Florida School Music Association

Hinckley Center for Fine Arts Education
402 Office Plaza
Tallahassee, FL 32301-2757

Phone: 800.301.3632
Fax: 850.942.1793
www.flmusiced.org

District /Campus Level Program Expectation

Sunshine State Standards: Florida Curriculum Framework - The Arts

The Florida Curriculum Framework defines five “strands” each with specific goals, for music education.

A. Skills and Techniques

	1.	The student sings, alone and with others, a varied repertoire of music.
	2.	The student performs on instruments, alone and with others, a varied repertoire of music.
	3.	The student reads and notates music.

B. Creation and Communication

	1.	The student improvises melodies, variations, and accompaniments.
	2.	The student composes and arranges music within specific guidelines.

C. Cultural and Historical Connections

The student understands music in relation to culture and history.

D. Aesthetic and Critical Analysis

	1.	The student listens to, analyzes, and describes music.
	2.	The student evaluates music and music performance.

E. Applications to Life

	1.	The student understands the relationship between music, the other arts, and disciplines outside the arts.
	2.	The student understands the relationship between music and the world beyond the school setting.

Benchmarks under each numbered goal describe the specific activities appropriate to grade level that should be utilized for achievement. Administrators examining their music program will want to find evidence of careful planning that includes all of the strands and goals for each course offered. As in other subject areas, different units will address different goals and benchmarks, but all should be addressed within the school year.

Administrators may wish to encourage music directors to develop a broad outline, showing how the strands will be incorporated into the school year, and then correlate that effort with ongoing lesson/unit plans.

A Well Balanced Curriculum

A growing body of research indicates learning in the Arts, and specifically music, enhances the ability to process information and understand concepts which are applied in other subject areas.

The music courses offered should be developed by a process that allows students to achieve the goals/guidelines shown in the Curriculum Framework.

A well-balanced curriculum meets the needs of the students. The Arts are an integral part of the general curriculum because they address aspects and methods of learning physiologically which are left unexplored by other subjects. A growing body of research indicates learning in the Arts, and specifically music, enhances the ability to process information and understand concepts which are applied in other subject areas.

Elementary music classes include a program of singing, playing instruments, listening to music, improvising and composing music, and moving to music. Content goals and benchmarks are described in the Curriculum Framework. Included in the elementary curriculum are groups such as chorus, Orff ensemble, recorder and keyboard ensembles. It is usual to begin a string program in grades four or five, although the Suzuki string program may begin in kindergarten. String instruments are available in very small sizes for very small hands, and are fully functional instruments when downsized. Band students usually begin instruction on wind instruments in the fifth or sixth grade when they are physically large enough to handle them.

In secondary schools, a well-balanced music program is represented by the three major performing organizations of chorus, band, and orchestra. Typically, schools have a marching band, jazz band, and concert band(s). The chorus division may include several types of choirs: mixed (usually the most advanced and the requisite vocal class for schools), treble (for women), men’s, chamber/madrigal singers and show choir/pop choir/jazz choirs (optional classes). The orchestra may be a strings only ensemble, which adds winds at some point in the year to become a full orchestra.

A comprehensive program also includes music classes which are developmental for individual student needs. Not all students are served by traditional performance ensemble classes. Classes in guitar and piano keyboard, as well as non-performance courses such as music theory, music appreciation, and music technology are desirable in addition to the large ensemble class. Depending on the nature of the school community, other classes may be desirable such as Mariachi Band, Jazz Band, Steel Drums, or combinations of singers and instrumentalists representing a particular culture.

All music courses offered should be developed by a process that allows students to achieve the goals/guidelines shown in the Curriculum Framework.

Articulation between the elementary, middle and high schools is desirable in all areas of music, whether in chorus, band, orchestra, or electronic applications such as keyboard, computer composition, etc. Since a music educator may be the only music teacher on a campus, it is appropriate and desirable for district music personnel to have in-service time with other district music colleagues for curriculum planning.

Scheduling

Music is not for a particular “class” of student as determined by race or socio-economic background. It is for all students, and should be accessible to all students in a sequential, articulated manner.

The most advanced students on a campus are often a part of music classes, which have contributed to development of higher level thinking skills, conceptual learning, and life enrichment. Scheduling methods should continue to allow music programs to be accessible to these students.

The requisite for all scheduling methods is that students are successful by means of a balanced curriculum that will be functional and life enriching. Music is not for a particular “class” of student as determined by race or socio-economic background. It is for all students, and should be accessible to all students in a sequential, articulated manner. The growing body of research is beginning to show the “cause and effect” relationship between the study of music and success in other academic studies. Academically successful schools will have strong music programs.

