Bookends – Part One

The Life Cycle of a Successful & Happy Music Educator

“There are no secrets to success. It is the result of preparation, hard work, and learning from failure.”

Colin Powell

I feel blessed to have spent five decades in the field of music education. No other career has offered so much personal satisfaction, discoveries and growth of hidden potentials and skills I never knew I had, sharing my love of creative self-expression, and facilitating others to seek their own connections to music. I am trying to follow my own “retirement” advice, remaining active in the profession in ways that matter, helping others find their own success, and embracing author Ernie Zelinski’s mantra to “find purpose, structure, and community” throughout my years as a retiree.

Parallel to the mission of the Pennsylvania Music Educators Association Council for Teacher Training, Recruitment, and Retention, serving “the life cycle of a music educator,” this blog site is my “gift” to future and current music educators and those contemplating retirement. Recently, I presented a workshop on this topic for student teachers in music education at Seton Hill University (Westmoreland County, Greensburg, PA), summarizing a framework for “professional development for life” in order to foster these goals and nurture meaningful successes of pre-service music educators. No “road map” (or to retain the analogy in my title, “library” of resources) is applicable to everyone nor will the journeys/readings be the same… but since my collections of past blogs over ten years are now vast, I offer this simplified checklist for any “newbie” interested to seek their own pathway. Happy travels!

1. Preservice/Training Years: Marketing, Interviewing, & Networking
2. Rookie/Practicing Years: Ethics & Professionalism 101
3. Inservice/Growing Years: Career Development (next blog post)
4. Veteran/Sustaining Years: Time Management & Self-Care (next blog post)
5. Next Chapter/Living the Dream Years: Retirement Prep & Mastery (next blog post)

The slides to the entire presentation are open to anyone to view below.

bookends-slides-for-website-s101823Download

However, here’s a shamelessly offered advertisement. It would make more sense to see this “in-person” or online with my moderation. I would be happy to present this session (giving me at least an hour to allow for more interactive discussion) to collegiate members, a music education methods class, a regional workshop, or festival meeting via Zoom or in-person (in PA). If interested or to inquire, please send me an email here.

Now… the checklists. Depending on your current status and interests, peruse the following resources. It is possible a few of the links contained within these blogs have gone inactive, but I believe enough is there for you to gain the insight, tools and motivation to achieve “professional development for life.”

Stage 1 – Preservice/Training Years

The focus during our early years in any profession is learning the “shtick” and getting ready for the job search and interviewing. Probably before anything, we revisit our inspiration and what Simon Sinek directs us to “the why” of any organization… in this case, “the why” of becoming a music educator – our philosophy, mission, vision, and understanding of the purpose/role of music education n the schools.

[ ] 1. The Meaning of Pro: Are you a professional? Do you have the skills, habits, and attitudes of a professional in the field of education?

[ ] 2. Marketing Yourself and Your Pre-K to 12 Music Certification: What is your professional “brand?” Do you plan to “sell” yourself as a specialist, e.g., “band director” or “elementary general music teacher, etc.? To those potential job candidate screeners, promote the image of being proficient – “a total music educator” – and don’t emphasize your major/emphasis or perceived skill or experience limitations. The only thing that really matters is whether you are the “right fit” for a particular opening, and of course, deciding whether or not to accept the offer. Your license (certification) implies that you do indeed have the necessary training to teach all K-12 music classes. Don’t sell yourself short!

[ ] 3. Criteria for Selection of the “Ideal” Teacher Candidate: The best way to prepare for a job interview is to become aware of how you will be judged in comparison with your peers. What are the standards (or behaviors or criteria) of outstanding teachers? For what are administrators looking to fill the vacancies and build/maintain a quality staff?

[ ] 4. “S” is for Successful Storytelling: The number one method to land a job is “SHOW, don’t TELL!” Stories are up to 22 times more effective than facts alone. Identify the key impressions you want to convey. Pick interview stories that will “sell” the right message. Learn how to share unique personal examples of your interactions with children, colleagues, and music programs. These additional resources can be shared about “strategic storytelling” and how to prepare (a.k. practice) telling your anecdotes:

• “Harnessing the Power of Stories” by Jennifer Aaker, Professor of Marketing at the Stanford Graduate School of Business
• How to Effectively Use Storytelling in Interviews by Bill Baker

[ ] 5. The Ultimate Interview Primer for Pre-Service Music Teachers: This super-packet has a collection of more tips on marketing yourself and mastering the “science” of finding a job, interview strategies and sample questions, evaluative rubrics, follow-ups, “bad habits” to avoid, etc. Take the time to download and explore these excellent tools!

Homework for Stage 1 – Developing a Marketing Plan

• Standards: Define your personal mission, goals, and philosophy for teaching music, modeling the highest ideals of professionalism, and becoming the “total music educator.”
• Marketing: Design and distribute a “state-of-the-art” résumé, e-portfolio, website, and business card.
• Skills: Compile a list of anecdotes and true stories of you overcoming challenges, solving problems, and demonstrating  “best practices” of professionalism and self-improvement.
• Assessment: Practice, record, and evaluate yourself answering job interview questions.

Stage 2 – Rookie/Practicing Years

[ ] 6. Ethics for Music Educators – Part I, Part II, and Part III: You may think that the primary focus for our early years as a novice teacher would be the reinforcement of what we learned about education – curriculum, content, methods, classroom management, and assessment, but something else trumps all! Before we ever step foot in a classroom, rehearsal room, or stage, it is essential we first review those ethical standards in education, terminology, philosophy, and “the codes” that bind us. We should be able to show in depth understanding of these concepts:

• Fiduciary
• Moral Standard
• Ethical Standard
• Ethical Equilibrium
• Moral Professionalism
• Differences Between a Code of Conduct and a Code of Ethics
• Student-Teacher Boundaries and the Slippery Slope of Ambiguous Relationships
• Function/Relevance of “The Codes” to Daily Teacher Decision-Making

For nearly every presentation I do on “ethics for pre-service music educators,” I hold up a fifty dollar bill and ask, “Who wants this? Can you name the exact title of your state’s code of conduct for educators and the government agency that enforces it?” So far, no one has made me $50 poorer. Indeed, few active teachers “in the trenches” have read their “codes,” and frankly, that is surprising. Violation of any major provision in our code of conduct will result in a serious reprimand, being fired, losing one’s certificate to teach anywhere, and/or criminal/civil prosecutions. Wouldn’t you think all of us would be intimately familiar with the “rules” of our professional?

For my Pennsylvania colleagues, please download and READ these:

• PA Professional Practices and Standards Commission
• PA Code of Professional Practice and Conduct
• PA Educator Discipline Act
• PA Educator Ethics Toolkit
• Model Code of Ethics for Educators

[ ] 7. Ethical Scenarios (and More): The study of morality in professional decision-making is essential to pre- and in-service training of music teachers. Our goal should be to reinforce recommendations for the avoidance of inappropriate behavior (or even the appearance of impropriety), and defining and modeling the “best practices” of a serving as a “fiduciary” by promoting trust, fostering a safe environment for learning, acting in the best interests of our students, and upholding the overall integrity of the profession.

One of the best ways to accomplish this is to discuss ethical scenarios in small peer groups, an interactive exchange of opinions – “what would you do?” – in analyzing hypothetical case studies. Perhaps in a college methods class, student teaching seminar, department meeting, faculty committee, or PLC (Professional Learning Community), the following thought-provoking questions from the Facilitator Guide for Professional Responsibilities – Module 5, written by the Connecticut State Department of Education T.E.A.M. (Teacher Education & Mentoring) manual should be discussed in an open, reflective, nonthreatening setting:

1. What possible issues/concerns might this scenario raise?
2. How could this situation become a violation of the law, the “Code” or other school/district policies?
3. In this situation, what are some potential negative consequences for the teacher, students, parents, and/or school staff?
4. How would this episode affect a teacher’s efficacy in his/her classroom, demean the employing school entity, or damage her position as a moral exemplar in the community?

Please visit link #7 (above) for sources of ethical scenarios to study, including my “conundrum series.”

Homework for Stage 2 – Are you an Ethical Educator?

1. Self-assess your own habits of professionalism, and identify goals for at least two “personal improvement projects.”
2. Read “cover-to-cover” any documents relating to your own state’s code of conduct and the NASDTEC Model Code of Ethics for Educators.
3. Discuss the ramifications of “choices” and teacher decision-making in context by reading a few of the fictitious scenarios highlighting ethical precautions, disputes, and “conundrums.”

Coming Soon…

Bookends Part Two

PKF

© 2023 Paul K. Fox

On the Road Again (2023)

“Doing My Thing…” — Professional Development Conferences for Music Educators

It’s been awhile since I posted here… arguably the longest editorial break I have taken since retirement and starting this blog-site. What’s that line retirees often say? “It’s a good thing I am retired from my job; otherwise I would not have enough time to do everything!”

This has been an extremely busy couple months of renovating three bathrooms, promoting the 30th Anniversary Gala Celebration of the Community Foundation of Upper St. Clair featuring a CASINO NIGHT & the local band NO BAD JUJU (to which I can’t even go because it is on the same day as PMEA), staffing a transition of new editors and an office manager for the UPPER ST. CLAIR TODAY community magazine, “keeping my hand in” by conducting a small nonprofit community ensemble (now in our 40th season of the South Hills Junior Orchestra), volunteering at the hospital (see my Tales from a Wheelchair Jockey article), developing new PDE Act 45 and 48 programs on ethics (school system leaders and educators respectively), and… (deep breath): preparing four PowerPoint presentations for two music conferences in April. Yes, and loving every minute of this frenzied activity!

Pennsylvania and Eastern Division music education colleagues: Hopefully by now, you have registered for the coming conferences on the horizon:

NAfME Eastern Division Conference, April 13-16, 2023, Rochester, NY

PMEA Annual Conference, April 19-22, 2023, in the Poconos

Now to quote the inspiration of Simon Sinek — his theory of value proposition to ‘start with why’ — how leaders can inspire cooperation, trust, and change based on research into how the most successful organizations think, act, and communicate if they start with why. Check out his rationale with The Golden Circle:

The “why” of attending your professional development conferences, “sharpening your saw” (self-renewal by Stephen Covey) aka “recharging your batteries,” learning what’s new and innovative on the forefront of “the state of the art,” and networking with colleagues, and has been addressed often in past blogs:

• It’s Time for… the PMEA Summer Conference: BLOG 164,
• PMEA’s Unique “Together” Conference: BLOG 159,
• Spring is for… Music Conferences! BLOG 151,
• and especially The PMEA State Conference Primer: BLOG 55.
• Also check out this article in Majoring in Music website..

