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
 
 
It is commonly understood that reading literacy is the gateway to a solid educational foundation. Without the ability to read, students would find it difficult to learn without direct instruction. They would rely upon information that would be either experiential or told to them directly by another person. If a student wanted to gather information without outside help, it would be nearly impossible.


Imagine a classroom in which the following happens:
A Ninth Grade student is studying a passage of Shakespeare. One the first read, the student struggles to pronounce some of the words. On the next, the student is able to pronounce all of the words smoothly and without pause. On the third read, the student finally recognizes a few of the words and their meanings. Not until the fourth and subsequent readings is the student able to comprehend anything that is being written. It is long after that before the student is able to grasp for deeper meaning and plot points.


I have come to believe that when my students cannot have any grasp of sight reading, it is similar to the student who struggles reading Shakespeare. Without the knowledge of how to smoothly get from measure to measure, my student does not understand the larger intent of the piece. Once the student learns to read music, however; interpretation, analysis, and style are no longer things reserved only for memorization. A new world has been opened in which the student can truly become an independent musician.


The question of what (sight reading proficiency) is so much easier to talk about than the how. There are so many "If Only's" (Time, money, staff, to name a few) that seem to work against us as teachers that the task seems daunting. After watching Jerome Upton of Duluth, MN work with his choirs, I am convinced that sight reading can be accomplished. His group sang pieces with concert appropriate interpretation on their THIRD DAY of reading the music. His students came alive with expression and with questions and comments about how to better perform the music. Instead of taking time to read and re-read the piece, the students were making music right away! 


As I go on with my musical journey, I will try and share insights into anything I learn about sight reading. Until then, I would love to hear from anyone who has ideas!


-Andrew Beard 
 
 
This is the start of an exciting journey for me- my first year of teaching!

I am fortunate to have the wonderful opportunity to work in Fargo Public Schools in Fargo, ND as a middle school band teacher.  I teach brass, percussion, and clarinet sectional lessons, in addition to sixth grade, eighth grade and jazz bands.

One of the greatest benefits to working in a large school district is the chance to learn from other veteran educators.  So many teachers, administrators, and school staff have offered me their time and expertise if I ever have questions or concerns.

I will continue to blog about my experiences as a new teacher, but for a while I have been hoping for more collaboration within the blog world of music education.  I am happy to announce that my friends and colleagues, Andrew Beard and Neal Raskin, will be joining the "Music Education for All" blog.

My philosophy of "Music Education for All" was never intended to showcase wind band-only related ideas, rather this is my own area of concentration.  Andrew Beard will be able to contribute ideas that are more geared for choral music, and Neal Raskin will be able to contribute the ideas and opinions of a senior music education major.

We look forward to sharing and collaborating in the year to come!
-Dan Leeman
 
 
These past couple of weeks have been exciting as I prepare for my first year as a middle school band teacher in Fargo, ND. I moved up to Moorhead, MN yesterday and had the fortunate opportunity to attend an ACDA-MN Summer Dialogue session at Concordia College-Moorhead.

The session featured Minnesota composers David Dickau, Jocelyn Hagen, and Timothy Takach. Though I am primarily a band teacher, my interest in choral composition and the commissioning of new music drew me to this dialogue.

Choosing a Text:

Dickau commented that choosing a text was one of the most important parts of his compositional process. After choosing a text, Dickau reads and recites the text for two weeks, meditating on the flow and the meaning of the lyrics before even considering the musical composition. Takach and Hagen agreed that there has to be some lyricism and evocative phonics and phrases that would textually stimulate the audience.

Conductor and Composer:

Hagen communicated strongly that she “expects to work with your choir if you commission me! It is part of the experience.” Dickau hopes that conductors will take their own direction with his music (within reason); no piece of music should ever be performed exactly the same way twice.

The Commissioning Process:

All three composers agreed that the conductor or commissioning party should be involved in the creative process of the music. While some conductors have very clear images in mind and others simply want to help aid in the creation of a new piece of music, the composers stressed that creative input is welcome, but also need freedom to be creative. Hagen encouraged conductors to commission arrangements if full compositions are too expensive. Dickau said that while he gives a quote to interested commissioners, he is always willing to negotiate. After all, commissioning and musical composition is all about the people, and not the money.
 
 

 I had the fortunate opportunity to start teaching private instrumental lessons to an ELL student. The situation itself is quite challenging since the student speaks little English, and I myself only speak a little of his native language. Thanks to a cooperative ELL teacher, and a supportive extended family who helps translate for me, I think this will be a very successful endeavor. The most difficult challenge I am having right now is in trying to modify certain musical behaviors. While I can ask him to blow faster or slower air, it is difficult for me/him to use specific language to ascertain solutions to pitch matching. This is certainly a fantastic lesson in using nonverbal communication, and focusing on specific language cues when necessary.