These are recommendations for scheduling:

Music programs should be sequential throughout the school years and coordinated articulation between elementary, middle school and high school music curriculums is desirable. Students benefit from such coordination and develop a foundation and understanding of music, which will contribute to a higher quality of life. The school experience should include reading, performing, creating, listening, and analyzing music of a variety of cultures and historical periods.

In grades PreK-6, a reasonable amount of time for each student in general music is at least 90 minutes each week. Instrumental or choral classes should be considered additional to the ninety-minute base. For PreK-2, classes should be scheduled at least twice a week for not less than thirty minutes per class period. Periods of not more than forty-five minutes are appropriate in grades 3-6. These times are recommended as minimum for meaningful instruction which will support the academic curriculum. Although it is possible to have some contributions realized with fewer minutes, benefits to the students will be reduced.

Classes in general music should be no larger than classes in other subjects in the curriculum in order to promote student accountability.

In secondary schools, choral and instrumental classes need to be scheduled in the school day so all members of each ensemble meet as a unit throughout the school year. For performance classes, such as band, orchestra, chorus, that involve skill development and control of small muscle groups, daily classes are most preferable. In schools utilizing a form of block scheduling, consideration should be given to a modification that will allow for a daily class meeting of the performance classes. Students should be able to take music courses, as well as physical education, along with other required courses.

Music classes by their nature involve students from a wide variety of interests and academic levels, and scheduling should permit wide access. Scheduling large music ensemble singleton courses against other required and advanced singleton courses immediately reduces student access to music. The most advanced students on a campus are often a part of music classes, which have contributed to development of higher level thinking skills, conceptual learning, and life enrichment. Scheduling methods should continue to allow music programs to be accessible to these students, as well as those on less rigorous academic tracks.

At the middle and high school levels, students progress at many different rates, and function at different levels of ability. Music is not for a particular “class” of student as determined by race or socio-economic background. It is for all students, and should be accessible to all students in a sequential, articulated manner. Music students who progress more rapidly in skill development than their grade level peers, are best served in more advanced music classes (i.e. students who have taken two years of private lessons before beginning band need a more advanced class in the sixth grade, rather than the beginning band class.)

For each four hundred students in a school, one semester length music course other than band, orchestra, and chorus is recommended. These might include guitar, piano keyboard, general music, or others.

For each three hundred students in a school, one performing group other than band, orchestra, chorus should be available. These might include jazz ensemble, madrigal singers, show choir, gospel choir, steel drum band, etc.

Staffing

FSMA recommends that all music instructors be musician/teachers, certified to teach music with the specialized knowledge and training for the courses they are assigned to teach. The majority of re-certification hours in music subjects would be evidence of continuing professional development, as would attendance at conferences/workshops in the music field.

Every enrolled student should have reasonable access to the teacher, as well as access to the music courses on the schedule. While the Southern Association of Colleges and Schools allows two hundred students per music instructor, that can present a less than effective teaching situation and many districts have chosen to reduce the number. Whenever possible, a single instructor should have assistance when the number of students assigned exceeds more than it is possible to supervise and evaluate. (125-150 depending on the teacher situation).

Music programs require activities outside of school hours and it is usual to offer a stipend to the teacher in compensation for those activities which require extra time. It would be helpful if the duties and expectations, which accompany the stipend, were articulated in a job description. To that end, sample job descriptions are provided in Appendix A.

Planning and preparation time is commensurate with other subject area teachers.

Sufficient time for travel is calculated in the teaching loads of music teachers who are required to move between campuses. Scheduling between campuses, in these circumstances, must involve coordination and communication between campus administrators, as well as the teacher.

Music Supervision/ Coordination

Every enrolled student should have reasonable access to the teacher, as well as access to the music courses on the schedule.

In order that the instructional program of every student is adequately coordinated and articulated from level to level, one music educator in every district or school should be designated as coordinator or administrator to provide leadership for the music program. When the music staff exceeds 25 teachers, it would be reasonable for the music supervisor to be employed on a full time basis for administration. The amount of administrative time may be adjusted proportionally when the staff is smaller. Additional administrative staff may be considered at a rate of one-fifth time for each additional five - eight teachers above twenty-five.

Music Supervision for less than a full time position may be arranged by assigning a teacher one-half day in the classroom and one-half day supervisory duties.