Simply put — to maintain your mastery of music and methods and build on your “best practices” and professionalism, you MUST attend as many educational conferences and workshops as possible!

Now to my “bags of tricks” for April 2023

Mark your calendars:

April 15, 2023 at 10:45 a.m. in Hyatt Susan B. Anthony (NAfME) – OR –
April 21, 2023 at 11:30 p.m. in Kalahari Suite 40/50 (PMEA)

I was blessed to have been asked to present THE INTERVIEW CLINIC — Practicing & Playacting to Improve Your Performance at Employment Screenings at both the NAfME and PMEA conferences. This will be FUN! Perfect for college music education majors, soon-to-be or recent graduates, new transfers to the profession, teachers seeking to change positions while openings seem to be “heating up,” or first-timers looking for employment, the session targets will provide interactive exercises to build self-confidence and develop better insights, practices, and strategies to successfully land a job. “The key is in the preparation” of:

• Standards—Defining/modeling professionalism, versatility, and ethics
• Marketing—Branding, networking, and selling yourself
• Skills—Interviewing, storytelling, and organizing
• Assessment—Observing, reviewing, diagnosing, and improving

Interactive exercises, you say? Yes! Get ready to meet new people and perhaps dive into a few activities slightly outside your “comfort zone!” (We promise NOT to embarrass anyone!) We will break up into small groups or “duet partners,” and explore defining our professional “essence,” telling anecdotes about our strengths and past problems we have “crushed,” and focusing on learning “the golden gift of gab” — storytelling.

Portions of this workshop will come from material in the past posts Storytelling, etc. Part 2 and When it Comes to Getting-a-Job, S Is for Successful Storytelling. (Your homework? Peruse these before coming to either session at NAfME or PMEA!)

As always, articles, resources, and slide summaries will be posted under the “Training/Jobs” menu tab (above).

Mark your calendars:

April 20, 2023 at 3:00 p.m. in Kalahari Suite 30 (PMEA)

How many of you feel at times a little overwhelmed, exhausted, stressed out, disorganized, demoralized, or disenfranchised?

Are you at the end of your rope and wondering how you’re going to “keep it all together” over the next week, month, year?

Is your health is interfering with your ability to do your job and find success, balance, and meaning in your personal life and relationships? Then… it is time for a change.

We are still dealing with the effects of the pandemic which has brought on a “gap year” to most of our music programs, the stress of “working harder not smarter,” more teacher burnouts, and the resulting bail outs, staff shortages, and/or job cuts. We need to embrace NEW strategies for personal self-care and SEL (social and emotional learning). Do you still enjoy teaching? How have you coped with all of the changes? How will you achieve a better work/life balance and skills in time/priority management and personal health and wellness?

The prescriptions and RECIPES towards stress reduction and developing a self-care plan are here! Doug Sands, a consulting hypnotist and founder of AnywhereHypnosis.com, joins me to “throw in everything and the kitchen sink” to alleviate these problems, with NO cookie-cutter, “one-size-fits-all” solutions from the chefs:

• What has COVID done to all of us?
• Instant personal online stress assessment
• Taking an inventory of the ingredients towards a healthier lifestyle
• Definitions, symptoms, and remediations for teacher stress and burnout
• Why teachers are so exhausted and what to do about it
• Time management tips
• Breathe like a Navy SEAL
• Coping and learning “acceptance”
• How to “coach overwhelm!”
• The role of meals, movement, music, and mindfulness (thank you, Lesley Moffat!)
• From MEJ: A suggested self-care plan and “cognitive distortions” to avoid
• Focusing on ONE self-care strategy from a “sea of solutions”

We’re in this together… so we need to join forces and SHARE the secret recipes for a happier life! Add your own “baking tips,” and I promise, you’ll leave with a better understanding of how we all can celebrate the coming year or decades in music education!

By the way, my “mindfulness partner” for this workshop, Doug Sands, promises us he will not hypnotize any of us during this session (although he could!).

For more about his work, including “15 Rapid Tools (and Counting) to Wipe Out Anxiety, Stress, and Panic,” please go to his website here.

You are invited to stop in to see him at his PMEA booth in the Kalahari exhibit hall.

POST-CONFERENCE NOTE: Doug sent us his Anti-Panic Toolkit entitled, 15 Rapid Tools (and Counting) to Wipe out Anxiety, Stress, and Panic – Wherever They Strike! Click here.

If you would like a sneak preview of the revised handout for the Self-Care workshop, go to the Care menu section at the top menu bar.

Taking a peek at our recent past…

Workshop for Orchestra & String Teachers

In case you missed the PMEA District 5 Professional Development Day, my wife Donna and I presented “Plucking Our Minds” at Grove City College on February 20, 2023.

We were privileged to “share some of our secret sauces” gleaned from over 80 combined years of experience on a variety of topics:

• CommUNITY Music-Making
• Online Academy
• Summer String Camp
• Assessment Projects
• Collaborative/Creativity Projects
• Library of “Fox Firesides”

If would be a shame to waste these resources… and reading them could inspire new adaptations to your instrumental program.

Click here for a copy of the slide handouts. Feel free to comment (above) or send an email to me (paulkfox.usc@gmail.com) if you have any questions.

Our Crystal Ball

Future Accredited Workshops on Ethics in Education

Are you aware that the Pennsylvania Department of Education (PDE) has recently revised the PA educators’ Code of Professional Practice and Conduct AND adopted the Model Code of Ethics for Educators developed by the National Association of State Directors for Teacher Education and Certification? Have you seen the new Professional Ethics Program Framework Guidelines? PA Chapter 49 requires instruction in professional ethics to be integrated in educator preparation, induction, and continuing professional development programs as follows:

• Continuing professional development programs must integrate the professional ethics competencies no later than the 2023-24 academic year.
• Educator preparation and induction programs must integrate the professional ethics competencies no later than the 2024-25 academic year.

Not one to let grass grow (or mud sink) under his feet, retired social studies teacher, current attorney-at-law, and past PMEA conference presenter Thomas Bailey has partnered with me to design new ethics training classes for school system leaders (25-hour Act 45 PIL course) and educators (four-hour Act 48 continuing education course). In addition, we are introducing a new “hybrid” program for school administrators involving four-hour pre-recorded asynchronous webcasts (site license), along with a three-hour synchronous webinar using the webcast videos and adding facilitated interactive discussions of three ethical case studies either via Zoom OR in-person follow-up workshops led by both clinicians.

In Depth Ethics Training for PA Educators:

• PA Model Code of Ethics for Educators
• PA Code of Professional Practice and Conduct
• Professional Standards and Practices Commission
• PA Educator Discipline Act

Click here for to register for Act 45 PIL Course.
Next series: April 25, May 2, 9, & 16, 2023

Click here for more information on the Ethics Webcast/Webinar and general information/landing page for the TWBaileyLaw website.

Click here for timeline of educator ethics presentations and clinicians’ bios.

Also review the Educators Court Case Blog and William Penn SD vs. PDE Blog.

Numerous articles have already been published on the subject of educator ethics, professionalism, and decision-making:

• All blogs in reverse chronological order: https://paulfox.blog/category/ethics/
• Ethics for Music Educators — Part I: BLOG 64
• Ethics for Music Educators — Part II: BLOG 65
• Ethics for Music Educators — Part III: BLOG 66
• Ethics Follow-up: BLOG 69
• Social Media — Boon or Nemesis: BLOG 81
• Ethical Conundrums Revisited — Part I: BLOG 87
• Ethical Conundrums Revisited — Part II: BLOG 91
• Collegiates — Clean Up Your Social Media: BLOG 104
• Ethical Scenarios: BLOG 114
• Model Code of Ethics for Educators: BLOG 149
• Studies in Educator Ethics Case Law: BLOG 153
• PA Educator Ethics Update: BLOG 156

Hope to see you at one of these conferences or workshop sessions! Yes, it means a lot more to attend these IN PERSON!

PKF

© 2023 Paul K. Fox

Two New PMEA Scholarships

This message goes out to all of my Pennsylvania music education colleagues and especially any currently enrolled Freshman through Graduate college students in the Commonwealth.

My wife and I are proud to announce the launch of two new scholarships for the 2023-24 school year, financed by the Stark-Fox Family Fund, and managed by the Pennsylvania Music Educators Association (PMEA). Official applications will be available soon (spring semester 2023) on the PMEA website here. All materials are due on or before June 1, 2023.

Do you know someone who is currently attending a PA university, college, or conservatory? Is he or she majoring in music education AND is a member of Pennsylvania Collegiate Music Educators Association (PCMEA) OR majoring in a science-technology-engineering-mathematics (or related) field of study AND participating in their collegiate music ensemble for credit?

Then… SPREAD THE WORD!

Here is a general summary of the eligibility requirements and expectations for application approval, subject to change by the PMEA EXCOM and staff. A performance video (or submission of an original composition) is required for either scholarship, and interested candidates could begin now (during the semester break) to prepare their piece(s), update their resume, assemble a digital portfolio, and write the essay.

PMEA Council TTRR Continuing Music Education Award

• Amount and number of scholarships may vary from year-to-year
• Full-time enrollment of at least one year (two complete semesters) as an undergraduate or graduate music education major in an accredited PA institution
• Nonrenewable (selection of a different candidate each year)
• Paid directly to candidate as reimbursement for college tuition, dorm/apartment rent, meals on campus, textbook purchases, and/or the purchase of a new instrument (must provide receipts)
• Blind judging by PMEA members with at least one member from the PMEA Council of Teacher Training, Recruitment, and Retention, PMEA EXCOM, and/or PMEA staff
• Criteria for selection
  • A minimum of at least one year as PCMEA member in good standing with letter of affirmation from the PCMEA sponsor
  • Submission of college transcript reflecting 3.5 GPA or higher
  • Demonstration of solo performance skills (recorded video) or submission of composition(s)
  • Presentation of a music education portfolio with sample lesson plans, philosophy, and development of creative instructional activities with a focus on the arts at the center of STEAM
  • Participation in at least one PMEA-sponsored professional development program e.g., the Annual Conference, Summer Conference, Webinar, or Regional Workshop
  • Completion of essay in response to the question “Why have you chosen a career in music education?” and portrayal of leadership and well-defined goals and aspirations towards a career in music education.
  • Letter of recommendation from at least one music education professor

https://www.pmea.net/council-for-ttrr/

PMEA Music-for-Lifelong-Learning Award

• Amount of scholarship may vary from year-to-year
• Full-time enrollment of at least one year (two complete semesters) as an undergraduate or graduate science-technology-engineering-mathematics major in an accredited PA institution
• Enrollment for at least one semester in a music performance course e.g., band, chamber music, chorus, jazz, or orchestra earning the letter grade of an “A” or equivalent with submission of letter of recommendation (and transcript) from ensemble director
• Nonrenewable (selection of a different candidate each year)
• Paid directly to candidate as reimbursement for college tuition, dorm/apartment rent, meals on campus, textbook purchases, and/or the purchase of a new instrument (must provide receipts)
• Blind judging by PMEA members with at least one member from the PMEA Council of Teacher Training, Recruitment, and Retention, PMEA EXCOM, and/or PMEA staff
• Criteria for selection
  • 3.5 GPA or higher on college transcripts
  • Demonstration of solo performance skills (recorded video)
  • Presentation of a music portfolio with high school and college history of participation in music ensembles and pursuits in creative self-expression, concert programs, and/or evidence of the development of creative activities or projects with a focus on the arts at the center of STEAM
  • Completion of essay that reflects musical leadership, community service, and/or the ccandidate’s rationale and aspirations for the continuation of “music study as a life-skill”
  • Response to the question, “How does the study of music enhance your knowledge, skills, and depth of understanding for a career in science-technology-engineering-mathematics?”

