 250-6868; [email protected]
Executive Director.....................................................................Neil Jenkins
Florida Bandmasters Association
P.O. Box 840135; Pembroke Pines, FL 33084
(954) 432-4111; Fax: (954) 432-4909; [email protected]
Business Manager .................................................................Jo Hagan, CPA
8975 San Rae Rd.; Jacksonville, FL 32257
(904) 379-2245; Fax: (904) 379-2260; [email protected]
FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION
President ........................................................................ Marc Decker, DMA
Florida Atlantic University; 777 Glades Rd.; Boca Raton, FL 33431 [email protected]
FLORIDA NAfME COLLEGIATE
President ...................................................................................Julian Grubb
Florida Gulf Coast University, 1519 Neptune Dr.; Lakeland, FL 33801 (863) 430-9466; [email protected]
Past President................................................... Katherine Attong-Mendes
University of Miami; [email protected]
FLORIDA ELEMENTARY MUSIC EDUCATORS ASSOCIATION
President .................................................................... Ernesta Chicklowski
Roosevelt Elementary School; 3205 S. Ferdinand Ave.; Tampa, FL 33629 (813) 272-3090; [email protected]
Past President...............................................................Rosemary Pilonero
[email protected]
Executive Director............................................................ Jennifer Sullivan
1750 Common Way Rd., Orlando, FL 32814 (321) 624-5433; [email protected]
FLORIDA MUSIC SUPERVISION ASSOCIATION
President ....................................................................Harry “Skip” Pardee
Collier County Public Schools; 5775 Osceola Trail; Naples, FL 34109 (239) 377-0087; [email protected]
Past President............................................................................Scott Evans
[email protected]
Treasurer ........................................................................................ Ted Hope
Hillsborough County Public Schools, School Administration Center 901 E. Kennedy Blvd.; Tampa, FL 33602
(813) 272-4861; [email protected]
FLORIDA ORCHESTRA ASSOCIATION
President ...............................................................................Matthew Davis
Harrison School for the Arts; 750 Hollingsworth Rd.; Lakeland, FL 33801 (863) 499-2855; [email protected]
Past President...........................................................................Jason Jerald
[email protected]
Executive Director............................................................ Donald Langland
220 Parsons Woods Dr.; Seffner, FL 33594
(813) 502-5233; Fax: (813) 502-6832; [email protected]
FLORIDA VOCAL ASSOCIATION
President ................................................................................. Jason Locker
Orange County Public Schools; 445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; [email protected]
Past President..................................................................... Tommy Jomisko
[email protected]
Executive Director...................................................................J. Mark Scott
7122 Tarpon Ct.; Fleming Island, FL 32003 (904) 284-1551; [email protected]
Business Manager .................................................................Jo Hagan, CPA
8975 San Rae Rd.; Jacksonville, FL 32257
(904) 379-2245; Fax: (904) 379-2260; [email protected]
CENTER FOR FINE ARTS EDUCATION
402 Office Plaza Dr.; Tallahassee, FL 32301-2757 (850) 878-6844; Fax: (850) 942-1793
Executive Director ...................... Kathleen D. Sanz, PhD ([email protected]) Director of Operations.......................Valeria Anderson, IOM ([email protected])
Director of Finance &
Client Relations..............................Richard Brown, CAE ([email protected])
Technology Director.....................................Josh Bula, PhD ([email protected])
Public Affairs & Communications Coordinator..............................................Jenny Abdelnour ([email protected])
Marketing & Membership
Coordinator................................. Jasmine Van Weelden ([email protected])
EXECUTIVE BOARD
President
Steven N. Kelly, PhD
Florida State University; College of Music, KMU 330 Tallahassee, FL 32306
(850) 644-4069; [email protected]
Past President
Kenneth Williams, PhD
Douglas Anderson School of the Arts
2445 San Diego Road; Jacksonville, FL 32207 (904) 346-5620; [email protected]
President-Elect
Shelby Chipman, PhD
Florida A&M University, Department of Music Foster-Tanner Music Bldg., Room 318 Tallahassee, FL 32307; (850) 599-8165 [email protected]
FBA President
Ian Schwindt
Titusville High School
150 Terrier Trail S.; Titusville, FL 32780-4735
(321) 264-3108; [email protected]
FCMEA President
Marc Decker, DMA
Florida Atlantic University
777 Glades Rd.; Boca Raton, FL 33431 [email protected]
FEMEA President
Ernesta Chicklowski
Roosevelt Elementary School
3205 S. Ferdinand Ave.; Tampa, FL 33629 (813) 272-3090 [email protected]
Florida NAfME Collegiate President
Julian Grubb
Florida Gulf Coast University
1519 Neptune Dr.; Lakeland, FL 33801
(863) 430-9466; [email protected]
Florida NAfME Collegiate Advisor
Mark A. Belfast, Jr., PhD
Southeastern University
1000 Longfellow Blvd.; Lakeland, FL 33801 (863) 667-5104; [email protected]
FMSA President
Harry “Skip” Pardee
Collier County Public Schools
5775 Osceola Trail; Naples, FL 34109
(239) 377-0087; [email protected]
FOA President
Matthew Davis
Harrison School for the Arts
750 Hollingsworth Rd.; Lakeland, FL 33801
(863) 499-2855; [email protected]
FVA President
Jason Locker
Orange County Public Schools
445 W. Amelia St.; Orlando, FL 32801 (407) 317-3200; [email protected]
Member-at-Large
Edgar Rubio
Silver Trail Middle School
18300 Sheridan St.; Pembroke Pines, FL 33331 (754) 323-4321; [email protected]
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