With the philosophy of music education for all, I have been thinking a lot about the social groups that instrumental music tends to “leave out” - ELL students and students with special needs.

In my own experience, I have worked this year with students who are in the process of being diagnosed with specific learning disabilities and others who have already been diagnosed with mild learning disorders. Without a para or a team teaching situation, I have found it difficult to set an appropriate pace for the class to accommodate a variety of learning styles and needs in the classroom.

The most positive interactions I have had with students with special needs are always in a one-on-one teaching scenario. Even taking a few minutes outside of class can make a world of difference to a student. One brass student had difficulty finding the appropriate register when asked to play a note, even a trumpet C4 would sound half an octave below due to lack of an aural target and air support. With time spent on pitch matching back and forth (and without the pressure of other students in the classroom), he/she was able to match the pitches and identify any discrepancies between my pitch and the one that he/she performed.

I also have been considering the expectations we place on our students from the very beginning of instrumental lessons. Think of how many physical and mental processes we foster in our students: appropriate posture, constancy and stability of breathing, steadiness of tempo (internally as well as tapping a foot), identification of musical symbols, reading notation at a steady tempo... the list goes on and on! For a student with learning disabilities, some steps may fall into place more easily than others. While I may be able to have a student emulate pitches by rote, expecting them to “read” music at a steady beat is often too difficult of a task to complete right away. In individual situations, I'll spend time to “break down” the notational components into smaller, more recognizable chunks. I really strive to constantly encourage and reinforce the correct habits so that each student can feel successful in their playing while isolating more difficult areas and spending time on individual components that need additional work.

-Dan Leeman
 
 

Reflecting and retooling were two of the prominent topics at the 2009 Wind Band Institute. At the opening session, Dr. Scott Jones encouraged teachers to reflect on the previous school year.

What percentage of your teaching time is devoted to skill development versus repertoire preparation?

 Many teachers sensed the direction that this question was leading- that in fact, we spend so much time concerned with the level and quantity of repertoire, that we fail to focus on transferable, fundamental skills which lie at the heart of musicianship.

In a sightreading situation, what percentage of the mechanics of the piece should be performed well in order to be a “good fit” for the ensemble?

Many teachers contended that there was no set percentage, we should find repertoire with a variety of difficulty levels for our students. I think that we often fall into the trap of choosing repertoire to “challenge” our students; as a result, we spend too much time preparing pieces for the concert rather than honing mastery of musical skills.

What broad areas of musical skills do you teach well? Which ones do you need improvement in? How do you assess individual learning in these areas of musical development?

 Most teachers agreed that their own musical strengths as performers were reflected in their teaching. One teacher pointed out that his own personal areas of musical strength were more difficult to communicate with his students because it came so naturally to him. Many different ideas were shared about assessment, which served as a good launching point for Dr. Doug Orzolek's session on assessment in the music classroom.

How does a student look/behave/think if we've done our job well?

 Of course, this question relies on our own personal beliefs, insights, and philosophies. But if we start thinking of our students with the end result in mind, we can more clearly create the plan and environment by which we hope to teach and inspire our students.

 
 

I seem to find a wide range of opinions when it comes to discussion of the national standards for arts education. While several of my mentors have embraced the standards as an essential part of the music curriculum, I have also met teachers who are wary of another “fad” in education. I think at the heart of all reform movements in education lie well-intentioned philosophies. Being a student during the “graduation standard” phase in Minnesota and during the beginning of NCLB, I also understand that well-intentioned philosophies don't always translate into well-structured and implemented programs. Here is what I think the strengths are of the national standards for music education:

The National Standards can be closely aligned with a comprehensive music teaching curriculum. Igniting students with ideas about musical history and culture, exploring the creative compositional process, and encouraging musical evaluation are just a few of the many ways that we can help students develop a lifelong passion for music.

The National Standards encourage creative and authentic assessment. With the advancement of music technology, the promotion of comprehensive music teaching, and the sheer “hands-on” nature of our music classrooms; there is no reason why our means of assessment need to focus on paper and pencil tests. Students can compose, perform, evaluate, improvise- and we can do a better job of providing constructive feedback, and more importantly, having students evaluate themselves and others.

The National Standards explore a rich variety of topics in music education, but I believe that we are not too limited by their structure or scope. States and larger school districts have revised and created their own sets of arts standards that usually reinforce or complement the national standards. Teachers collaborate within districts, in forums, and in the blogging arena to discuss creative teaching methods and practices. As the assessment component of the national standards enters the national spotlight, it will be important to have thoughtful and informed teachers at the helm to continue to steer us in a positive direction.

The National Standards continue to reinforce that music is an essential part of the core curriculum for each and every student. Students learn specific and transferable skills, work as individuals and as a part of a greater community, can demonstrate learning and observable growth, and best of all- music is for everyone!