We are hopeful that these will become annual awards of substantial amounts (with a goal of at least $5K to $15K per person based on market conditions), provided as reimbursement of the scholarship recipient’s higher education expenses. If you are a potentially eligible candidate, get to work on the selection process and documentation NOW and… good luck!

PKF

stark-fox-family-fund-scholarships-010923Download

The Stark-Fox Family Fund supports PMEA and PCMEA.

© 2022 Paul K. Fox

In Case You’re Worried… the Status of “The Fox”

If you are a frequent visitor to this blog site, you may have noticed that, for some reason, I haven’t posted anything for almost two whole months. Cat got my tongue? Nothing to add? Busy with other things?

We have been doing what comes naturally! The most important “stuff!” Although hectic at times and in a frenzied pace, all is well! My wife and I are healthy, happy, actively engaged in the projects that matter to us, and mastering those all-essential ingredients in a healthy lifestyle (retired or not): “finding purpose, structure, and community” (reference to the book How to Retire Happy, Wild, and Free by Ernie Zelinski).

Well, I can tell you I am still vested in volunteering my expertise, experiences, and services on a number of fronts. Normally extremely verbal, I just have not had a couple hours to spare to write anything down or contribute to the voluminous material to what has become a massive archive of articles (editorials and how-to’s), links, and other resources.

What have I been doing lately?

First off, we are just finishing up our marching band season. As the official admin and announcer for the “Pride of Upper St. Clair” Marching Band (I spend my time inside, not directing practices on the fields), I attend all rehearsals as attendance bookkeeper, forms manager, librarian, quasi-nurse, and when necessary, act as a sounding board or shoulder to lean on for “the band director.” This was our first year going “competitive,” participating in regional festivals of Pennsylvania Interscholastic Marching Band Association (PIMBA), and by all accounts, “we” achieved excellence. The band is unrecognizable from past years – the students are much more committed and focused – but we still have a ways to go!

Of course, all during this, our football team made it to the playoffs. On Friday, we will support our team in the “first round” WPIAL Class 5A match at Gateway HS. The extended season brings with it challenges of its own (keeping the band members on-task and embracing new goals), but the rewards outweigh the extra rehearsals. And, all through this, we are making plans (and building excitement) for the launch of the first-ever USCHS winter guard and drumline programs!

Funny thing! I’m now a part of the band’s “brand.” For 38+ years, I have been “the voice” announcing the pregame and halftime shows for Upper St. Clair High School. I’ve also emceed a couple dozen of the USCHS Marching Band Festivals, plus senior recognitions, USC Halls-of-Fame exhibitions in the stadium, and outside music invitationals. It is truly a joy to “cheerlead” our musicians… and my wife would tell you, I have a very loud broadcaster’s voice! And now, ladies and gentlemen…

In two weeks, I will conduct the fall concert of our community ensemble South Hills Junior Orchestra, now in its 40th year. Although COVID did its best to wipe out our enrollments and recruitment efforts, our online academy kept things going, and we now support a small but dedicated chamber group. (Surprisingly, I have a good balance of instrumentation including sometimes rarely-found musicians on French Horn, bassoon, bass clarinet, electric bass, and piano, but one of my trumpet players is having to read clarinet parts.) Our theme is in support of Ukraine. We just “stumbled upon” several appropriate folk songs from the region, including the tribal tunes of Russian Fantasy (Robert Bennett Brown), the ever-popular Ukrainian Bell Carol, Dance of the Slave Maidens from “Prince Igor” (by Borodin, part of the “Russian Five”), and Slovakian Folk Songs (bordering Ukraine).

After this concert, we will prepare a holiday program for a nearby assisted-living facility with most of the SHJO members each taking a turn to conduct the sing-along of carols and seasonal favorites.

If interested, we warehoused a lot of our old SHJO Online Academy media and lessons here. (Use the password symphony.)

Staying involved in my professional associations, I am happy to report I was accepted to present at two conferences, the National Association for Music Education (NAfME) Eastern Division event in Rochester, NY on April 13-16, 2023 and the Pennsylvania Music Educators Association (PMEA) Annual In-Service at the Kalahari Resort/Poconos on April 20-22, 2023. I have been asked to do my interview clinic session at both conferences and a workshop for PMEA on music educator burnout remediation, self-care, health and wellness.

In the meanwhile, not to let any grass grow under my feet (or more leaves to fall on my head), locally I have been giving teacher ethics presentations at Slippery Rock University of Pennsylvania (a wonderful class of 44 freshman music education majors – the future looks good!) and Washington & Jefferson College undergraduate and graduate education majors.

I open my session offering to give a hundred dollar bill to the first student who can correctly name the exact title of their educator’s code of conduct (PA Code of Professional Practice and Conduct – CPPC) and identify the agency which enforces it (PA Professional Standards and Practices Commission – PSPC). No one ever guesses it. (I could also likely get away with this challenge at any school faculty meeting in the Commonwealth! Educators seldom receive formal ethics training in our state – that’s why I am sharing these recent updates from the PA Department of Education!) Now that I have publicized “the big question,” I guess I’d better put away that C-note for good!

A sampling of my slides and handouts are available for perusal from the top section of the “Training/Jobs” menu bar link here, or you can find past blogs on the subject of educator decision-making presented in reverse chronological order here.

In a similar vein (and with equal passion), I have teamed-up with retired social studies teacher and attorney-at-law Thomas Bailey to sponsor continuing education classes for both educators and administrators. I am inspired by Tom’s knowledge of the PA regulation framework and school law. We just finished an excellent 25-hour approved non-PDE Act 45 course for school system leaders. You should visit his informative website here, and especially check out his court case blog here. If you are a school superintendent or administrator, our next series of online classes will begin on November 29; register for the course here.

Additional future projects include assisting on the PMEA Strategic Planning committee for “member engagement,” planning for the PMEA CRESCENDO virtual student conference scheduled for January 31, 2023 (more info here), and serving on the PMEA Council for Teacher Training, Recruitment, and Retention (I am state chair) – “the life cycle of an educator.” A wealth of free information for music educators (which I try to revise frequently) is available on sections of the PMEA website: the Council TTRR focus area (click here) and Retired Members (click here).

Outside the scope of teaching profession, I have been active as Communications Director, Fine and Performing Arts Chair, and Trustee of the Community Foundation of Upper St. Clair (CFUSC). I publicize a weekly eUPDATE (samples on the website here) to announce our township events for donors and supporters, serve as “the duck maestro” – the mascot for the annual duck races on USC Community Day, and look forward to organizing “a really big party” in celebration of the CFUSC’s 30th anniversary on April 21, 2023 at the St. Clair Country Club… although I will be in the Poconos on the same date doing a PMEA workshop! The Fox calendar is bursting with a few overlapping dates!

Besides all of the above, I am still volunteering at the hospital several days a week, pushing wheelchairs to/from procedure rooms at St. Clair Health. One thing you realize helping out in your hometown (the place you taught all those years)… you will run into many of your former students now grown up with kids of their own. It is a real joy to see them again (albeit due to the need for a colonoscopy or surgical procedure), and catch up with all those memories, their life’s successes, and future dreams.

The only personal goal that remains unfinished is consideration on how I can better distribute (dare I say “promote”) the numerous blogs that remain timely and relevant at this website. It’s just a little too overwhelming (and dense) for some passersby. A few of the links in the earlier postings may have expired and need to be updated. However, a lot of my insight, hard earned perspective (with sweat and tears), and past experiences have been poured into these writings, and I could only hope many of them could become useful tools for college music education majors, the rookie educator, those feeling challenged by today’s post-COVID times, or anyone recently transferring into the profession. Here’s another list of menus… go ahead, sight-see and enjoy the journey!

• Creativity in Education
• Educator self-care, health and wellness
• Ethics
• Fox’s Firesides (geared for students – on practicing and leadership development)
• Interviewing
• Pre- and In-Service Training and Job Hunting
• Preparing for Retirement

As you can see, I am not really retired… perhaps a better term would be “refired” or “redirected” or “reinvented.” If you are already “living the dream” in your post-full-time employment years or anticipate this happening in the near future, that’s how it’s done. That’s what I wish for you, too! Do you want to live-it-up to Moses’ age – supposedly 120 years old? Then, you better plan to be physically and mentally active and engaged! After all, a mind is a terrible thing to waste!

PKF

© 2022 Paul K. Fox

Hacks for Music Teachers – Part 2

More Tips, Tricks, & Techniques to Help You Organize

As you can see, it has been awhile since I shared a blog-post. It looks like I went on vacation and skipped the entire month of July!

Well, truth be told, familiar to many of my band director friends, we are hitting the streets with a plethora of summer clinics, rehearsals, and camps to prepare for and usher in the season of parades, halftime shows, pre-games, festivals, competitions, etc., and although I am officially “retired,” I chose to re-up as “admin” to the “Pride of Upper St. Clair” – the marching band of the school from which I left in 2013. Serving as announcer for now more than 37 years, I decided to “put the pedal to the metal” and join the “band leadership team” to discover the joy of watching our ensemble “hatch” their new shows from scratch, re-awaken and build on their technique, inspire and grow their membership, and focus on “practice-practice-practice” and “making music!” I just finished a grueling week of those 12-14 hour band camp days spent in close partnership with 100+ of my favorite high school musicians.

