Sleep and Retirement

Are you getting enough (or too much) rest?

Saying goodbye to work life can mean a change in your sleep schedule. Learn how to sleep well during this new stage of life.

“Sleep, and the Workplace” at Sleep.org

cartoon what time do you want to get up

Did you know there really exists a National Sleep Foundation? Now that we are retired from full-time music teaching and the day-to-day stress of managing classes and a busy music program, do you think we need it? Can’t we sit back and enjoy “living the life of Riley” without experiencing any work-related tension or fears for the future?

Maybe not! What is that old Chinese proverb? “The gem cannot be polished without friction, nor man perfected without trials.” After all, as humans, we all seek new and unique challenges to grow (and that brings on stress), and sleep is a complicated issue!

But, no worries! Several someones have “our back” (or should I say “our pillow!”). Here is a collection of insightful resources on promoting better sleep habits and relaxation techniques from a variety of research-based and/or medical authorities.

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I didn’t set an alarm for four months. I quickly learned that one of my favorite times of the day was 30 minutes after I first woke up. For the first time in decades, there wasn’t a rush to get out of bed. I’d let myself fade in and out of sleep several times, savoring the fact that I could let myself fall back into the hazy sleep rather – into the shower to wake myself for the morning drive. I’d gotten up at 5:30 AM for years the found that about 7:15 AM was a natural time for my body to wake up. The dogs seem to enjoy this new routine as well. We have four dogs, all of whom compete for space on the bed. Which ever one happen to be near my hand would nozzle under my fingers when they felt me start to wake up, being content to enjoy our laziness together as a new way to start our new days.

The Keys to a Successful Retirement by Fritz Gilbert

The perks of retirement are many, including the “freedom” to do new things and spend more time with family and friends as well as on travel, personal music-making, hobbies, babysitting loved-ones (or care-giving our elderly relatives), volunteering, and other projects or pursuits of “self-reinvention” suggested by “retiree gurus” like Dave Hughes, Robin Ryan, Kenneth Schultz, Hyrum Smith, and Ernie Zelinski.

Another benefit of post-employment? MORE sleep! According to Sleep.org, “people sleep approximately 20 minutes longer at night after retirement. Those who skimped on sleep the most during their working years see the biggest gains, increasing their nightly sessions by around 45 minutes compared to pre-retirement.”

The National Sleep Foundation website also offers articles on the “science of sleep.”

  • Sleep Cycles – Stages of Sleep
  • Circadian Rhythms
  • What Is Microsleep?
  • How to Fall Asleep Fast
  • What is the Sleep-Wake Cycle?

as well as mattress reviews and life style choices that may affect our sleep.

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The “serious stuff” for serious sleep issues

Experts do believe that “normal aging” brings on some changes to sleep… Basically, older adults tend to get sleepy earlier in the evening, and tend to sleep less deeply than when they were younger.

So it’s probably not realistic to expect that as you get older, you’ll sleep as long or as soundly as when you were younger.

That said, although aging by itself does change sleep, it’s also quite common for older adults to develop health problems that can cause sleep disturbances. So when your older relatives say they aren’t sleeping well, you’ll want to help them check for these. Figuring out what’s going on is always the first step in being able to improve things.

Better Health While Aging blogs by Dr. Leslie Kernisan here and here

The definitions, causes, and treatments of sleep disruption are described in great detail by Leslie Kernisan, M.D., authoring “5 Top Causes of Sleep Problems in Aging and Proven Ways to Treat Insomnia” outlined here:

  1. Underlying medical problems
  2. Sleep-related breathing disorders (snoring, sleep apnea, etc.)
  3. Restless leg syndrome (RLS)
  4. Periodic limb movements (PLM)
  5. Insomnia

Painful nighttime leg cramps may also interrupt sleep, as referenced by the American Family Physician, Mayo Clinic and WebMD.

Dr. Kernisan advises us against using sleeping pills or other sedatives. She prefers the following remedies which have shown great promise, backed up by published research:

  1. Cognitive behavioral therapy: New York Times and Mayo Clinic
  2. Brief behavioral treatment: Journal of Clinical Sleep Medicine and National Institute of Health
  3. Mindfulness meditation: Journal of the American Medical Association and Mindfulness Awareness Research Center at UCLA
  4. Exercise: Science Direct, National Institute of Health, and New York Times

The Division of Sleep Medicine at the Harvard Medical School also offers these “Twelve Simple Tips to Improve Your Sleep.”

  1. Avoid caffeine, alcohol, nicotine, and other chemicals that interfere with sleep.
  2. Turn your bedroom into a sleep-inducing environment.
  3. Establish a soothing pre-sleep routine.
  4. Go to sleep when you are truly tired.
  5. Don’t be a night-time clock-watcher.
  6. Use light to your advantage.
  7. Keep your internal clock set with a consistent sleep schedule.
  8. Nap early, or not at all.
  9. Lighten up on evening meals.
  10. Balance fluid intake.
  11. Exercise early.
  12. Follow-through.

Another “sleep checklist” worth a quick examination is available from WebMD.

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Should we take cat naps? The jury is out.

At first glance, the National Sleep Foundation basically says NO! Napping during the day may “throw your body clock off and keep you awake at night.”

However, the truth may be more about how long to doze off during the daylight hours…

You may think that taking a catnap will make you feel more tired than skipping it altogether, but that’s not necessarily true.

The key to waking up refreshed from a nap is all about timing. Just 20 minutes is all you need to get the benefits of napping, such as improved alertness, enhanced performance, and a better mood. Naps of that length keep you in the lightest stage of non-REM sleep, making it easier for you to get up and go after your snooze session. Be sure to set an alarm so you don’t snooze for too long and wake up all groggy.

Nap for 30 to 60 minutes and you’ll hit the deeper stages of sleep, where your brain waves slow down, making you feel groggy (as if you have a sleep hangover) when you wake up…

It might not be worth it to nap at all if you’re going to nap for this amount of time because you’ll likely come out of your shuteye feeling less alert than before.

“How Long Is an Ideal Nap” at Sleep.org

The benefits and drawbacks of napping are further examined by the Mayo Clinic and even TIME magazine.

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Can too much sleep be bad for you?

According to new research carried out by Online Opinions, over-60s need to make sure that they are not in fact getting too much sleep once they are retired, as this can actually have an adverse effect on health.

According to the National Sleep Federation, the optimum amount of sleep for adults aged up to 64 to get each night is between seven and nine hours, while for over-64s, between eight and nine hours is deemed to be best.

You need to remember that your body isn’t as young as it once was and needs a decent amount of rest, but not too much, but the organization warns that more than ten hours’ sleep a night could be stopping people from using their bodies and brains as much as they need to in order to keep them active and hold on to their cognitive functions. In other words, too much sleep could carry a small extra risk of dementia development.

But there’s no need to worry too much; as long as you get plenty of exercise, keep your brain ticking, and lead a healthy lifestyle during the hours that you’re awake, there shouldn’t be too much cause for concern.

Just Group

WebMD warns that oversleeping has been linked to a host of medical problems, including diabetes, heart disease, depression, and increased risk of death.” The article “Physical Side Effects of Oversleeping” delineates the causes and effects of too much sleep, and points to an online “sleep habits assessment” to help you evaluate your needs.