The position of Music Supervisor requires a specialized knowledge of music programs, music equipment, and resources available for music teachers. Applicants for such a position should have a music degree, together with other certification required by a district.

Budgeting

An annual budget, provided by the school district, for the replacement of school-owned instruments is necessary that is equivalent to at least 5% of the current replacement value of the total inventory of instruments. Equipment should be maintained in good repair with pianos tuned at least three times per year. The maintenance and repair budget ought to be equal to at least 5% of the replacement value of the total inventory of instruments.

Only by regular replacement based on the age of inventory and specific enrollment in the program, can a district avoid placing substandard equipment in students’ hands. Whatever the percentage, we recommend every district implement some regular replacement and repair/maintenance dollars which are a percentage of the replacement value of the existing inventory.

For band, orchestra, and chorus a library of music is required (provided by district budgeting) that includes at least seventy-five titles for each type of group. At least fifteen new titles for each type of group ought to be added annually. The music library for performing groups needs to provide a folder of music for each student in choral groups and for each stand of no more than two performers in instrumental groups. All materials must comply with copyright laws.

A library of small ensemble and solo music that contains at least seventy-five titles for various types of ensembles and solos is also necessary. At least fifteen new titles should be added each year. An annual budget includes the purchases of CDs, and audiotape and videotape; computer and electronic materials; and the other special supplies, materials, and equipment needed for the teaching of music. An annual budget is provided for professional development of district music staff that would allow for attendance at conventions or conferences with in-service opportunities.

In most high school programs and some middle schools, booster organizations provide financial assistance to the music program for enhancement of the curriculum in addition to that provided by the school campus/district.

School music organization uniforms should be provided by the school campus/district.

Equipment

Every room in which music is taught needs:

• A high-quality sound reproduction system capable of utilizing current technology.

• Access to a high-quality acoustic or electronic piano

• Sound recordings representing a wide variety of music styles and cultures

Choral music rooms should have: a set of portable choral risers, music chairs, music stands, conductor podium, conductor stand, music folder storage cabinet, and an acoustic piano.

The following are necessary for string programs: violins, violas, cellos, and double basses, along with music stands, conductor podium, conductor stand, and music folder storage cabinet.

The following are necessary in sufficient quantity for wind programs (band): C piccolos, E-Flat clarinets, Bb clarinets, bass clarinets, contrabass clarinets, alto saxophones, tenor saxophones, baritone saxophones, oboes, english horns, bassoons, trumpets (cornets), double french horns, euphoniums, trombones, bass trombones, tubas, concert snare drums, concert bass drums, crash cymbals, suspended cymbals, pedal timpani, tambourines, triangles, xylophones, marimbas, orchestra bells, chimes, trap drum sets, gongs, harps, drum stands, movable percussion cabinets, drums for marching band (if offered), tuba chairs, sturdy music stands, conductors’ stands, podiums, tuning devices, music folder cabinet, chairs designed for music classes.

A method of instrument inventory is essential that shows the date of purchase of each instrument, its use by students, and repairs. The life of an instrument is variable, but rarely exceeds fifteen years. A schedule of replacements can be devised for each campus, so that an inventory may be maintained that is appropriate for student success and is related to a percentage of the inventory replacement cost.

All school districts should make instrument purchases on bid with specifications written that will result in instruments appropriate for school use. There are many variations of instrumental “models” from the various manufactors –designed for professional use, beginner use, and a wide variety between. The life expectancy of an instrument will be determined, in large part, by how well it is constructed and the materials used in construction. Costs of a single instrument, such as a tuba or bassoon, may range from $3,000 to $20,000. The least expensive may not be well constructed, but neither is the most expensive reasonable for school use. Purchasing agents and principals should have the expert advice of a music consultant (music supervisor where possible) in writing bid specifications and reviewing the bids for school purchases. If no music consultant is available to the county, administrators may contact the FSMA Office for a recommendation or assistance.

Facility

In considering the music facility, the following items must be taken into account:
Proper acoustics require specific amounts of space, measured in cubic volume.

• Music education is a physical activity that requires more space than other curriculum – vocalists and instrumentalists need room to move and perform.

• Instructors need room to demonstrate, observe and also perform

• Instrumentalists need more space than vocalists to accommodate their instruments and music stands. As there are specific differences in the needs of choral programs and instrumental, there must be separate rehearsal rooms for each. When possible, it would be desirable to have separate rehearsal spaces for band and orchestra.

ª Student traffic is more concentrated and hurried in the music areas and the floor plan must provide adequate space to eliminate congestion and ensure excellent traffic flow.