Fantastic? Yes. Exhausting? Absolutely! It reminds me of 30-years-worth of nonstop days and nights of leading the annual spring musical as director/producer, including missing meals, dragging myself home to re-acquaint myself with my wife (who went through this, too), and dropping into bed. I have always said, quoting Ernie Zeliniski in his book How to Retire Happy, Wild and Free, it is important to find PURPOSE, structure, and community in retirement… but this hectic pace of frenzied activity at times tests my endurance. And, it feels a little like I never left teaching….

Therefore, I thought it would be appropriate to share some “advice from the experts” in terms of organizational tools and quick fixes or “hacks.” (See Part 1 on this topic.) This is only a gourmet “taste” of their ideas to simplify your life, work, and teaching. You should do yourself a favor and take more time to research the websites below for a complete explanation of their recommendations. We appreciate their generosity and willingness to be “free and open” to permit us to repeat their ideas in this forum.

Easy Time Savers for Instrumental Teachers

— Photo and article excerpt by Wendy Higdon

To get started with a “bang,” let’s visit Wendy Higdon’s “On and Off the Podium” website here, or the NAfME “Music in a Minuet” blog site which reprinted her Clever Music Teacher Hacks That Will Make Your Year Amazing – Getting Ahead of the Time Crunch.

• “Use rubber pencil grips as inexpensive thumb rest cushions on clarinets by cutting them in thirds. (see photo)
• Pink erasers work well as emergency rock stops for your cello and bass players
• Purchase golf pencils on the cheap to keep in the classroom so that forgetting a pencil never becomes an excuse. Kids won’t love using these short, little pencils, so they are less likely to walk away at the end of class.
• Three ring binders with sheet protectors help students keep organized and also cut down on lost music. If you want to be super-organized, add a pencil pouch and tab dividers in the binder.
• Strips of velcro on the carpeting work well as guides to where chairs should go and allow your students to quickly and easily straighten up the rows. (see photo)
• Print a sign with important information that your students frequently need (music store phone number, website addresses, etc.) and have them take a picture with their phone so they won’t have to ask you in the future. Do the same for important dates, locker combinations or anything else that is easily forgotten.
• Locker mirrors can be purchased cheaply during school supply sales. Buy a class set and use them to check embouchure and more!
• Did a clarinet or sax player forget their ligature? Or worse. . . it got stepped on and now it is as flat as a pancake! Use a rubber band to hold the reed on the mouthpiece until the student can get a new one.
• Does your baton get buried under all your conductor scores? Use a binder clip on the side of your music stand, and it will always be handy! (see photo)
• Do your beginning flute players have trouble remembering which keys the fingers of their left hand go on? Use “Avery Dot” stickers to mark the keys. You can do the same with clarinet pinky keys. Color code the keys on the right and left hand to assist students in learning their alternate fingerings. (see photo)”

There are a lot more “why didn’t I think of that” time management hints throughout the article. Also, be sure to check out her interesting Microsoft Word and Excel templates to use for your seating and locker assignments.

Band Directors Collaborate!

— Photo and article excerpt by Mike Doll

The middle school band directors in South Carolina got together and created a brainstorming session to share teaching tips and strategies with each other in order to improve their music programs. According to Mike Doll, editor of one of the blog posts Band Directors Talk Shop, “After the success of the first meeting, we decided to continue this on a regular basis, and we now do this 2-3 times a year for the past 10 years. These ‘best practices’ gatherings have been very informative, and we always walk away with several new ideas to try in our classrooms.”

Here are several ingenious ideas from their “toolkit” of Tricks of the Trade – Five Organizational Tips.

1. Music sorter stick
“One of our directors shared a neat way to sort music back into score order without multiple piles of different parts scattered around them on the floor. If you go online and search for Plastic Sort All, you will find the tool they use for this trick.”

“The director then used a label maker and created labels for each instrument in score order and attached them to the sorter in place of the letters and numbers on the end. “

2. Lines/tape on the floor for easy chair placement
“One director, with a tile floor, mentioned they would check with their maintenance folks and find out when the wax would be stripped from the floor. At that point, they would tie a string to their director stand and measure the distance to the first row. They would then attach a sharpie to the other end of the string and use it like a compass to draw arcs on the floor. Once the floor was waxed, the lines never came up. Gaffers tape also works on carpeted floors. At the end of each class, the director would have everyone look down to make sure the front chair legs were on the arc. Clean neat rows in seconds at the end of each period.”

5. SMART Band Student.

“Quick and clean set of expectations for your band students. A SMART band student is one who is:

• Silent
• Marks Mistakes
• Attentive
• Respectful
• Team Player”

The article’s “Tip #4” on Band Binders is reminiscent of what I had applied to my grades 5-8 string program. My wife utilizes something similar for her online music lessons. Rookie or new teachers, especially, check it out!

In addition, you should peruse their website for an inspiring collection of articles on a host of other topics:

• Habits of a Successful Middle School Band Director
• Organizing a Band DIRECTOR Calendar – 3 Tips
• Small Band Programs: Strategies for Success
• 5 Steps to Recruit More Tuba Players

Band Room Hacks

— Photo from Google’s Search of “Band Room Hacks on Pinterest” by Julia Arenas

How timely and appropriate! I stumbled on this Pinterest site, Band Room Hacks, a collection by Julia Arenas, and since I did not get advance permission to reprint her library of images, I will invite you to go explore them for yourself. At a quick glance, I see she has assembled from music colleagues a lot of excellent storage solutions as well as music teaching tools that may inspire you to modify/add your own new time-saving shortcuts.

Time and Task Management on Steroids

We round off our organizational hacks for music teachers with the brilliance of Ashley Danyew, and excerpts from her blog post 9 Time-Saving Tools and Tactics for Busy Music Teachers and Directors.

Although productivity experts like Stephen Covey in Seven Habits of Highly Effective People and the originators of the aforementioned (in Part 1) Priority Management System (a favorite of mine) may be most helpful, we can all learn from Ashley as she sums things up with these tips on supercharging ourselves in planning for a good start to the school year. (You’ll have to visit her post to get the full gist of what to do!)

1. Put all your to-do’s in one place.
2. Track your time.
3. Batch related tasks.
4. Limit social media.
5. Divide your work-day into time blocks.
6. Set aside time to send and respond to emails.
7. Close documents and browser tabs you are not currently using.
8. Go into meetings with an agenda or outline.
9. Make templates.

I particularly love this introduction to her article:

“One thing I hear over and over from church musicians and music educators (well, everyone, really) is that there never seems to be enough time to get it all done.”

Time to teach
Time to rehearse
Time to write
Time to practice
Time to be with family
Time to be a good friend
Time to read
Time to exercise
Time to learn

“We’re always looking for new ways to be more productive, get more done in the little time we seem to have, and save time in places where, like money, we might be overspending. Am I right?”

“That’s one of my favorite ways to think about time – as money. It’s a commodity. We all have the same number of hours in the day – it’s how we spend them that makes the difference.”

“Where (and how) do you want to spend your time? What’s important to you?“

“Once you can answer this question, you’ll be motivated to make it happen – to take control of how you’re spending your time and look for ways to save it, where you can.”

— 9 Time-Saving Tools & Tactics for Busy Music Teachers and Directors
by Ashley Danyew

Couldn’t have said it better myself!

Have a great school year!

PKF

Music and Literacy Skills

How to Use One to Improve the Other

Editor’s Note: For this month’s blog, we bring back guest writer Ed Carter, a retired financial planner. (See his website here.) His piece, perfect for new music parents, summarizes many of the “intangibles” that music education provides to foster child development, especially the enhancement of language skills. In 2019, I wrote the blog “The Importance of Music Education” (click here) based on an interview I did for a local community news program on the essentiality of teaching music that covered many of these concepts. Special thanks go to Ed Carter for sharing his research and perspective. 

Parents and educators are always looking for ways to improve their children’s learning –
especially when it comes to reading. Sometimes, though, unconventional approaches can work wonders. Experts believe the best way to boost a student’s reading is actually to expand their knowledge and vocabulary by teaching them history, science, literature and the arts.

Understanding the Connection

Children who learn to play an instrument or who join a choir have a longer attention span and better listening skills. Music stimulates the brain in so many ways. In fact, playing music may help the human brain more than any other activity. Some researchers even suggest that musical training can alter the nervous system in a way that improves learning in a way that offsets the academic gap between affluent students and students from lower income backgrounds.

Music improves language skills in particular because there is a neurological connection between maintaining rhythm and reading. Scientific American notes that when children learn how to keep a beat, they are better able to concentrate on a passage and decipher the meanings behind the words. A child’s reading ability relies on making a connection between the symbols they see on the page and the sounds of letters.

The Best Age for Music Lessons?

There is no such thing as a kid being too young for music. Many parents even expose their child to melody and rhythm before they are even born in an attempt to stimulate brain activity. Drumming is a great place to start. It is more important they gain experience with music and learn to develop a meaningful relationship with it at a young age. Children as young as 3 can develop skills like identifying a beat, melody and instruments in music.

By the age of 5, your child may be ready for formal lessons with beginner instruments such as drums, the piano, violin, recorder, guitar or ukulele. If your 5-year-old is not ready to start formal lessons with an instrument, they can still develop their musical skills online. Invest in a kid-friendly laptop and some durable headphones that allow them to interact with online music programs and apps that develop skills that can translate to playing an instrument in time.

To exhibit your genuine interest in your kid’s growing skills, consider creating a music room for them to be able to learn and hone their craft. This dedicated space is a perfect place for distraction-free lessons. It’s a good idea to soundproof the room, too, so others in the home aren’t disturbed. Having a bonus room that can act as a multipurpose room can increase your home’s appraisal value should you decide to sell anytime soon, as such upgrades are what many buyers look for.

Music Mistakes to Avoid

While some children pick up an instrument like a fish to water, all children develop differently. If you push your child into music lessons too early, they can become overwhelmed. Not progressing in their skill can hurt their self-esteem and discourage their progress. Let your child ease into their musical lessons gradually with time.

You can’t just throw money at a music tutor and expect that to be enough. If you want your child to grow in their skills, sit with them as they practice each day. Consistent practice is more effective than long lessons and your presence provides discipline and encouragement.

There is going to be a moment where your child expresses a desire to quit their instrument. Instead of letting them give everything up too soon, always talk with your child about why they feel like quitting and adjust their lesson goals to make playing music fun again rather than a chore. Encouraging your child to stick with it rather than quit teaches your child how important perseverance is in life.

Children all over the country struggle with reading. Adding music lessons to your child’s schooling can help improve their language skills and reading comprehension. There’s no exact age for starting music lessons, but incorporating music into other activities is a great way to start introducing them to rhythm and melody. As they grow up, involve yourself in your child’s learning and measure progress by the goals they reach and the amount of fun they have.