This research seems to be supported by several other sources:

The amount of sleep you need varies significantly over the course of your lifetime. It depends on your age and activity level as well as your general health and lifestyle habits. For instance, during periods of stress or illness, you may feel an increased need for sleep. But although sleep needs differ over time and from person to person, experts typically recommend that adults should sleep between 7 and 9 hours each night.

WebMD

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More on retirement and “mindfulness”

From the author of one of my favorite “teacher self-care books,” I Love My Job But It’s Killing Me by Lesley Moffat, I personally recommend trying the “M-Power Method” of mindfulness practice during meals, movement, music, and what Lesley describes as the “5 S’s of clearing,” cited by the website dailyom.com:

  • Slowing Down
  • Simplifying
  • Sensing
  • Surrendering
  • Self-care

Jason Ong, a sleep psychologist at the Rush University Medical Center, offers these reminders of “Seven Tips for Falling Asleep” based on mindful practices of health and wellness (visit his site here to study these more in depth):

  1. Beginner’s mind
  2. Non-striving
  3. Letting go
  4. Non-judging
  5. Acceptance
  6. Trust
  7. Patience

Finally, if you want to immerse yourself in a comprehensive “mindfulness journey,” visit the blogs of Cindy’s Mindful Retirement to peruse “Mindfulness After Sixty: 21 Practices.”

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Can you “trick” your brain into going to sleep?

One last interesting resource I stumbled on… how to “drum yourself to sleep” if you are having difficulty in calming the thoughts swirling around in your mind at night. This technique intrigued me enough to include it as one of the digital SHJO.clips for my community orchestra musicians sent out as a remote learning opportunity:

CLIP #22C: View and try the techniques in this YouTube “How to Trick Your Brain into Falling Asleep” by Jim Donovan (TEDtalk) using a simple 2 to 3-minute rhythm tapping and breathing “cool-down.”

https://www.youtube.com/watch?v=A5dE25ANU0k

Now, although anticipated, I am not necessarily looking forward to website comments or emailed responses from mattress and sleep accessory manufacturers, sending me their advertisements, recommendations, and industry reviews. Regardless, one thing is true: “What you sleep on has a major effect on achieving a quality rest!” I can confirm this fact “living it” with a recent replacement upgrade to our master bedroom. If you are in this situation, you need to take ample time to explore all of your options in any new purchase of beds, adjustable or nonadjustable bases, mattresses, bedding, and pillows. Essential in education; here, too: you need to personalize and customize everything to meet your needs!

Just to stave off a few of these companies, here are a few websites to visit if you are in the market to buy a new bed, mattress, pillow, or other bedding:

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The final word? If you prefer a few “more heady” academic studies and statistics on retirement + sleep, look up “Sleep Before and After Retirement” from the National Institute of Health, the “Reduction in Sleep Disturbances at Retirement” dissertation from Cambridge University Press, or review the case studies discussed by Health.Talk.org in “Sleep Problems Later in Life.”

Have a good night!

PKF

 

© 2020 Paul K. Fox

 

Photo credits (in order)

From Pixabay.com

The Future of Music Education

Spring 2020 Final Lecture to the Music Education Graduate Students

by Rich Victor, PMEA Past State President and Adjunct Instructor for the University at Buffalo Graduate School Online

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Originally posted in the Facebook group PLAN: The PA Leadership Advocacy Network

 

This course, “Supervision of Music Learning Programs,” was focused on programs as they existed before this year. Obviously, some things have changed.

What has changed and what has stayed the same? To answer that question let’s take another look at this graphic from Unit 4.

Rich Victor Decision Making Process

All decisions should flow from the mission statement. That should not change.

As you discovered, most school district mission statements focus on ideals such as “success, life-long learning, and becoming responsible citizens in the community.” An effective music department mission statement will be in alignment with the stated district mission. It will inform the administration and the community how the study of music helps the district achieve their stated mission through the skills and knowledge children learn in music. It also explains what children would lose if the subject were not offered because no other discipline is available in the school district where children can learn those skills and knowledge as well as in music classes.

The school mission and the department mission define the WHY.

Victor3Once the WHY has been determined, then the district must determine the WHAT. WHAT learning activities need to be offered to the students in the district in order to help them achieve the desired outcomes stated in the mission? The answer to that question should help determine the curriculum for music.

The content for the music curriculum is determined partially by the district and department missions, partially by state mandated Arts Standards, partially by local school district inter-disciplinary curriculum requirements, and partially by the music department’s desire to provide each child with a comprehensive and high-quality music education based on National Standards.

The outcomes from those learning activities – the WHAT – should not change.

In pre-COVID-19 times, the next decision would be to determine how much time is needed for students to master the curriculum and succeed in their activities. How many years will each facet of that curriculum require? How many hours of instruction should be allocated in each year and WHEN should that time be scheduled in order to provide the maximum number of learning opportunities for each child?

The WHEN might stay synchronous or change to asynchronous instruction. The number of instructional hours provided to each teacher and each subject may need to be flexible. That is yet to be determined and we should prepare for all possibilities. However, keep in mind that the WHEN should not alter the WHAT.

Once it is decided how many hours of instruction should be allocated annually and when Victor2those hours would be scheduled, then the district must figure out exactly how many teachers will be needed to deliver that instruction and what qualifications those teachers should possess. The “WHO” part of the process – the staffing piece of the puzzle – should still be driven by the needs of the curriculum and should not change.

It will be the HOW and WHERE parts of this process where the largest changes will occur.

Obviously, the decision WHERE teachers and students will be in the fall will impact HOW music will be taught and what equipment and materials can be used for learning activities.

Facilities in school buildings must be adapted to provide appropriate space for instructional activities to take place and to conveniently store all of the materials and equipment used in those activities while following whatever social distancing protocols and approved procedures for safely handling musical materials are adopted. The WHERE may continue to be the student’s home or a combination of school and distance learning. Once again, we need to prepare for all possibilities.

The most important thing to keep in mind is that the outcomes of the K-12 music curriculum – the WHAT – should not change. Teachers need to keep “the end in mind” rather than just focusing in on their own period of time with each student. Then, following the principles of Understanding by Design, K-12 music staff must work as a team to create appropriate learning activities that are designed to help each student make progress through each grade and ultimately achieve the specific learning outcomes Victor1of the K-12 music program using the WHEN, WHO, HOW and WHERE pieces that we will have to work with.

As my friend and colleague Bob Morrison said in a recent presentation “Change the HOW not the WHAT!”

Yes, it will be challenging. The challenges caused by these changes may appear to be daunting at first, but they are not insurmountable!

Fortunately, there are some great thinkers in our profession who are already coming up with ideas to make the best of the situation for both classroom and performance teachers. Even if you are the only music teacher in your school district – you are NOT alone! Wonderful ideas for solutions to these challenges can be found in social media and through webinars.

The most important thing to know at this time is that discussions are occurring right now in every school district throughout the country. When students might return to school, and how classes might be scheduled will be determined soon. You must be proactive and become part of that decision-making process BEFORE the decisions are made! Be at the table so that decisions affecting music education in your district happen WITH you and not TO you.

The future of music education is in YOUR hands. It will be what you make it. Good luck and keep in touch!

Editor’s note: As a follow-up to Rich Victor’s article, check out these PMEA webpages:

 

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About the Guest Blogger

Victor0Richard Victor is currently Adjunct Instructor for the University at Buffalo Graduate School Online.