As someone who strongly believes in the philosophy that everyone should be taught music in the public schools, I think we need to take a closer look at ELL students, special education students, and at-risk students. It is certainly easy to say that everyone deserves a music education when the top half of your high school (GPA-wise) is already in your choir. How can we create meaningful, equal opportunities for music education for students who in the past have not been as involved in public school music programs?

More to come... I look forward to hearing and researching about success stories from other teachers.  

 
 

Be the best musician you can be.

Your mastery of your voice or instrument will aid you in teaching musical concepts, visualizing ideal sound images, and providing a positive role model for your students.

Observe masterful teachers.

By watching and analyzing experienced teachers, we open ourselves up to a whole world of possibilities. Ever wonder how to manage a classroom full of wild seventh grade students? Watch someone who knows how! Take the time to observe not only teachers in your field, but masterful teachers of any subject.

Take the opportunity to teach in many different settings.

Even if you have wanted to be a high school choir teacher since the moment you entered high school choir, learn how to teach music at every level. Being an effective music teacher requires you to be knowledgeable in teaching the fundamentals of your craft. Take time to teach in a large suburban school system, a small rural school, a diverse school, and learn about the advantages that each has to offer.

Be assertive, yet act with grace and humility.

Many preservice teachers act overconfident due to their experiences as students, rather than teachers. Be confident in your preparation, but always be open to others' ideas and opinions.

Learn to listen- in both the musical and the interpersonal sense.

Opening your ears to the world around you will allow you to be both a better conductor and teacher. Hear vivid, beautiful tones in the score before you hear them in the air. Listen to the needs of those around you.

Develop your own philosophy about teaching, music, and teaching music.

Know why you do what you do. Be an advocate of music education for all students regardless of background, socioeconomic factors, and behavioral issues. Be passionate and knowledgeable. Encourage and demonstrate lifelong learning.

Find balance in your life.

Spend time with family and friends, explore your faith, find a new (nonmusical) hobby. Your passion for music education will only be enriched by your ability to relate it to other aspects of humanity.

Ask for help.

Connect with other teachers and friends who can help assist you. Build strong relationships with your colleagues- asking for help demonstrates humility as well as the desire to improve yourself.

Be positive.

Look for the best in yourself, your students, and your colleagues. Encourage others with sincerity.

Take time to reflect.

At the end of your undergraduate experience, you may not be able to remember all of the bassoon fingerings or so-and-so's theory of development. Take time to reflect on what is important to you and your future students. Develop a plan for continuing your own education as you begin to teach others. Learn to love learning.

 
 

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!

 
 

  • The majority of young band music should reinforce concepts that are being taught or have previously been taught in methods books. Teaching new concepts can be done much more efficiently and sequentially in the context of a methods book or similar resource.

  • Don't over-program. While it's great to have a variety of well-crafted repertoire; playing an abundance of music is not nearly as impressive as playing a few pieces that are well-rehearsed.

  • Choose music that has musical merit. Too many pieces are being touted as “educational” when really they should be deemed “formulaic.” Pieces should be musical. Teachers should be the ones responsible for choosing how to sequentially present pieces to students.

  • Consider all elements of music when teaching and choosing repertoire. If we have to spend too much time focusing on “notes and rhythms,” expressive playing, intonation, and tone quality probably will take a backseat.

  • Students are excellent at perceiving our opinions. If we aren't engaging during our warmups and chorales, it's no wonder that our students aren't. If we are excited by beautiful tone quality and lyrical playing, certainly our students will start to notice.

 
 

I am quite amazed by Gunther Schuller's biographical life as an orchestral and jazz hornist, a composer, the president of New England Conservatory, a conductor... the list seems quite endless.

Although his book, The Compleat Conductor, is not one that I would recommend to everyone, it certainly brings up a number of points that seem quite relevant to music education.

Throughout the book, Schuller suggests that audiences over-glorify conductors for their miraculous, unattainable talents, while performers are underwhelmed by what they consider to be "beating time."  Instead he believes that it takes an incredible amount of specific musical and social skills to be a great conductor.

Pertaining more to masterworks, Schuller suggests that a conductor shouldn't focus on "interpreting" the music, but rather "realizing" the music.  The quality of the music should speak for itself.  This reminds me that I need to spend time searching for quality music for my ensembles.  It is rather easy to become sucked into the vortex of "educational" music which usually fails to engage students musically.

Most of us educators at some point have probably heard some variation of the phrase "Say more with less."  Schuller puts forth a simple definition of conducting: yielding the maximum of accurate acoustical results, with the most appropriate minimum of conductorial gestures.  All of our physical gestures amount to nothing if they "represent an insufficient (intellectual) knowledge of the score and an inadequate (emotional) feeling for the music."