PKF

© 2022 Paul K. Fox

Photo credits:

• “Ethnic Children Playing on Piano in House” by Marta Wave from Pexels
• “Teacher Musician Music Instrument” by Valéria Rodrigues Valéria from Pixabay 
• “Piano Boy Playing Learning” by Nightowl from Pixabay
• “Musical Instrument” by Reinhard Thrainer from Pixabay 

RECAP – Retirement Resources

A Treasure Chest of Tips for Living the Dream!

Are you retiring soon? Thinking about “taking the plunge” and “Crossing the Rubicon” into your “second beginnings” or “next chapter” of senior life?

No matter how busy you are now, you need to “take five” from your work or personal to-do’s and review the following recommendations from past blog posts at this site. Consider this a personal toolbox for the retired and soon-to-retire professional… and assigned HOMEWORK!

A good starting point would be to pick-up “The Myths of Retirement” and “Three Exit Lanes to Self-Help Retirement Guides,” or if you prefer to tackle everything at once, check out the omnibus “monster” resource guide posted here.

Now the top-ten list – a well-balanced collection of online essays. The more you read, the better you will be able to embrace a healthy transition through this major life passage!

1. Plan ahead for retirement: “It’s Not Only About the Money”

Read the entire article here.

It is agreed that a period of adjustment will occur during the first years of “interning” as a retiree, especially critical during the “pre-retirement” stage (believe-it-or-not, as many as six to ten years prior to “taking the big leap” to FREEDOM!). The solution to a smooth transition is to be prepared: communicate your intentions with your family members, and reflect on the vast considerations of the “who, what, when, where, how, and why” of retirement. This prep to your “golden years” is the perfect time for a little self-assessment and self-reinvention in finding new purpose, meaning, and fulfillment in your life.

2. Identify and take steps to alleviate the stress of leaving your job:
“The Good, The Bad, and The Ugly”

Read the entire article here.

The phases of retirement are discussed in greater depth here, as well as different departure scenarios and the usual post-employment “cycles of emotions.” This piece is particularly good if you have ever felt pushed into early retirement or experienced being unappreciated, disrespected, uninspired, unsupported, or “burned out” in your career.

3. Are you really ready? “Signs it is time to retire… OR “Signs is NOT okay.”

Read the entire article here.

This “countdown to retirement” article poses the essential question “Are you psychologically (or emotionally) prepared to retire?” and offers a “road map” of seven easy steps towards closure for prospective music teacher retirees.

For more insight, you should also peruse “When Should You Retire.”

4. Determine your retirement destination:
“Do you know where you’re going to…?”

Read the entire article here.

This early blog post proposed several factors to consider for the choice of where you want to live in retirement… both geography and floor plans. Another good source to read on this topic is the book that was published two years later by the retirement guru and former PMEA session presenter Dave Hughes: The Quest for Retirement Utopia – How to Find the Retirement Spot That’s Right for You.

5. Maintain your professional associations:
“Ask not what PMEA can do for you, but what you can do for PMEA!”

Read several articles:

• PMEA Members Rock-on!
• PMEA – What’s in it for Me?
• How Retirement Has Changed Me

A retired educator is a valuable resource. If you care about the profession, there are many ways you can continue to contribute your experience and wisdom, albeit less stressful and time-consuming moments, but still assist your colleagues who continue to “fight the good fight” in the field.

6. Acquire a more carefree attitude: “It’s Not Your Sandbox”

Read the entire article here.

It may be at times a challenge to surrender your urge to continue as “an agent of change” or, as E.A. Wynne has written in “The Moral Dimension of Teaching” (Teaching: Theory into Practice, 1995), habits of “moral professionalism.” Learn how chill out and NOT to stress out over someone else’s supposedly poorly run “sandbox” and limit the need to provide unsolicited advice or major problem-solving for other organizations. 

7. Make music: “Dust off your chops” and 8. “Sing your heart out…”

Read the both articles here and here.

What led you to select a career in (and the “calling” of) music education? Retirement is the perfect place and time to expand on your love and skills in creative self-expression. When a music educator retires, among the many joys and fruits of his/her career in the arts is a sudden life-style change – the glorious transformation of being set free from those things you no longer want nor need to do (routine day-to-day drudgery, paperwork, meetings, etc.), embarking on new journeys to explore and embrace revised personal goals – hopefully including a renewed refocus on making your own music!

9. Explore mind-stimulating engagements: “Have you fed your brain today?”

Read the entire article here.

The mind is a terrible thing to waste, even during retirement. Discover something new every day! Maximize your “brain health” with a host of these ideas to consider for your bucket list.

10. Take time to “give back” and volunteer:
“What does it mean to be eleemosynary?”

Read both of these articles here and here.

In the scheduling our free time in retirement, it is important to feel “needed” and find activities that foster “mattering” to promote a positive self-esteem, good mental health, and stable life balance. Are you making choices to contribute to the musical and personal success and welfare of others? For the realization of the mission of this blogger’s retirement pastime: “I refuse to sit idle, binge-watch movies on Netflix, or view hours of boring TV.” To quote the song’s lyrics, this “senior citizen” will never lament…

Life is so unnerving
For a servant who’s not serving
He’s not whole without a soul to wait upon
Ah, those good old days when we were useful
Suddenly those good old days are gone
Ten days we’ve been rusting
Needing so much more than dusting
Needing exercise, a chance to use our skills
Most days we just lay around the castle
Flabby, fat, and lazy
You walked in and oops-a-daisy!

– “Be Our Guest” from Beauty and the Beast

Stay Connected with PA Music Education

PMEA Annual Conference April 6-9, 2022 at the Kalahari Resort (Poconos)

PMEA retired members, please take note of these special events especially geared to YOU:

• Free Retired Member Breakfast Meeting (including take-away gifts) on April 8 at 8 a.m.
• Retirement 101 session on April 8 at 11:30 a.m. – Retired music teachers are encouraged to participate on the guest panel to “tell your own story” to help any interested soon-to-retire colleagues.
• Three keynote speakers will join this year’s event: Dr. Tim Lautzenheiser, Lesley Moffat, and David Wish.
• The U.S. Army Band “Pershing’s Own” will be featured on Thursday evening (April 7).
• See last month’s blog for more details on the conference, tentative session schedule and exhibitors, AND the PMEA website.

PKF

© 2022 Paul K. Fox

Graphics from Pixabay.com:

• Granny-Woman-Senior by Benjamin Balazs 
• Old-Couple-on-Bikes by Ernesto Velázquez
• Senior-Man by RitaE 
• Violin-Music by Ana Krach 
• Disney-Couple-Beautiful-Beast by Gaëtan GUINÉ

Graffiti for Our Time

Sometimes a picture tells a thousand words…

 

This month’s blog-post is for teachers, students, parents, and communities who have been facing countless challenges during the reopening of schools…

If you have been following my blog-posts, you know that I am seldom at a loss for words, but for now, the less said in text, the better!

Hopefully these images inspire and cheer you! Good luck!

Special thanks for the collective “genius” of Matthew Arau, Allen D. Lucas, Susan Medley, Bob Morrison, Merilee Ott, Scott Sheehan, Stacey Swanson, and a host of other individuals, and Facebook groups like Music Educators Creating Online Learning, Music Ed Advocates – PARENTS/Teachers/Industry, and Upbeat Leaders. PKF

 

© 2020 Paul K. Fox

Photo credit from Pixabay.com by Gerd Altmann: “Help-Watch-Neighborhood”

 

 

 

 

The Importance of Music Education

One Teacher’s Views on the Advocacy of Music in the Schools

Here are partial transcripts, excerpts, and commentary about this blogger’s perspectives on the value and benefits of music education, paraphrased from the program The Edge, produced by the Peters Township High School On-Air Talent class: Episode No. 45, “The Importance of Music Education,” — https://archive.org/details/The_Edge_-_Episode_45_-_The_Importance_of_Music_Education

 

 

Over the years, I have been a strong advocate of equal-access to music and the arts as an essential part the education of all children. This blog will give me an opportunity to put a lot of my thoughts in one place. I am aware that there are many people “out there” who offer the premise that studying music makes you successful in other areas, and you will see that this assumption is well-supported. However, I am not a brain scientist. I cannot confirm research that seems to point to a direct correlation that “the music itself makes us smarter.” It could be that students who are attracted to and become proficient in the arts are somehow uniquely “wired,” have a greater work ethic, or are better intellectually “equipped” to become successful engineers, doctors, lawyers, educators, scientists – you name the career – and enjoy life-long happiness and self-realization. So many of those music-in-our-schools-month fliers say “music is basic,” “music is math,” “music is reading,” “music is science,” etc. and they are right! So, it’s not wrong to bring it up. But we should be fully aware that the primary goal of an education in the arts is for the development of creative self-expression.

In short: music for music’s sake.

When revising our Fine and Performing Arts mission and goals of music education for Middle States accreditation, the music and art teachers in my district centered on several primary goals. Probably the most important one was “to promote the skills of creative self-expression by using music, art, dance, and/or drama as vehicles for defining the students’ self-identity, learning concepts, communicating thoughts and feelings, and exploring mankind’s musical heritage in order to gain a broad cultural and historical perspective.” This statement was written many years ago… prior to the advent of Internet and social media, but perhaps it is even more relevant today!

However, there’s plenty of room here to provide you a wide spectrum of rationale and research from multiple vantage points.