Richard Victor had a 37-year career as State College Area High School Band Director. In 1987, he was also appointed to the position of Coordinator of Music for the State College Area School District. He was President of the Pennsylvania Music Educators Association (PMEA) from 2000-2002 and served as its Advocacy Chair. He was President of the PA Unit of the International Association of Jazz Educators (IAJE) from 1989-1993, the PMEA All-State Jazz Coordinator and PMEA News Jazz Editor from 1993-1998, and chair for the NAfME Council for Jazz Education from 2014-2018. He has also served on the advisory board for the NAfME Teaching Music magazine and held the office of President of the Penn State Alumni Blue Band Association. Other professional memberships include Phi Beta Mu and The Gordon Institute for Music Learning (GIML).

Mr. Victor has been a guest conductor and adjudicator for concert band and jazz events in Delaware, Maryland, Pennsylvania, and Virginia, and currently serves as an instrumental adjudicator for Music in the Parks. He frequently provides services as a clinician, consultant, and/or featured speaker for school districts and music events throughout Pennsylvania. He has presented sessions at five NAfME (formerly MENC) national conferences, three NAfME Eastern Division conferences, and the 2008 Americans for the Arts National Convention. He also has been a presenter for six different MEA state conferences, three JEN National Conferences, and three International Conferences on Music Learning Theory.

 

Teacher Self-Care During the Pandemic

We thought our next article in this series on music teacher health and wellness was going to center around burn-out. But then… COVID-19 struck (was this really only 3-4 months ago?), we were forced into self-isolation, and all “brick and mortar” schools closed. In the ensuing panic, we all scurried about seeking solutions to reconnect and engage our students from afar in compliance with strict shelter-in-place restrictions.

“Seemingly overnight, the world changed. Teachers and school leaders have had to revamp their entire instructional systems with, in many instances, only a day’s notice. To say many of us are experiencing whiplash, disorientation, and anxiety is an understatement.”

virus-4928021_1920_HoagyPeterma“Our students are feeling it too. Typically, nationwide, one in three teenagers has experienced clinically significant anxiety in their lifetime (Merikangas et al., 2010). It’s probable that during a pandemic that heavily impacts everyday life, levels of anxiety in children and teens are even higher, and the possibility of subsequent trauma greater.”

“In these unprecedented times, teachers are rising to the occasion creatively and quickly to shift to remote learning amidst school closures. Even in a traditional classroom, it can be a challenge to support students with anxiety and trauma histories to stay calm and learn. With distance learning, this difficulty is magnified. However, there is much teachers can do to reduce anxiety in students even while teaching remotely. During this crisis, we need to prioritize students’ mental health over academics. The impact of trauma can be lifelong, so what students learn during this time ultimately won’t be as important as whether they feel safe.”

“Maintaining Connections, Reducing Anxiety While School Is Closed” by Jessica Minahan in ASCD Educational Leadership, Summer 2020

My opinion? The Internet and other forms of media can be a godsend or a contributing factor to our feelings of malaise. The 24/7 nature and immediacy of news programs and web posts updating the statistics of new coronavirus cases, hospital admissions, deaths, shortages of personal protection equipment and respirators, unemployment numbers, and the stock market’s roller-coaster ride, have added fear, stress, and “noise” to the real problem… our ability to cope with the ramifications of this pandemic!

Well, at least a lot of dialogue has been generated “out there” about recommended remediation and “success stories.” The purpose of this blog-post is to share some of this “advice from the experts.” Many of you (I hope) may say, “This is just common sense.” True, but however “common” it is, more people than you think are not applying these principles to their own personal lives. And like the one online post that caught my eye the other day, “Teachers Are Breaking” by Jessica Lifshitz, all of us should share our anecdotes… the trials, internal struggles, and tribulations… to make it through this emergency.

Together, we are stronger!

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I have been accused of being a little too emotional and I should not “feed into the negativity,” as one reader complained in reaction to one of my blogs. However, according to this article by Christina Cipriano and Marc Brackett, “emotions drive effective teaching and learning, the decisions educators make, classroom and school climate, and educator well-being.”

“At the end of March, our team at the Yale Center for Emotional Intelligence, along with our colleagues at the Collaborative for Social Emotional and Academic Learning, known as CASEL, launched a survey to unpack the emotional lives of teachers during the COVID-19 crisis.”

“In the span of just three days, over 5,000 U.S. teachers responded to the survey. We asked them to describe, in their own words, the three most frequent emotions they felt each day.”

“The five most-mentioned feelings among all teachers were: anxious, fearful, worried, overwhelmed and sad. Anxiety, by far, was the most frequently mentioned emotion.”

Navigating Uncertain Times: How Schools Can Cope With Coronavirus

Almost in unison, the strategies that seem to be echoed most often by medical and mental health professionals, educators on the front line, and even technology specialists, are outlined by this “wellness map of to-do’s!”

  1. Don’t obsess. Calm yourself. Set priorities.
  2. Connect and communicate often with your family members and your students.
  3. Set and maintain boundaries.
  4. Practice mindfulness.
  5. Take the necessary steps to maintain your own physical and mental health!

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Avoiding Becoming Overwhelmed

As a retiree, I “only” lost the spring season of my community youth orchestra to this crisis. In my position as state chair of the PMEA Council Teacher Training, Recruitment, and Retention (PMEA Council TTRR), I tried to soothe the “hysteria” of many of my still-working friends and colleagues who were grappling with the instantaneous roll-out of distance learning. After researching online music education resources, we were able to place countless links on the PMEA Council TTRR website (here). After 7+ weeks, one of our “omnibus Google Docs” has grown to 15+ pages and more than 225 separate sources of virtual, remote, and alternative music learning media and methods.

computer-768608_1920_free-photosFor some, this has made matters worse… an “overload of abundance!” The multitude of venues and opportunities (too many unexplored “new technologies” for many of us baby-boomers!) included information about virtual ensembles, YouTube libraries, music games, lessons plans and platforms for synchronous and asynchronous e-learning, video-conferencing techniques, hardware and software reviews, etc.

Take a deep breath! Focus! Prioritize your goals. What are you trying to accomplish? Don’t try to consume all of the available resources “out there,” nor use every application or online lesson that you find on Facebook groups like https://www.facebook.com/groups/mecol/. What was it my mother used to say at the dinner table? “Sip and chew slowly… don’t gulp!” Take away what might help your situation, but approach anything brand new in moderation!

online-5059831_1920_TumisuGo ahead and sign-up for a webinar or planned learning community meeting or two. Many professional development workshops are provided with “no extra fees” right now, like the NAfME library here, the aforementioned Facebook group and others, and if you already have a membership in PMEA, this website.

BUT… plan to take away ONLY one or two new “teaching tools” from each session… maybe consider trying-out one new app or lesson idea every other week?

As if to anticipate our needs, more than a year ago, Elena Aguilar published the in-depth piece “How to Coach the Overwhelmed Teacher” in Education Week blog, summarizing excellent stress-reduction treatments. (Share these if you think they will help you or some else! Read the entire article for more detail!)

desperate-5011953_1920_Peggy_MarcoFive tips for coaching overwhelm:

  1. Describe it.
  2. Recall previous experiences.
  3. Identify one tiny next step.
  4. Listen.
  5. Plan for action.

“When coaching someone experiencing strong emotions, it’s important to know the signs and indicators of depression and anxiety disorders. Emotions can turn into moods, and if moods hang around long enough, they may become depression or an anxiety disorder. People who feel overwhelmed a great deal may be experiencing depression, whereas those who are ‘stressed’ a lot may be experiencing anxiety. This resource, AppD Depression_Anxiety.pdf, can be offered to your coachees or used to consider whether someone may need professional help.”