• A vast amount of valuable equipment requires secure storage.

Administrators in established buildings may have little leeway in many of these areas. If facilities are less than adequate, however, attention may be given to acoustical and lighting modification which can be improved with minor renovations. The provision of storage units or areas for music equipment may also be able to be addressed with minor renovations.

Room Sizes

Excellent acoustics demand adequate cubic room volume, achieved with higher ceilings and ample floor space.

Rooms that are too small result in dangerously high sound-pressure levels. Rehearsing in an excessively loud room is extremely stressful for both students and teachers and can cause permanent hearing loss over a period of time. Concert bands, marching bands, orchestras, and jazz bands generate especially high sound-pressure levels.

Rehearsal rooms must allow for physical activity: instrumentalists need space for their instruments and the elbow room to play them. Choir members need space for vocal exercises and choreography. The space must also accommodate equipment and traffic flow.

A minimum of 1,800 square feet for the chorus and 2,500 square feet for band should be allowed, even if the ensembles are small. If the groups are larger than 60-75 for instrumentalists, or 60-80 for vocalists, then use the specified number of square feet per student which takes into consideration additional space requirements such as aisles, storage, etc.

***Floor Space Requirements***
*Band/Orchestra*	*2500 min for 60-75 students*	*30-35 sq.ft./student over 75 students.*
*Choral*	*1800 min for 60-80 students*	*20-25 sq.ft./student over 80 students*
*Elementary Music*	*1200 min for 25-30 students w/ ceiling height of 12-16 ft.*

***Cubic Volume Requirements***
Room	Class Size/#Students	Ceiling Height	Floor (sq.ft.)	938
Choral Rehearsal	60-80	16-20 ft	1800	350-500 cu.ft.
Band/Orchestra Reh.	60-75	18-22	2500	550-700 cu ft.

***Reverberation***

Good acoustics are dependent upon the combination of absorption and diffusion of sound. Music environments must be individually treated, depending on their shape, volume, etc. Every room is different, but ideal reverberation times would fall within these guidelines:
Choral Rehearsal	reverberation up to 1.3 seconds
Band/Orchestra Rehearsal	reverberation 0.8 - 1.0 seconds
Performance Area	reverberation 1.25 - 2.25 seconds

Other General Guidelines for Music Rooms

Rehearsal rooms, practice rooms, and instrument storage rooms need to maintain a year-round temperature range between 68-70 degrees with humidity between 40-50% and an air-exchanged rate double that of regular classrooms. Lighting and ventilation systems should be designed so that rehearsal rooms have a Noise Criterion (NC) level not to exceed NC25, ensemble rooms, teaching studios, and electronic/keyboard rooms not to exceed NC30, and practice rooms not to exceed NC35. Lighting requirements must be set at 70-100 candles to help students read music scores. Certain fluorescent lighting generates a slightly flat Bb pitch, creating a constant sense of discordance that can make it impossible for students to tune a concert A or concert Bb. Fluorescent lighting must use electronic quiet ballasts, or place ballasts outside the room.

Rehearsal rooms need double entry doors, nonparallel or acoustically treated walls, and a sound transmission classification (STC) of at least STC50 for the interior and exterior walls and at least STC45 for doors and windows. One set of doors to instrumental music rooms must be 40" to accommodate large instruments moving in and out of the area. The interior walls of the rehearsal rooms must extend to the ultimate roof for proper sound isolation.

Sufficient secured storage space is necessary in every school to store instruments, equipment, and instructional materials. Cabinets and shelving are needed, as well as lockers for the storage of instruments in daily use. The space should be located immediately adjacent to the rehearsal facilities. Because of the large numbers of students needing access in short periods of time, exits and entrances into storage areas must be carefully planned.

In order that every student may have convenient, private access to his or her teacher for consultation and help, office space should be provided for every music educator. Situating the space adjacent to the instructional area provides for convenient supervision of the area. Convenient access to a telephone is also necessary.

Marching band practice fields should be located conveniently to the indoor rehearsal area.

Practice Rooms
Small Practice	2 students	25-40 sq.ft.
Keyboard practice	2 students	55-60 sq.ft.
Small group	4 students	75-80 sq.ft.
Medium group	6 students	95-100 sq.ft.
Ensemble practice	15 students	350-450 sq.ft.

Additional Rooms
Offices	1 teacher	100-200 sq.ft.
Instrument Repair	1-3 people	50-75 sq.ft.
Commons area	large groups	500-700 sq.ft.