It was my joy to be interviewed by host Sam D’Addieco, a junior percussion player in my South Hills Junior Orchestra. This link takes you to a 30-minute Vimeo recorded in the Peters Township Community Television studio on May 6, 2019. Although this was his assignment for a media class, it really prompted me to do some additional introspection about “what I think I think.” These were some of the issues we discussed… by no means verbatim, but, after all, this is my website. Now I can say what I really meant…

Initial Questions and Responses

1. Why did you choose to become a music educator? Music teaching is the greatest job in the world. Every day you deal with the inspirational subject matter of music, and then share it with students who want to be in your class! What could be any better? We guide students towards finding their personal identities, innate artistic and expressive potentials, and successes in making music.
2. What inspired you to become a music educator in the first place? Were you always going to be a music teacher? I was one of those “goobers” who wanted to “live” in the music room… if I could, participating in band and orchestra eight periods a day! But, up to my Freshman year, I was going to be a doctor or surgeon, thinking that the field of medicine, “saving people’s lives,” would be the most exalted career. That is until my Special Biology teacher gave each of us a needle, alcohol swipe, and blood type testing strip, and I found out I was too squeamish to poke myself. What did I really want to do with my life? Share my love of music!
3. How did you get started in music? Before grade school, my mother signed me up for piano lessons, and I practiced on our Howard baby grand (Baldwin brand) at home reveling in its big, beautiful tone. At school in California, I started out on the snare drum. My piano teacher also introduced me to the violin in the summer between fifth and sixth grade. After that, every new band director I had when I moved to different school districts in Western Pennsylvania switched me to a “what was needed for the band” instrument (baritone then tuba), and my private string teacher moved me to the viola, probably due to the length of my fingers, which eventually became my “major” in college.
4. Did you have any mentors that helped you along the way? I was blessed with many outstanding music educators, school directors, conductors of local community orchestras, and private instructors. Probably the one who had the greatest influence on my going into a career of music teaching was Eugene Reichenfeld, who I saw the last period of every day in Orchestra at Penn Hills HS, at least once a week in a private lesson and rehearsals of the Wilkinsburg Civic Symphony on Thursday nights, and over the three summers at the Kennerdell Music and Arts Festival in Venango County. What a role model! Partially blind and losing his hearing, Mr. Reichenfeld played violin, cello, and guitar, and taught uninterrupted until three weeks before he died at the ripe old age of 103!
5. Any regrets? Absolutely not! My classmates in college dubbed me “mister music ed.” But some of my well-meaning supporters saw other skills in me and tried to talk me into other pursuits. From my senior year in high school to four of five years enrolled in Carnegie-Mellon University, my string professor George Grossman prepared me for employment as a professional musician, even to consider auditioning for the Pittsburgh Symphony Orchestra. I said, I want to teach students! My CMU music department chair Robert Page and Fine Arts Dean Akram Midani in 1977 urged me to look into enrolling in Harvard summer arts management courses. Again: I want to teach students! Believe-it-or-not, even my own dad encouraged me to rethink my plans. After attending my first Edgewood Elementary 4th grade musical production (1979), he marveled about how much time I devoted  to making music… 6-7 days a week including evenings! He asked me what were my earnings. We compared my first-year salary of $8200 vs. his position as manager in the nuclear division of Westinghouse Company (move the decimal point to the right – nearly $82,000 annual compensation). He suggested a partnership. “Why don’t you join with me, form a company together, and become entrepreneurs, and with a little luck and your obvious work ethic, we could both make a million dollars in a few years.”
6. Did your father ever realize why you chose music? In December 1986, Dad came to my choral/orchestra department production of Scrooge, involving over 250 students at my second career assignment, Upper St. Clair High School. After the closing curtain, he came up to me and asked, “Did you do all of this yourself? I answered, “Well, I had a lot of help. I did prepare the students on the dialogue parts in the script, the leads’ solos, chorus harmonies, and orchestra accompaniment, but I needed a drama specialist for coaching the actors and a choreographer for the dances. And yes, I am also the show’s producer, responsible for the printing of the program and tickets, finding people to assist in sewing the costumes, building the sets, running the stage tech, and applying the make-up.” After a short pause, he said something I will never forget: “Wow! This was incredible! You really made a difference to so many of your students’ lives.” He was proud of me, and finally expressed it! (It was a good thing too… he died suddenly of a heart attack exactly two years later when I was in the middle of staging USCHS’s Joseph and the Amazing Technicolor Dreamcoat.)

 

Statistics in Support of Music Education

What is the purpose of music in schools? Why is it important to take a creative arts elective throughout your middle to high school education?

Okay, we can start with the huge body of research published just about everywhere that indicates “music makes you smarter.” Here are just a few examples and sample supportive documentation. (Please take the time to peruse these links!)

• Development of spatial temporal reasoning (“The Mozart Effect”)
• Mastery of memorization
• Reinforcement of mathematical concepts and specific math skills
• Improvement of pattern recognition
• Enhancement of hand-eye coordination, motor skills, and balance
• Evolution of auditory skills in children
• Music students earning higher standardized achievement test scores – the longer you’re in music, the better the scores
• Most frequent undergraduate pre-med major granted admission to medical colleges (citing “The Comparative Academic Abilities of Students in Education and in Other Areas of a Multi-focus University,” Peter H. Wood, ERIC Document No. ED327480 “The Case for Music in the Schools,” Phi Delta Kappan, February, 1994)

Other skills:

• Fostering of self-discipline and doing well academically
• Promotion of craftsmanship and the desire to create good work instead of mediocre work. This motivation can be applied to all subjects of study.
• Support of the concepts of community, and understanding of unity and diversity.
• Music ensemble participation building of both teamwork and leadership.
• Reduction of stress, promotion of good health habits, and learning of techniques for responsible risk-taking (e.g. lessening of stage fright)

More attitudes:

• Improvement of health and well-being  (Making music is good for you!)
• Alleviation of stress
• Social bonds, and feelings of belonging and safety
• Increase of school attendance and graduation rates

Several more general links, additional literature that supports the inclusion of music in the school curriculum:

• 9 Non-Musical Benefits of Learning Music
• 10 Benefits of Learning Music That Will Change Your Life
• 20 Important Benefits of Music Education
• Music Advocacy 2011
• Growing Up Complete: The Imperative for Music Education

 

Learning Styles and “Intelligences”

Ever felt like you were a square peg trying to fit in a round hole? Now, lets dive into the concept that “music is a means to learning.”

Intelligence is often defined as our intellectual potential; something we are born with, something that can be measured, and a capacity that is difficult to change. In recent years, however, other views of intelligence have emerged. Also, more research has been applied to learning styles and preferences… all to promote better success in education.

“Many of us are familiar with three general categories in which people learn: visual learners, auditory learners, and kinesthetic learners. Beyond these three general categories, many theories of and approaches toward human potential have been developed.”

— North Illinois University: https://www.niu.edu/facdev/_pdf/guide/learning/howard_gardner_theory_multiple_intelligences.pdf

In 1983, the theory of “multiple intelligences” was formed by Dr. Howard Gardner, Professor Education at Harvard University, and widely read in his initial book offering Frames of Mind: The Theory of Multiple Intelligences.

Supported by Thomas Armstrong (books such as Multiple Intelligences in the Classroom), “the traditional notion of intelligence, based on I.Q. testing, is far too limited.” Instead, Dr. Gardner proposed nine different intelligences to account for a broader range of human potential in children and adults (the first one is my favorite):

• Musical (sound smart)
• Naturalist (nature smart)
• Logical-mathematical (number/reasoning smart)
• Existential (life smart)
• Interpersonal (people smart)
• Bodily-kinesthetic (body smart)
• Linguistic (word smart)
• Intra-personal (self smart)
• Spatial (picture smart)

“Dr. Gardner says that our schools and culture focus most of their attention on linguistic and logical-mathematical intelligence. We esteem the highly articulate or logical people of our culture. However, Dr. Gardner says that we should also place equal attention on individuals who show gifts in the other intelligences: the artists, architects, musicians, naturalists, designers, dancers, therapists, entrepreneurs, and others who enrich the world in which we live. Unfortunately, many children who have these gifts don’t receive much reinforcement for them in school. Many of these kids, in fact, end up being labeled “learning disabled,” “ADD (attention deficit disorder,” or simply underachievers, when their unique ways of thinking and learning aren’t addressed by a heavily linguistic or logical-mathematical classroom.”

— American Institute for Learning and Human Development: http://www.institute4learning.com/resources/articles/multiple-intelligences/

Transforming the way schools should be run, the multiple intelligences theory suggests that teachers be trained to present their lessons in a wide variety of ways using music, cooperative learning, art activities, role play, multimedia, field trips, inner reflection, and much more. This approach truly “customizes the learning” and provides eight or more potential pathways to learning.

“If a teacher is having difficulty reaching a student in the more traditional linguistic or logical ways of instruction, the theory of multiple intelligences suggests several other ways in which the material might be presented to facilitate effective learning.”

— Thomas Armstrong: http://www.institute4learning.com/resources/articles/multiple-intelligences/

“While a person might be particularly strong in a specific area, such as musical intelligence, he or she most likely possesses a range of abilities. For example, an individual might be strong in verbal, musical, and naturalistic intelligence.”

— Kendra Cherry: https://www.verywellmind.com/gardners-theory-of-multiple-intelligences-2795161

The bottom line? We need music in the schools for a variety of reasons, not the least to systemically and intentionally provide avenues of learning for “music smart” kids as well as to share resources that all teachers across the disciplines may use to enrich their lessons, differentiate the instruction, and “reach” their students.

 

Ever Heard of the Four C’s?

How about defending the rationale that “music makes connections, within us and from the world around us?” Easy!

Music and art courses offer great rigor in developing 21st Century learning skills:

• Creativity
• Collaboration
• Communications
• Critical Thinking

Released by the Partnership for 21st Century Skills (2010), the best resource I found when this movement made the headlines was this P21 Arts Skills Map. It was developed to “illustrate the intersection between 21st Century Skills and the Arts. The maps will enable educators, administrators and policymakers to gain concrete examples of how 21st Century Skills can be integrated into core subjects.” With so much more detail, this document provides skill definitions, core subject interactions, outcomes and examples:

• Critical Thinking and Problem Solving
• Communication
• Collaboration
• Creativity
• Innovation
• Information Literacy
• Media Literacy
• Information, Communication, and Technology Literacy
• Flexibility and Adaptability
• Initiative and Self-Direction
• Social and Cross-Cultural Skills
• Productivity and Accountability
• Leadership and Responsibility
• Interdisciplinary Themes

“The music classroom is a perfect place to teach critical thinking and problem solving,” says MENC [now NAfME] member Donna Zawatski. Instead of giving students the answers, she asks questions that will clarify the process and lead to better solutions from the students. “Students will define the problem, come up with solutions based on their previous experience, create, and then reflect on what they’ve created,” she says.

— Donna Zawatski, “4C + 1C = 1TGMT,” Illinois Music Educator, Volume 71, No. 3.

 

Creativity is Number One!

One of my favorite educational gurus, probably an expert on creativity in the schools, is Sir Ken Robinson. His most viewed Ted-Talk “Do Schools Kill Creativity?” (18 million+) should be required of all pre-service teachers. A great story-teller with a wonderfully dry English sense of humor, Robinson tells a narrative about a child who was not “behaving” very well in school… “coloring outside the lines” and fidgeting in class. According to the primary teacher, she was distracting the other students, and was hard to “contain” and keep her sitting in her seat.

At the insistence of school staff, the parents took the little girl to a psychiatrist. He did a battery of tests on her to find out why she was so “antsy” and… The counselor’s analysis? He said to her parents: “Your child is not sick. She is a dancer. She likes to express herself in movement. Take her to a school that emphasizes dancing.”

A “quick-from-the-hip” diagnosis might have resulted in prescribing drugs in order to “calm her down” and make her “fit in” better with the traditional school setting.