“When coaching any strong emotion, it’s useful to remember that emotions can be guides to self-understanding. They are a normal part of being a human being, and strong emotions show up to get us to pay attention to what’s going on. We can welcome strong emotions—in ourselves and in our coachees—and explore them to gain insight into ourselves and humans and educators.” — Elena Aguilar

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Making Connections

Your loved-ones and friends probably need you now more than ever!

And, a myriad of research supports the assertion that social connections significantly improve our own physical and mental health and emotional well-being, such as published by the “Center of Compassion & Altruism Research & Education” of the Stanford Medical School:

“Strong social connection leads to a 50% increased chance of longevity, strengthens your immune system (research by Steve Cole shows that genes impacted by loneliness also code for immune function and inflammation), helps you recover from disease faster, [and] may even lengthen your life!”

“People who feel more connected to others have lower levels of anxiety and depression. Moreover, studies show they also have higher self-esteem, greater empathy for others, are more trusting and cooperative and, as a consequence, others are more open to trusting and cooperating with them. In other words, social connectedness generates a positive feedback loop of social, emotional and physical well-being.” — Dr. Emma Seppala

There’s even evidence that “human touch” and close connections with other people increase our body’s levels of the beneficial hormones serotonin and cortisol.

Just more common sense? Right? Probably!

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The first thing I did during that initial announcement of school/activity closures was to reach-out to my “musical kids.” Many music directors told me they quickly sponsored a Zoom/Google Hangout meeting of their ensemble members, mostly just to check-in with their players or singers and get everyone “on board” for future online interactions.

Perhaps COVID-19 has made me a better “citizen,” too. Much more frequently, I now call or text a friend, colleague, volunteer co-worker, or neighbor to see how they are doing. It’s terrible to admit that it took a world disaster to improve my interpersonal communications skills!

Finally, here’s a good “recap.” In spite of the need for social distancing, these examples of “safe connections” are suggested by Jennifer Wickham from The Mayo Clinic:

  • Use electronics to stay in contact with friends, neighbors and loved ones. This could include using video-conference programs, making voice calls instead of sending texts, or talking with a neighbor through windows while maintaining a safe distance.
  • Spend quality time with the people you live with, such as playing board games or completing an indoor project.
  • Make a family meal or dessert recipe that reminds you of friends or family you are unable to visit, and then call them to tell them about it. This way, you get an experience of internal and external connection.
  • Write in a journal about your experiences during this time of social distancing. Not only will this help you sort out what you are thinking and feeling, but also it can be shared going forward as a way for future generations to connect with the past.

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Setting Boundaries

Something else I admit to NOT doing!

“Going Google,” “exploring e-learning,” or “doing digital” –  it is easy to get carried away and not notice you just spent 12 hours in-a-row of “screen time” participating in online meetings or creating new remote learning opportunities for your music students. Exactly when are your classroom and office hours? You are likely pushing yourself too hard, even in your pajamas! This insane pace will only promote other health concerns!

The foresight of Elisa Janson Jones was evident for writing this in her blog “7 Self-Care Strategies to Prevent Burnout” back in September 2018 before the pandemic:

bulletin-board-3233653_1920_geralt“It’s hard to create a work-life balance when life is filled with work. Teachers are known for working long hours off-the-clock for no additional compensation. This is even more prevalent in music education. We add performances, competitions, musicals, individual lessons, fundraising, data entry, and even music composition and arranging to our task list.”

“We may find pride in saying we worked 60 hours this week, flaunting to our friends that we got to school in the dark and left in the dark. Perhaps we find self-importance in their pity and admiration.”

“However, to thrive in our profession, we must remember that teaching music is our career, not our entire life. Hobbies, families, volunteering, and other ways we contribute to our communities and our homes are also aspects of who we are.”

“Setting clear boundaries between when we are working for our paycheck and when we are working for ourselves helps us carve out space where we offer ourselves time to be free of obligations and burdens of our career. Whether it’s a few hours per day, a full day per week, or both, setting strict boundaries for when you’re on-the-clock and when you’re off is essential.” — Elisa Janson Jones

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Mindfulness and “Living” in the Present

Another concept that Elisa Janson Jones covered in her Smartmusic blog: mindfulness.

Now is the time for a little nonjudgmental “free reflection,” or what the psychologists call the best practice of “mindfulness” – a focus with full attention on your thoughts, feelings, and sensations “in the moment.” I think the “Teaching with Orff” website really nailed it in the article “7 Self Care Tips for Quarantined Music Teachers.”  Read co-author Zoe Kumagai’s examples of affirmations: “How do I want to feel today?”

  • I allow myself time and space to reflect.
  • My mind is aware of the present.
  • My heart feels compassionate and is full of love.
  • My mind is stimulated by books, stories, art, scholarly articles, music that inspire me to be my best self.
  • I maintain boundaries with technology and intake of the news.
  • My body is free to dance.
  • My voice is clear to sing, laugh and converse authentically.

According to this Harvard Medical HelpGuide, the habits and techniques of mindfulness can improve well-being, physical health, and mental health:

“There is more than one way to practice mindfulness, but the goal of any mindfulness technique is to achieve a state of alert, focused relaxation by deliberately paying attention to thoughts and sensations without judgment… Allow thoughts to come and go without judgment and return to your focus on breath or mantra.” — HelpGuide

Band director, best-selling author, and acclaimed clinician Lesley Moffat devoted an entire chapter to mindfulness in her book I Love My Job But It’s Killing Me. You know what they say, “What’s good for the goose is good for the gander.” After learning the techniques for herself, she adopted mindfulness practice at the beginning of each band rehearsal for her students, a 4-5 minute routine of guided breathing and relaxation exercises leading up to the daily warmup chorale.

 

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I love the symbolism in her “snow globe” analogy:

“Just like a snow globe that’s been shaken up, it takes time for your mind and body to settle down. If you try to get the snow globe to settle down while you’re still holding it and carrying on with your regular activities, the snow may fall slower, but it won’t completely stop and allow you to see the objects in the snow globe. You must allow it to be completely still long enough for the water to stop swirling and the glitter to follow the pull of gravity and settle on the bottom. It only takes a matter of minutes until it settles, revealing the magical scene inside, and the very glitter that was covering up the view when it was moving around has become a lovely blanket of snow that grounds the scene in the snow globe. But without a few minutes of stillness, it is impossible for it to become completely settled. So it goes with a mindfulness practice. Your mind and body needs time to go from hyper-speed to a pace that serves you well, a place where you have space to think – and space to not think. That begins by bringing stillness to your body and to your mind. Easy to say – hard to do… until you practice it every day and it becomes habit.” Lesley Moffat

Love the Job, Loss the StressHer book should be required reading for all music teachers, even retirees who want to remain active in the profession. (Read my previous review here.) It serves as a true treasure-house of practical applications for de-stressing and re-centering your life. Her “mPower Method of Meals, Movement, Music, and Mindfulness” may be the solution to improving your situation.