Storage Areas
Auxiliary	color guard, booster	600-800 sq.ft.
Instruments	150-200 instruments	4 sq.ft per instrument or 600-800 sq.ft.
Choral robes	100 robes	2.5 sq.ft. per garment or 150-250 * sq.ft. (2-4" per hanging robe)
Band/Orchestra	100 uniforms	3 sq.ft. per garment or 300-400 * sq.ft. (4-5" per hanging garment)

Music Storage
Titles	High Density Storage Systems	Standard File Cabinets
500	35 sq.ft.	65 sq.ft.
1000	70 sq.ft.	130 sq.ft.
2000	140 sq.ft.	260 sq.ft.
3000	210 sq.ft.	390 sq.ft.

Success Indicators for
Music Programs

Administrators considering the overall success of their campus music program might examine the following indicators:

Curriculum: There is evidence of careful adherence to and utilization of the Sunshine State Standards as shown in the Curriculum Framework for the Arts. Lesson and unit plans showing goals and benchmarks should be available.
Literature: Music selected for performance is acceptable for the level of the students, and contributes to their educational and musical growth. Students should not sing inappropriate lyrics; refer to the established lists of music recommended by the FBA, FOA, FVA, FEMEA. In educational contexts, the use of religious music is acceptable, but care should be taken not to single out a specific religious denomination
Sound: The music organization demonstrates an appropriate sound for their performance ability. Administrators may wish to review critique sheets from FBA, FOA, or FVA Evaluation/Festivals for professional comments, or if seeking professional “ears,” contact the county music supervisor, or the FSMA office for a “master teacher” in your area to assist in a review process
Professionalism: the director conducts him/herself according to professional ethics, and participates in professional organizations for continued growth and an awareness of trends within the music education field. Teachers work on professional development (self-directed staff development) and are members in their professional organizations. (Florida Music Educators Association, Florida Bandmasters Association, Florida Vocal Association, Florida Orchestra Association, Florida Elementary Music Educators Association, MENC: the National Association for Music Educa-tion, American String Teachers Association, the American Choral Directors Association, etc.) A majority of their re-certification is within their teaching field.
Participation in evaluation/festivals (secondary only): this is a “snapshot” of the performing music organization. Taken with the other elements listed here, ratings achieved will be an indicator of the success of the program.
Participation in All-State auditions: the director encourages and motivates students to participate in personal musical development and assists appropriately for preparation for auditions.
Appropriate performances: the number of performances should be commensurate with the educational role of the music program. Time out of class for performances is minimal.
Equipment and maintenance: consider handling and storage of equipment. Storage areas are organized and clean; instruments are put away with cases closed and latched.
Organizational skills: the music director has appropriate organizational skills to meet deadlines, plans the logistics associated with performances, facilitates booster activities, etc.
Enrollment in program: consider proportion of general popula-tion enrolled. (See the 1998-1999 FSMA Statistics on Music Evaluation Festivals)
Population of music organizations reflects population of the school (racially, socio-economically, gender): a music program must be all-inclusive of the members of the school community, and reflective of that communities’ make-up.
Appropriate use of student time: music organizations are scheduled for an appropriate number of hours for after school rehearsals. Performances during the school day are planned and approved with minimal disruption to academic classes.
Music director seen as team player within school community: the music director takes part in faculty meetings, serves on planning committees, and interacts within the school community.
All qualified students have the opportunity for leadership:students are encouraged to develop their leadership skills within the music organizations and have access to leadership positions.
Music program integrated into the campus community: the music organizations regularly perform at appropriate occasions for members of the student body, and contribute to the “spirit” of the student community.
Parental involvement: consider participation at music events, attendance at concerts, participation in booster organizations and their activities
Community involvement: music organizations contribute to community’s activities as appropriate for educational groups. School music groups are not utilized in place of professional musicians.
Public response: consider attendance at concerts, community awareness of the program. Programming should elicit a positive response from an audience.

Administrative
Contributions

Administrators should consider the following elements as indicative of
their support of the music programs:

Interest and participation in music programs, shown by attendance
at performances, festivals, parent meetings, rehearsals, conferences
with director.
Allowance of professional leave for music teachers to attend
music in-service/conferences (and funds substitute teachers as
needed).
Coordination of an accessible schedule allowing for the participa-tion
of students in the music programs at the appropriate level for
the student.
Appropriate budgeting for short and long-term needs of the music
programs.
Facilitation of articulation between high school, middle school,
and elementary (assisted by music coordinator or supervisor).
Ability to describe the place of the Arts within the general
curriculum and support Arts education within the school community.