The rest of the story? The incident he was talking about described the childhood of the super-successful multi-millionaire English ballerina and choreographer of Cats and Phantom of the Opera on Broadway, the late Gillian Lynne.

Creativity is probably the single most essential learning skill… and I have devoted a whole section of my website on the subject, starting with “Creativity in Education” to numerous blogs here.

 

Flexible Thinking, Adaptability, and Problem Solving

In the interview, I asked the question, “What is 1 + 1 + 1?” What I meant to elicit was, “Besides the obvious response of 3, how many different answers can you find to solve this math problem?”

• 111
• 11 (in binary)
• 1 (draw it in the air, one vertical line and two horizontal lines making the Roman numeral I)

Living in the real world (as well as learning the arts), there are very few “one-right answers!” Unlike other subject areas and pursuits, music fosters abstract decision-making in situations where there are no standard answers, analysis of and response to nonverbal communication, and adaptations and respect of divergent styles and methods for personal expression and thinking.

The arts foster divergent thinking (the ability to consciously generate new ideas that branch out to many possible solutions for a given problem) as well as convergent thinking (the ability to correctly hone in to a single correct solution to a problem).  According to Professor Curtis Bonk on his insightful “Best of Bob” – Instructional Strategies for Thinking, Collaboration, and Motivation” website, “In creativity, convergent thinking often requires taking a novel approach to the problem, seeing the problem from a different perspective, or making a unique association  between parts of the problem.”

“Knowledge is only a rumor until it lives in the muscle.”

— Proverb quoted by Brené Brown, author of Daring Greatly

 

Are You of the “Right Mind?”

First, take the Left-Brain/Right-Brain test at the “Best of Bob” website above.

The 60s work of Nobel Peace Prize scientist Dr. Roger Sperry pointed to different sections of the brain being used for unique functions of the mind. Accordingly, the left brain is supposed to be more verbal, analytical, and orderly than the right brain. It’s sometimes called the digital brain. It’s better at things like reading, writing, and computations. In contrast, the right brain is purported to be more visual and intuitive. It’s sometimes referred to as the analog brain. It has a more creative and less organized way of thinking.

However, portions of his research, especially about brain hemisphere dominance have been disputed.

“Magnetic resonance imaging of 1,000 people revealed that the human brain doesn’t actually favor one side over the other. The networks on one side aren’t generally stronger than the networks on the other side.”

“The two hemispheres are tied together by bundles of nerve fibers, creating an information highway. Although the two sides function differently, they work together and complement each other. You don’t use only one side of your brain at a time.”

“Whether you’re performing a logical or creative function, you’re receiving input from both sides of your brain. For example, the left brain is credited with language, but the right brain helps you understand context and tone. The left brain handles mathematical equations, but right brain helps out with comparisons and rough estimates.”

— Healthline: https://www.healthline.com/health/left-brain-vs-right-brain

Here is what I believe. Parts of what we do in music, like interpretation, expressiveness, phrasing, aesthetic sensitivity, and perception of man’s creations around us, etc. involve imagination and intuition, and are more holistic, intuitive – I will call it “right” brained.

In his book A Whole New Mind – Why Right-Brainers Will Rule the World, Daniel Pink, formerly a lawyer and the speechwriter to Vice President Al Gore, forecast that most future careers throughout the world will involve the learning skills normally attributed to the right side of the brain – innovation, invention, ingenuity, adaptability, critical thinking and problem-solving, etc., not jobs that are dominated by predetermined or routine actions, instructions, scripting (e.g. tasks that can be done by robots, Legal Zoom for simple wills, or 1-800 tech help hotlines).

I recommend looking into Pink’s books and his “Discussion Guide for Educators.”

In conclusion, with so many memories swimming around in my mind, I was asked by Sam what I thought was the greatest achievement of my career (or perhaps he meant what single student did I “inspire” to greatness?).  I replied that there were far too many to count, those blessed “AH HA” moments when a musician, singer, actor, or dancer goes for his dream and realizes his potential… “I made it!” Sometimes they don’t believe in themselves, are afraid to try, and the teacher has to nudge or encourage them. But, once it happens, you can see the sparkle in their eyes! And, even in retirement, they never let you forget their accomplishment(s) and the difference you made in their lives!

Finally, I agree wholeheartedly with the following statements regarding music’s role in everything from self-esteem development to building “symphonic” relationships and connections between seemingly unrelated or dissociated items or events – “putting the pieces of the puzzle together!”

“To be able to play a musical instrument (increasingly well), to be able to express oneself musically, to become friends with others making the same accomplishments, to reach musical goals and achievements — these things help people feel good about themselves. That has lasting value as it relates to nearly all other things in their lives, according to the music educators.”

— The Herald Paladium, September 10, 2000

Music also boosts creativity and the ability to see the relationships between seemingly unrelated things—enhancing all learning. Children who have studied music develop faster socially, mentally, and even physically.

— Woodwind Brasswind: “How Music Study Relates to Nearly Every School Discipline”

Simply put, making music in school and life-long learning as adults are FUN! It nurtures our inner voice, feelings, and self-worth. We enjoy the social interactions of participation in an ensemble. Literally, we explore our artistic “souls” and embrace the beauty within and around us. A career of 40+ years of directing orchestras, both in formalized classes and community/youth groups, has been the most inspirational and life-satisfying of pursuits… something I hope I can do for many more years until I reach Moses’ age!

PKF

 

Photo credits in order from Pixabay.com:

• “people” by Alexandr Ivanov
• “music” by Gordon Johnson
• “harp” by Noemi-Italy
• “music students” by musikschule
• “conductor” by Gordon Johnson
• “smart” by RondellMelling
• “singer” by hawk5555
• “violin” by sarab123
• “choral” by Gustavo Rezende
• “saxophone” by congerdesign
• “band” by Lisa Runnels (Greyerbaby)
• “stones” by Deirdre Weedon
• “ballet” by sobima
• “piano” by nightowl
• “brain” by ElisaRiva
• “wow” by Gerd Altmann (geralt)
• “children” by musikschule
• “wooden-train-toys-train-first-class” by Couleur.

© 2019 Paul K. Fox

Tips on Student Teaching

Digest of Resources for Pre-Service Music Teachers

Acknowledgments: Special thanks for the contributions of Blair Chadwick and  Johnathan Vest, who gave me permission to share information verbatim from their PowerPoint presentation, and to John Seybert (formerly of Seton Hill University), Ann C. Clements, Robert Gardner, Steven Hankle, Darrin Thornton, Linda Thornton, and Sarah Watt (Penn State University), Dr. Rachel Whitcomb (Duquesne University), and Robert Dell (Carnegie-Mellon University).

Photo credits: David Dockan, my former student, graduate of West Virginia University, now Choir Director / Music Teacher at JEJ Moore Middle School in Prince George, VA.

 

If you are not fortunate enough to own a copy of A Field Guide to Student Teaching in Music by Ann. C. Clements and Rita Klinger (which I heartily recommend you go out and buy, beg, borrow, or steal), this blog provides a practical overview of field experiences in music education, recommendations for the preparation of all music education majors, and a bibliographic summary of additional resources. Representing that most critical application of in-depth collegiate study of music education methods, conducting, score preparation, ear-training, and personal musicianship and understanding of pedagogy on voice, piano, guitar, and band and string instruments, the student teaching experience provides the culminating everyday “nuts and bolts” of effective music education practice in PreK-12 classrooms.

Possibly the best definition of “a master music teacher” and the process for “hands-on” field training comes from the Penn State University handbook, Partnership for Music Teacher Excellence: A Guide for Cooperating Teachers, Student Teachers, and University Supervisors.

“The goal of the Penn State Music Teacher Education Program is to prepare exemplary music teachers for K-12 music programs. Such individuals can provide outstanding personal and musical models for children and youth and have a firm foundation in pedagogy on which to build music teaching skills. Penn State B.M.E. graduates exhibit excellence in music teaching as defined below.”

“As PERSONAL MODELS for children and youth, music teachers are caring, sensitive individuals who are willing and able to empathize with widely diverse student populations. They exhibit a high sense of personal integrity and demonstrate a concern for improving the quality of life in their immediate as well as global environments. They establish and maintain positive relations with people both like and unlike themselves and demonstrate the ability to provide positive and constructive leadership. They are in good mental, physical, and social health. They demonstrate the ability to establish and achieve personal goals. They have a positive outlook on life.”

“As MUSICAL MODELS, they provide musical leadership in a manner that enables others to experience music from a wide variety of cultures and genres with ever-­‐‑increasing depth and sensitivity. They demonstrate technical accuracy, fluency, and musical understanding in their roles as performers, conductors, composers, arrangers, improvisers, and analyzers of music.”

“As emerging PEDAGOGUES, they are aware of patterns of human development, especially those of children and youth, and are knowledgeable about basic principles of music learning and learning theory. They are able to develop music curricula, select appropriate repertoire, plan instruction, and assess music learning of students that fosters appropriate interaction between learners and music that results in efficient learning.” — Penn State University School of Music

Making a smooth transition from “music student” to “music teacher” requires a focus on four goals:

1. Preparation to your placement in music education field assignments
2. Understanding of the relationships between your cooperating teacher(s) and the university supervisor (and you!) and promotion of positive communications
3. Adjusting to new environments
4. Development of professional responsibilities

As mentioned before, details of these should be reviewed in a reading of the introduction to A Field Guide to Student Teaching in Music by Ann. C. Clements and Rita Klinger.

Not to “toot my own horn,” but you are invited to peruse my past blogs on this subject:

• Transitioning from Collegiate to Professional – Part I
• Transitioning from Collegiate to Professional – Part II
• Transitioning from Collegiate to Professional – Part III

 

Observations

“Take baby steps,” they say?  Before your college music education professors release you to direct a middle school band, teach a general music class, or rehearse the high school choir, you will be asked to observe as many music programs as possible.