FYI, her next book, Love the Job, Lose the Stress, is on the way. You can request an advance e-copy here.

 

“Do as I Say… Don’t Do as I Do!”

The worst part of this? We seldom take our own advice. Hey teacher, “heal thyself,” and “practice what you preach.” Taking care of our children or elderly relatives, we are probably the last to comply with the tenets of our own sermons on health and wellness.

Lesley Moffat also devoted a chapter in her book to the airline safety bulletin “Put On Your Own Oxygen Mask First.” You cannot take care of someone else (your family members or your music students) unless you first take care of yourself!

salad-374173_1920_stevepbMake self-care PRIORITY ONE for YOU! I know, you have heard all of these before:

  • Eat a balanced diet.
  • Hydrate.
  • Get enough sleep.
  • Exercise daily.
  • “Flex your brain.”

The latter “exercising your mind” is referenced in the Teaching with Orff website, and is a frequent emphasis on my blog-site (with examples here, here, and here). Pursue your own avenues of creative self-expression, and grow and learn something new every day!

According to charitable organization Waterford.org, the definition of “self-care” is “any action that you use to improve your health and well-being.” They cite extensive research from the National Institute of Mental Illness (NAMI), corroborating the statement that there are six elements to self-care:

  • Physical
  • Psychological
  • Emotional
  • Spiritual
  • Social
  • Professional

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And, as explained in the article “Why Teacher Self-Care Matters, and How to Practice Self-Care in Your School,” self-care is not about selfishness.

“Self-care is an important component of a teacher’s mental health, but there are misconceptions about what it is. It’s common for educators to dismiss the self-care movement as ‘selfish’ or ‘superficial.’ But for teachers, self-care is so much more than breakfast in bed or treating yourself to a spa day. It’s about taking care of your health so that you’re prepared to be the best teacher you can be for yourself and your students.”

Waterford.org

These endorsements probably represent just “the tip of the iceberg!” Peruse all of the resources listed below. In addition, perhaps we should take a close look at Alex Wiggin’s ASCD article,  “A Brave New World: A Teacher’s Take on Surviving Distance Learning” (Educational Leadership, Summer 2020), considering the adoption of these four lessons learned from the past four months:

  1. Relying on a team reduces work and stress.
  2. Connecting with students boosts morale.
  3. Learning new technology isn’t so bad.
  4. Model being a life-long learner

I predict that the hardest part, coming to the end of May and the completion of our first-ever “virtual spring semester,” is coming to grips with our “fear of the unknown!” At the date of this writing, no one really knows when “we” are going back to “in person” schools, how we will resume large group music instruction like band, choir, or orchestra rehearsals, and what will the “new normal” look like to successfully “move on!”

Summer break is just around the corner… a good time to stop and reflect! And yes, we will make it through this.

Please stay safe! PKF

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References

 

© 2020 Paul K. Fox

 

Photo credits (in order)

From Pixabay.com

 

Questions for the 3 Phases of Interviews

Asks for “The Before,” “The During,” and “The After”

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These Responses Are Critical for Marketing Yourself & Landing a Job

pcmea

This article was inspired by my recent participation in virtual mock interviews on Zoom for PCMEA members and senior music education majors.

It is up to you to do the research and plan ahead!

What is that “scout’s motto?” Be prepared!

Or, to put it another way, more “near and dear” to the average music student:

  • “How do you get to Carnegie Hall?” (Practice, practice, practice!)
  • “How do you get a job?” (Practice, practice, practice!) AND
    (Prepare, prepare, prepare!)
    a focus on the BEFORE, DURING, and AFTER phases of an interview!

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The Before

Prior to every job screening, walk in well-informed. Investigate in advance the background information of the school district:

  • The job opening and responsibilities
  • Details about the overall music program, number of staff, courses offered, etc.
  • School district’s mission/vision/value statements
  • Validation of administrative support for the arts
  • Examples of community support for music education
  • Work environment and employee attitudes

Be a detective! Look for responses to these inquiries “surfing the ‘Net,” studying the district’s website, reading local media releases, and, if you are able to, finding someone who is already employed there:

  1. What do you know about this school district?
  2. What is the average make-up (socioeconomic, education, racial, etc.) of the community? Is it mostly urban, rural, suburban? Are the majority of the jobs blue collar, white collar, entrepreneurial, agricultural, or mixed?
  3. What educational, cultural, and sport/leisure activities are available to the residents in and around the area?
  4. What philosophies or approaches are emphasized in the school district’s strategic plan and/or annual Board of School Director’s goals?
  5. What are samples of student, staff, building, and school district awards and traditions?
  6. magnifying-glass-106803_1920_geraltHow many class periods (not counting lunch) are structured for the academic day? Are specific grade levels or buildings organized in block scheduling, “period 0” and/or before/after-school curricular or co-curricular classes, lesson pullouts, period rotations or A/B weeks, etc.?
  7. How often is the curriculum revised or updated?
  8. What is the school district grading scale and music grading policy/practice?
  9. What music classes and extra-curricular activities are offered?
  10. Are any specialties or disciplines emphasized or promoted, e.g. Kodaly, Orff, Dalcroze, Little Kids Rock or Modern Band, World Drumming, Suzuki, Competitive Marching Band, Strolling Strings, etc.?
  11. What position(s) is(are) open and what duties are required?
  12. What avenues of professional development exist?
  13. What percentage of students are in the music program?
  14. What percentage of the music students own instruments, take lessons, and seek participation in outside ensembles?
  15. What indicators of cooperative parental and community support exist (concert attendance, private teachers, booster groups, community arts organizations, etc.)?
  16. What resources are budgeted (sheet music, music technology, field trips, piano tuning, instruments and instrumental repair, teacher in-service, festivals, etc.)

What answers you cannot find, you may ask at the end of the interview.

how to ace your job interview

 

The During

So much has already been written about commonly asked interview questions. (Please revisit the blogs posted at https://paulfox.blog/becoming-a-music-educator/.) To “let the cat out of the bag,” when I am asked to do “mock interviews” for music education majors, the following are “my favorites.” You may also want to read my last article, “Coaching Advice for Acing Those Employment Interview Questions” at https://paulfox.blog/2020/01/26/more-on-teacher-interviews/.

  1. Tell us something about yourself… your strengths, weaknesses, and goals for the future.
  2. Who had the greatest influence on you becoming a music teacher and why?
  3. What are the most important qualities of an outstanding music educator?
  4. Describe a successful lesson plan you have developed.
  5. How will you accommodate students with special needs or varied interests in your music program?
  6. How would you recruit/encourage students and “grow” interest and participation in the music program?
  7. interview-2207741_1920_geraltDescribe your approach to introducing a musical concept: singing matching pitches, keeping a steady
  8. Why is it important for students to be actively engaged in the performing arts?
  9. Why should I hire you for this position?
  10. Describe your background and knowledge of each of the following methodologies, and for a general music position, which one is your favorite? Orff, Kodaly, Dalcroze?
  11. Describe a lesson that did not materialize in a manner that you expected. What did you learn from this experience?
  12. If you were hired as a high school band director at the last minute the third week of September, and the marching style was contrary to your preference to teach, how would you adapt?
  13. What are three adjectives students would use to describe you?
  14. How would you assess the learning in your rehearsals?
  15. What is most important to you? Music outcomes, content, or process?

You will probably be asked, “Do you have any questions for me?” by the interviewer. You should show your interest, forethought, and advanced preparation by coming up with a few, or adapt several of the 16 pre-interview samples in the “Before” section above. At the very least, if the principal or supervisor of the posted position happens to be in the room, you could inquire: “Where do you see the program in 10 years?” or “What is the most valued attribute of a ______ School District educator?”

Raising the bar

 

 

The After

As soon as it is over (immediately when you get home – don’t put it off!), debrief yourself. Do an assessment of your positives and areas for improvement or needs for further practice. To formalize this process, try any number of evaluative rubrics (for examples, visit https://paulfox.blog/2019/05/14/job-interview-rubrics/). Or, just summarize your observations into strengths (+) and weaknesses (-) referencing the elements of attitude, speech, language, body language, content/on topic, and preparation. (See the first box above.)

feedback-796140_1920_geraltAre you telling me it’s time to bring up more questions? Yep, to finalize your interview’s “postmortem,” reflect on these queries, which will become your focal points in preparation of your next job screening.

The first “biggie critique” might take a little while to follow-up and re-train. This is important since most of the professionals who serve on interview screening committees are administrators, HR staff members, or curriculum supervisors (not music content specialists). And, in the same breath, most music education majors are not well versed on these “buzz words” since they may be only briefly mentioned during their music courses.

1.     How many times did you use appropriate general educational terminology and current school jargon? Here are a few samples of “the ABCs.” If you do not know the meanings, Google search them or look up sites like https://resilienteducator.com/classroom-resources/education-terminology-jargon/, https://www.teachervision.com/dictionary-educational-jargon, and https://wwndtd.wordpress.com/education-jargon/. (If you really want to dive into an interesting “lingo generator,” experiment with https://www.sciencegeek.net/lingo.html, which may also help you define associations among related educational terms used in the composition of reports, grant applications, and other documents for accreditation.)

  • Assessments – Authentic, Formative (“for learning”), Summative (“of learning”), and Diagnostic
  • CCCC (The Four C’s) – 21st Century Learning Skills of Creativity, Collaboration, Communication, and Critical Thinking
  • Classroom Management and the concepts of “Assertive Discipline” and “Ladder of Referral”
  • Charlotte Danielson’s Four Domains – Planning and Preparation, Classroom Environment, Instruction, and Professional Responsibilities
  • DOK – Depth of Knowledge and HOTS – Higher Order Thinking Skills
  • ESSA – Every Student Succeeds Act (2015), successor to NCLB (No Child Left Behind)
  • knowledge-5014345_1920_geraltIEPs  – Individualized Education Program, including IDEA (disabilities), 504 plans, accommodations for special needs, differentiated and customized learning, etc.
  • LMS – Learning Management System (software used by schools to track grades, take attendance, deliver curriculum, and offer/evaluate courses, etc.)
  • Middle School (or Middle Level Learner) Philosophy
  • PLN/PLC – A Personal Learning Network or Professional Learning Community
  • PBL – One of two different concepts: Project-Based or Problem-Based Learning
  • SEL – Social-Emotional Learning
  • SAS – Standards Aligned Systems of the PDE (Pennsylvania Department of Education)
  • STEAM – Science, Technology, Engineering, Arts, and Math
  • UBD – Understanding by Design, “backwards-design” curriculum development with EU (Enduring Understandings) and EQ (Essential Questions)

Of course, if you were “nailed” by not knowing terminology or acronyms of which you never heard, don’t “fake it!” Just be honest with the interviewers (they cannot expect a “raw recruit” fresh out of college to know everything), but never-the-less, look it up as soon as you return home. You’ll be ready for the next interview. (“Catch me once, shame on you. Catch me twice, shame on me!”)

More questions to help you evaluate your performance:

2.     At the interview, did you project the image that you are solely qualified to serve as a specific music content-area specialist? In other words, are you only a “band director,” “vocal conductor,” EL/MS general music teacher, piano/guitar accompanist, jazz instructor, music theorist, or string “maestro?” Did you basically imply to the screener(s) that you would not accept any assignment outside your “comfort zone,” and that your Music Pre-K-12 Instructional I Certificate is not worth the paper on which it is printed?

3.     If you had videotaped the interview, how would you characterize your rapport with the screening individual or committee? To what extent did you demonstrate an attitude of openness, cooperation, sensitivity to the interviewer’s style/personality, and fostering of the four C’s of the model interviewee behavior – be calm, caring (motivated), congenial, and considerate?

4.     Were you “engaged” in treating the session as a mutually beneficial exchange of information?

5.     learn-3653430_1920_geraltDid you respond to the interviewer’s questions “on topic” with clear, concise, and substantiated statements, supported by specific anecdotes/stories or examples of your skills or experiences?

6.     Did you avoid “bird walking,” “tap-dancing,” having verbal clutter (too many run-on statements), rambling, fast talking, sounding verbose, being flip or too casual/informal in conversation, or going overboard with your answers?

7.     How many times (count them) did you use the words “ah,” “um,” or “like?”

8.     Did you promote your strengths and all experiences (musical and non-musical) you have had interacting positively with children, and not discount your potential and capabilities due to a limited past job record or shortened time in student teaching?

9.     How successful were you in controlling your nerves, looking interested, “being yourself,” and demonstrating good eye contact, pleasant facial expressions, and relaxed and professional speech, posture, and body language?

10.  Did you avoid the use of “weak words” that suggest a lack of conviction: “kind of,” or “sort of,” or “I feel like?”

11.  Did you limit any form of “fidgeting,” such as tapping or shuffling feet, cracking knuckles, touching hair or face, drumming or spinning a pen between your fingers, wiggling in your seat, etc.?

12.  How many times did you use the name of the interviewer(s) during your interview? It shows respect and is the best way to get/keep his/her attention.

 

Observations at interview

In summary, treat the job search process more scientific:

  • Be diligent in practicing mock interviewing with classmates, friends, and family members,
  • Plan ahead, and
  • Formalize your questions and self-assessments.

The jobs are out there… waiting for you to “hook them in,” and as every good fisherman knows: “Nothing replaces time on the water, patience, and the ability to admit to yourself there is always something to learn and a better way to do it.”

PKF

 

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Photo credits from Pixabay.com by Gerd Altmann (geralt):

 

© 2020 Paul K. Fox

3 Simple Words – KEEP AT IT!

How Are You Spending YOUR Time?

 

FoxsFiresides

This is probably the most important message we can share with you during this period of coronavirus self-isolation.

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No matter what this pandemic throws at us, or how long we remain away from close human interaction and participation in our ensembles or classes at the now closed “brick and mortar” schools, let’s keep a focus on maintaining our “chops,” building on our “musical momentum,” and practicing every day.

From an eco-friendly (“save our natural resources”) slant as well as an economist’s perspective, you have invested too much time and money on playing an instrument to give up now! So, nature and the COVID-19 have thrown you a few curve-balls these past seven weeks?

The only way we should respond to the challenge is to meet it head-on!