My advice to all pre-service teachers is, regardless of your formal assignments by your music education coordinator, try to find time to observe a multitude of different locations, levels, and socioeconomic examples of music classes. Do not limit yourself to those types of jobs you “think” you eventually will seek or be employed:

• Urban, rural, and suburb settings in poor, middle, and upper-middle socioeconomic areas
• Large and small school populations
• Both private and public school entities
• Elementary, middle, and high school grades
• General music, tech/keyboard, guitar, jazz, band, choral, and string classes
• Assignments as different from your own experiences in music-making

Ann Clement and Rita Klinger make the distinction between simply observing and analyzing what you see:

“Observation is a scientific term that means to be or become aware of a phenomenon through careful and directed attention. To observe is to watch attentively with specific goals in mind. Inference is the act of deriving logical conclusions from premises known or assumed to be true. Inference is the act of reason upon an observation. A good observation will begin with pure observation devoid of inference. After an observation of the phenomenon being studied has been completed, it is appropriate to infer meaning to what has been observed. Adding inference after an observation completes the observation cycle — making it a meaningful observation.” — A Field Guide to Student Teaching in Music

Some tips (from Student Teaching in Music: Tips for a Successful Experience by Blair Chadwick and Dr. Johnathan Vest):

1. Have a specific goal for the observation in mind before you begin
2. Make copious notes, but don’t write down everything.
3. Write down techniques, quotes, musical directions or teacher behaviors that seem important.
4. Don’t be overly critical of your master or cooperating teacher during the observation process.  Remember, they are the expert, you are the novice.  Your perspective changes when you are in front of the class.
5. Hand-write your notes. An electronic device, although convenient, is louder and can provide distraction for the teacher and students, and you. Write neatly so you can transcribe the notes later.
6. An small audio recorder can be very useful in case you want to go back and hear something again.

It is appropriate to mention something here about archiving your notes and professional contacts. It is essential that you organize and compile all of the data as you go along… catalog the information in your “C” files (don’t just stuff papers in a drawer somewhere):

1. Contacts (cooperating/master teachers and administrators’ phone/email addresses)
2. Course work outlines and class observation journals
3. Concerts (your own solo and ensemble literature and school repertoire)
4. Conferences (session handouts, programs)

Why is this important? Don’t be surprised if/when you are asked to teach in a specialty or grade level outside your “major emphasis,” and you want to find that perfect teaching technique or musical selection previously observed that would be a help in your lesson.

 

Student Teaching

The success of the student teaching experience depends on all its parts working together. They include:

• The Student Teacher
• The Cooperating Teacher
• The University Supervisor
• The Students
• The Administration and other teachers and personnel in the building

First, check out your university’s guidelines (of course), but here are “The Basics.”

• Punctuality (Early = on time; On time = late; Late = FIRED)
• Dress and Appearance: Be comfortable yet professional.  Be aware of a dress code if one exists, as well as restrictions on tattoos, piercings, and long hair length (gentlemen.)
• Parking/Checking-In: Know this information BEFORE your first day
• Materials and Paperwork: Contact your Cooperating Teacher  BEFORE the first day. Know what you need and bring it with you on the first day.

Teacher Hub in “A Student Teaching Survival Guide” spelled out a few more recommendations:

1. Dress for success (professionally)
2. Always be prepared (checklists, planner, to-do’s)
3. Be confident and have a positive attitude (if needed, “fake” self-confidence)
4. Participate in all school activities (everything you can fit into your schedule: staff meetings, extra-curricular activities assigned to the cooperating teacher, and even chaperone duties for a school dance, etc.)
5. Stay clear of drama (no gossip!)
6. Don’t take it personally (embracing constructive feedback and criticism)
7. Ask for help (that’s why you and mentor teachers are there)
8. Edit your social media accounts (privacy settings and no school student contacts)
9. Approach student teaching as a long interview (always, throughout the student teaching assignment: “best foot forward” and showcase of all of your qualities)
10. Stay healthy (handling stress, good sleep, and other positive health habits)

Common questions that may be asked by the student teacher (Chadwick and Vest):

• Will my cooperating teacher (CT) and school be a good fit for me?
• Will I “crash and burn” my first time in front of the class?
• What if  my CT won’t let me teach?
• What if my CT “throws me to the wolves” on the first day?
• Will the students respect me?
• How will I be graded?
• Will I pass the Praxis??

 

Planning

Chapter 2 “Curriculum and Lesson Planning” in A Field Guide to Student Teaching in Music provides 12 pages covering scenarios, discussions, and worksheets on all aspects of instructional planning, including the topics of philosophy of music teaching, teaching with and without a plan, long-term planning, and assessment and grading.

If you are unfamiliar with the terms “formative,” “summative,” “diagnostic” and “authentic” assessment, or other educational jargon, or are not fully aware of your state’s arts and humanities standards and the National Core Arts Standards, don’t panic. (Many of us “veteran” music teachers were in the same boat at the beginning of student teaching, regardless of how much material was introduced in our education methods courses.) Do some “catch-up” by visiting  the corresponding websites. For example, in Pennsylvania, you should be a member of PCMEA and take advantage of the research of the PMEA Interactive Model Curriculum Framework. Some educational “buzz words” and acronyms were explored in a previous blog here. It should be noted that, although you won’t be expected to know the full PreK-12 music curriculum while student teaching, when you are hired as “the music specialist,” you would likely be the professional who will be assigned to write and update that same curriculum… so get to know it ASAP. (On my second day in my first job, my JSHS principal came to me and said a course of study for 8th grade music appreciation was due on his desk by the last week of the semester! No, like you, I was not trained in writing curriculum in college!)

From the Penn State University Partnership for Music Teacher Excellence: A Guide for Cooperating Teachers, Student Teachers, and University Supervisors, the following criteria are recommended to be used by the cooperating teacher and the student teacher to assess the effectiveness of a long-term course of study. (Sample plans are provided here.)

1. Stated learning principles are related to specific learner or student teacher
   activities.
2. The importance of the course of study is explained in terms learners would likely
   accept and understand.
3. Each goal is supported by specific objectives.
4. The sequence of the objectives is appropriate.
5. The goals and objectives are realistic for this group of learners.
6. The objectives consider individual differences among learners.
7. The content presentation indicates complete and sequential conceptual
   understanding.
8. The presentation is detailed enough that any teacher in the same field could
   teach this unit.
9. The amount of content is appropriate for the length of time available.
10. A variety of teaching strategies are included in the daily activities.
11. The teaching strategies indicate awareness of individual differences.
12. The daily plans include a variety of materials and resources.
13. The objectives, teaching strategies, and evaluations are consistent.
14. A variety of evaluative techniques is employed.
15. Provisions are made for communicating evaluative criteria to learners.
16. The materials are neatly presented.

It is important sit side-by-side with your cooperating teacher and discuss some of these “essential questions” of instructional planning and assessment of student teaching:

• What is the purpose of the learning situation?
• What provision have you made for individual differences in learner needs, interests, and abilities?
• Are your plans flexible and yet focused on the subject?
• Have you provided alternative plans in case your initial planning was not adequate for the period (e.g. too short, too long, too easy, too hard)?
• Can you maintain your poise and sense of direction even if your plans do not go as you anticipated?
• Can you determine where in your plans you have succeeded or failed?
• On the basis of yesterday’s experiences, what should be covered today?
• Have you provided for the introduction of new material and the review of old material?
• Have you provided for the development of musical understanding and attitude as well as performance skills?

 

Getting Your Feet Wet… Becoming an “Educator”

[Source: Chadwick and Vest]

Be attentive to the needs of the students and your cooperating teacher. If you see a need that arises that the CT cannot or is not addressing, then take action. Don’t always wait to be told what to do. These situations may include:

• Singing or playing with students who are struggling
• Work with a section or small group of students
• Helping a student with seat/written work
• Attending to a a non-musical problem (such as student behavior)

Your supervising teacher or music education coordinator will probably instruct you on how much and when to teach, but each school and CT is different. In general, you should start teaching a class full-time by week 3 and have at least two weeks of full-load teaching per placement. (This is not always possible.)

Remember that any experience is good experience, so be grateful if you are asked to teach early-on in your experience.

What the supervising and/or cooperating teachers are looking for during an observation:

1. The Lesson Plan
   • Lesson organization (components, logical flow, pacing, time efficiency)
   • Required components included
   • National and State Standards Included—and these have/are changing!!!!
   • Objectives stated in observable terms and tied directly to your assessment(s)
   • What the US/CT is looking for during an observation
2. Teaching Methods
   • Questioning techniques (stimulate thought, higher order, open-ended, wait time)
   • Appropriate terminology use
   • Student activities that are instructionally effective
   • Teacher monitoring of student activities, assisting, giving feedback
   • Opportunities for higher order thinking
   • Teacher energy/enthusiasm
3. Classroom Management
   • Media and materials are appropriate, interesting, organized and related to the unit of study.
   • Teacher “with-it-ness”
   • Student behavior management (consistency, classroom procedures in place, students understand expectations)
4. Student Involvement/Interest/Participation in the Lesson
   • Student verbal participation
   • Balance of teacher talk/student talk
   • Lots of  “musicing” (singing, playing, listening, moving)
   • Student motivation
   • Student understanding of what to do and how to do it
5. Classroom Atmosphere
   • Positive, “can-do” atmosphere
   • Student questions, teacher response
   • Helpful feedback
   • Verbal and non-verbal evidence that all students are accepted and feel that they belong

Student teaching is the opportunity of a lifetime. This is when you get to practice your pedagogical skills, make invaluable professional connections,  and learn lifelong lessons. Sure, it will take a lot of hard work and dedication. As TeacherHub concluded, “Use this time to learn and grow and make a great impression. Stay positive and remember student teaching isn’t forever – if you play your cards right, you will have a classroom of your own very soon.”

PKF

 

Bibliography

A Field Guide to Student Teaching in Music, Ann C. Clements and Rita Klinger

A Guide to Student Teaching in Band, Dennis Fisher, Lissa Fleming May, and Erik Johnson, GIA 2019

Handbook for the Beginning Music Teacher, Colleen Conway and Tom Hodgman, 2006

Including Everyone: Creating Music Classrooms Where All Children Learn, Judith A. Jellison, 2015

Intelligent Music Teaching, Robert Duke

Music in Special Education, Mary S. Adamek and Alice Ann Darrow, 2010

Partnership for Music Teacher Excellence: A Guide for Cooperating Teachers,
Student Teachers, and University Supervisors, Penn State University Music Education Faculty Ann Clements, Robert Gardner, Steven Hankle, Darrin Thornton, Linda Thornton, Sarah Watts  https://music.psu.edu/sites/music.psu.edu/files/music_education/pmte-student_teaching_handbook.pdf

Remixing the Classroom: Toward an Open Philosophy of Music Education, Randall Everett Allsup, 2016

A Student Teaching Survival Guide, Janelle Cox https://www.teachhub.com/student-teaching-survival-guide

Student Teaching in Music: Tips for a Successful Experience, Blair Chadwick and Dr. Johnathan Vest https://www.utm.edu/departments/musiced/_docs/NAfME%20%20Student%20Teaching%20in%20Music.pptx

Teaching Music in the Urban Classroom, Carol Frierson-Campbell, ed.

Teaching with Vitality: Pathways to Health and Wellness for Teachers and Schools, Peggy D. Bennett, 2017

 

© 2019 Paul K. Fox