Take advantage of all of this available “free” stay-at-home time to further your artistic enrichment and make “new and improved” musical goals!

dual graphics

crying-146425_1280No teacher will have any patience listening to your whining or remarks of “could have,” “would have,” or “should have been” excuses. What have we always wished for? “If only I had enough time to learn that new scale, étude, or song!” “With all of my other academic assignments, sports events, and extracurricular activities, how can I fit in moments for listening to bands, orchestras, or classical virtuoso artists performing on the web?” “When am I ever going to have the chance to compose…” (or “arrange” or “record” or “memorize” or “conduct” or “choreograph”) “…that piece?” “When will I get around to learn this new technique, practice sight-reading, or dive into those drills designed to improve my key literacy, rhythmic precision, tone, intonation, range, form, coordination, embouchure, stick rudiments, or bow control?

The answer is… now only one word: NOW! 

What are you waiting for? You have too much at stake here, and soon, this crisis will pass, and we will all come back together – only much stronger and wiser for making good choices in the use of our time!

SHJOclips

We divided up the SHJO.clips into categories to develop your “well rounded” musicianship:

  • C = Create, invent, explore
  • L = Listen
  • I = Inspire, read, analyze
  • P = Practice, perform
  • S = Share, show others, play for fun

(Download the interactive CLIP JOURNAL here!)

How many of these have you accomplished? In your clip journal, do you show progress in all focus areas? Can you advise SHJO family members and directors on your recommendations on future projects to further our “collective” knowledge, skills, and appreciations in music? (We would LOVE to hear from you!)

Now get out there and learn, create, and share meaningful moments in music!

PKF

 

hi-res logo 2018The mission of South Hills Junior Orchestra, which rehearses and performs at the Upper St. Clair High School in Pittsburgh, PA, is to support and nurture local school band and orchestra programs, to develop knowledge, understanding, performance skills, and an appreciation of music, to increase an individual member’s self-esteem and self-motivation, and to continue to advance a life-long study of music. Members of the Orchestra learn, grow, and achieve positions of leadership to serve their fellow players.

(For more information about SHJO, please visit www.shjo.org.)

This and all Fox’s Fireside blog-posts are free and available to share with other music students, parents, directors, and supporters of the arts.

Click here for a printable copy of this article and the Interactive Clip Journal.

Other “Fox Firesides” are available at https://paulfox.blog/foxs-firesides/.

 

© 2020 Paul K. Fox

Photo credits from Pixabay.com:

“Campfire Stick Fire Flame Camping” by Free-Photos

“Learn Student Laptop Internet” by geralt

“Crying Smiley Emotion Sad” by OpenClipart-Vectors

One Happy But Solitary Retiree

 

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The corona-virus crisis has created a new stay-at-home environment for all of us. With the exception of healthcare appointments, grocery pick-ups, and mail deliveries (as well as a few other essential services), we have been banished to indoors for the most part, allowing only an occasional excursion to go get take-out or walk the dogs.

And, many of us feel a bit claustrophobic and worried about the future!

Do not underestimate the cognitive and emotional load that this pandemic brings, or the impact it will have on your productivity, at least in the short term. Difficulty concentrating, low motivation and a state of distraction are to be expected. Adaptation will take time. Go easy on yourself. As we settle into this new rhythm of remote work and isolation, we need to be realistic in the goals we set, both for ourselves and others in our charge.

— Desiree Dickerson at https://www.nature.com/articles/d41586-020-00933-5

The purpose of this blog is to reflect on the measures we can bolster our sense of well being, stimulate new directions of personal growth, and endure the unpredictable “ups and downs” of this period of mandatory confinement.

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Self-Care and COVID-19

According to mental health providers and experts in wellness such as Geisinger Health, it is important to your overall health to make time for personal self-care.

From watching the news every hour to scrolling social media a little too much, it’s easy to get lost in the noise of what’s going on around us.

And you’re not alone in this.

If you’ve found yourself in an extended state of self-quarantine, there are some simple steps you can take to protect your mental health, in addition to your physical health.

— Geisinger Health at https://www.geisinger.org/health-and-wellness/wellness-articles/2020/03/18/17/56/self-care-during-quarantine

Geisinger recommends these practices of self-care during a quarantine:

  1. Make time to unwind.
  2. Exercise to promote good health.
  3. Be mindful to support your immune system.
  4. Take breaks from the news.
  5. Remind yourself why you are in isolation.

Here are a few more websites that might help if you are feeling depressed, confused, or just not coping well with all the “corona chaos…” (like us all):

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What Are You Waiting For? Just Make Music!

If truth be told, as a writer and a musician, I personally don’t mind having all of this extra time to focus on creative self-expression.

Think about it…

  • What have you always wanted to explore… play… sing… compose… record… conduct… create?
  • When will you finish your own “Mr. Holland’s Opus,” prepare the parts, and eventually have it taught, performed, and/or recorded?
  • When are you going to publish your next song, article, book, warm-ups, instrumental method, essays on pedagogy, musical, drumline feature or halftime show… or write your personal memoirs?

Well, what’s stopping you from devoting yourself to it RIGHT NOW?

As retired music teachers, we have an advantage… avoiding most of the stress that our still-employed colleagues are experiencing, suddenly having to “catch-up” with the technology, search for online music learning tools and lessons for their classes, and facing even more mostly unanswered challenges:

  • How can I care for my music students and the school program from home?
  • What essential learning can/should I offer during the school/activity closures?
  • How can I rehearse my music ensembles?
  • How can we provide meaningful feedback? Should we assess their work?
  • How do I motivate my students to continue their practice or music enrichment?
  • How will I find the mental, emotional, and physical stamina to serve my students during this lock-down without becoming overwhelmed?

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Costs and Risks Associated with All of This “Social Distancing”

Yes, we have ways to stay in touch electronically via text, email, videoconferencing, and social media, but it is not the same. In fact, many studies indicate that the more time we spend on social media, the less happy, less empathetic, and more envious we are.

The very act of meeting face-to-face, making eye-contact, and physically touching nourishes us but also exposes us to the coronavirus. We all know of the infant mortality research that shows babies deprived of physical touch experience development limitations. It is no different for adults. The Atlantic quotes Tiffany Field, the founder of the Touch Research Institute at the University of Miami, in describing the power of physical touch:

“…any pressure or movement on the skin helps increase the activity of the Vagus nerve, which connects to every major organ in the human body. Touch from another human slows down the heart. It goes to the GI tract and helps digestion. It helps our emotional expressions—our facial expressions and our vocal expressions. It enhances serotonin, the natural antidepressant in our system. That vagal activity can also lower a body’s levels of the stress hormone cortisol; cortisol is known to harm the ‘natural killer cells’ that can fight viral, bacterial, and cancer cells.”

Field concludes that as people are now especially stressed over the consequence of the virus, they have even greater need of these valuable effects of touch, now that they are afraid to hug or shake hands as usual.

— Robert Hall at https://ifstudies.org/blog/avoiding-a-relationship-pandemic

Indeed, what I do miss most is the human interaction… the ability to share two-way verbal and musical communication in an ensemble. I long for sharing music with the players in my community orchestra – the South Hills Junior Orchestra – who before the outbreak, rehearsed every Saturday for two hours at my former employment placement, the Upper St. Clair High School. I have to settle for sending them more of my “how-to” music articles (Fox’s Firesides) and basically low-tech “distance learning opportunities” discussed in my last blog here.

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Go-To-Meeting, Google Hangouts/Meeting, or Zoom.com

Zoom is not a great vehicle for a “free and easy” exchange of ideas or being able to “monitor and adjust” the learning of a group of students. We use it, and other choices like Go-To-Meeting and Google Hangouts, because we have to use them. It’s better than nothing. It’s important to at least “check in” with the members of your community, church, or school band, orchestra, or choral ensemble, and give them a chance to talk to one another, if only by allowing the use of the chat feature or unmuting all of their mikes at once. (But, get ready for a loud cacophony of sound!)

Zoom is offering a package that is free as long as you stay under 40 minutes for your virtual meetings of more than two people. The sound (delayed and designed for voice not music) is not great,  and you will need to do a quick study of how to adjust the technology to fit your needs. Several websites offer some advice on adaptations for music educators:

If you are thinking about holding online private music lessons, take a look at my string colleague Susanna Sonnenberg’s article. 

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Don’t Become a “Couch Potato!” Get Active and Stay Active!

What we don’t want to do during this emergency is to spend most of our time watching television. Besides being totally unhealthy, sitting in your easy chair like a lump and watching hours upon hours of generally, in my opinion, totally uninspiring programming, will drain the gray matter from your brain. I don’t know if I could stand watching another PBS broadcast rerun, National Geographic episode, or “Nature” program.

The bottom line: being solitary is not being alone. And even if you are left alone at a given moment, you should not be bored!

“Boredom isn’t good or bad,” said John Eastwood, who runs the Boredom Lab at York University in Canada and is co-author of Out of My Skull, a forthcoming book on boredom. “It’s what we do with that signal.”

That’s a confusing moment, especially amid the pandemic, with news outlets and social media publishing endless lists of things to do with all the newfound time, from the juiciest TV to downloading hours of podcasts — a digital bounty that Newton, thankfully, didn’t encounter.

“When you don’t have a lot going on, you might say, ‘Wow, I’m going to binge watch Netflix. This is perfect,’ ” Eastwood said. “That will get rid of the feeling in the short term. But treating yourself like an empty vessel to fill with a compelling experience makes you more ripe for boredom down the road.”

Why?

“Because what you’ve done,” Eastwood said, “is you’ve failed to become the author of your own life.”

— Michael S. Rosenwald at https://www.washingtonpost.com/local/these-are-boom-times-for-boredom-and-the-researchers-who-study-it/2020/03/27/0e62983a-706f-11ea-b148-e4ce3fbd85b5_story.html

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A Top-Ten List for Retired Music Teachers

So, here are my ten things-to-do when stranded at home during any period of forced inactivity or voluntary self-quarantine:

  1. Use Skype, FaceTime, Zoom, etc. to “call” several loved ones, friends, coworkers, or neighbors in your life, and “check in” with them to see how they’re doing. They would appreciate hearing from you!
  2. Feeling lonely or a little down yourself? Reach out to someone. Studies show that when we connect with someone, we release the hormone oxytocin, a chemical that can actually help repair your heart. Simply talking about our problems and sharing our emotions (positive and negative) with someone you trust can be profoundly healing—reducing stress, strengthening our immune system, and reducing physical and emotional distress.
  3. Practice. No matter your choice of instrumental or vocal self-direction, or exposure to the self-exploration of other art forms like painting, drawing, sculpture, sewing, woodworking, photography, or writing, now is the perfect time to develop greater levels of personal artistry, proficiency, and self-confidence… even to establish new goals/pursuits. I have found that mornings work best for me with anything that requires creativity. (Brainstorming for this blog occurred at 8:20 AM one morning, after sleeping in a little, watching the news, and having my breakfast and coffee).
  4. Go outdoors and exercise. Get your body moving… a little every day! If you are lucky to have a furry pet or two, venture into the neighborhood with them… of course, maintaining “safe social distancing” (even the dogs have to stay 6 feet apart from the two-legged mammals) and adhere to the essential rules of pet walking etiquette and citizenship (mentioned here).
  5. Return to those “old fashioned” leisure activities: listen to your favorite music or read a book. Revisit something from that Hornblower (C. S. Forester) or Tom Clancy series (my frequent “gems”). When I needed a break in college (100+ years ago?), I took the afternoon off, ordered myself a medium pizza (yes – I ate it all!), and then walked to the Oakland branch of Carnegie Library to sit in those wonderfully comfortable high-back leather chairs and pull out one of my “old friends” to read.
  6. In other sections of this blog site (here and here), I have already discussed avenues for developing the right side of the brain, mainly our innate creativity and curiosity quotient. Visit these notable sites: https://nationalcreativitynetwork.org/, https://curiosity.com/, Sir Ken Robinson, Odyssey’s 9 Useful and Inspiring Websites for Creative People, Dr. Curtis Bunk’s old “Best of Bunk” site, and the “pinkcasts” and eBooks of Daniel Pink.
  7. Puzzle doing or making can be a relaxing pastime. Some people like to create them (I drew mazes when I was in grade school), while others try to solve them. My wife can sit for hours completing crossword puzzles or assembling the pieces of a virtual jigsaw puzzle on her iPad. If you like making word games, look at websites like http://puzzlemaker.discoveryeducation.com/ or https://www.puzzle-maker.com. 
  8. If you are in a “tidy mood,” now would be a great time to reorganize, de-clutter, or sort through your closets, cupboards, or drawers. Put aside unused or unneeded clothing for Goodwill or the Salvation Army. Have you indexed your record/CD/DVD collection? One year I alphabetized (by author) and reordered the entire collection of sea books on the shelves in my library (100’s of fiction and nonfiction editions). Do librarians or data base managers get bored easily?
  9. If you are lucky enough to be a pensioner and can rely on a somewhat safe monthly income coming in, you might be surprised that this might be a good opportunity to save money. My wife and I have suddenly stopped going out to our favorite restaurants, which was our usual practice 3-5 times a week. Cooking and eating at home, although raising our grocery budget, has brought down our overall food expenses. Put away a little green every month while eating those healthy greens! And, if you can tolerate the stock market doing it’s “roller coaster ride,” consider planning a few new long-term investments if/when you decide the prices are low or discounted enough during the economic crisis.
  10. Finally, schedule a virtual field trip. During our careers and now retirement, my wife and I were never much into traveling around the country or the world. Professional responsibilities (string camp, music workshops, youth orchestra tours, and the extended marching band season) usually precluded taking cruises or long vacations. There are a lot of places on the planet to which we have not journeyed. One thing a lot of people have discovered during these shelter-in-place restrictions is the amazing number of FREE online resources that transport us to museums, galleries, architecture “wonders of the world,” online films of Met operas and Broadway musicals, etc. Plan to take a handful of these wonderful “Internet trips.” (Special thanks for the advance “legwork” of many of these destinations done by Andrea Romano at https://www.travelandleisure.com/attractions/museums-galleries/museums-with-virtual-tours).

virtual tours

pieces-of-the-puzzle-592798_1920_Hans

More websites with suggestions about conquering boredom or avoiding becoming too sedentary during the COVID-19 “stay-at-home” orders:

This article and researching the links above took 4-5 hours, and were the things I did to pass the time TODAY! So, now it’s your turn.

The world is your oyster. Get out there and crack it!

Best wishes for your continued good health, safety, happiness, and finding a little music and meaning in every day!

PKF

 

Photo credits (in order)

Shutterstock_1660879444

From Pixabay.com

  • concerns-concerned-about-the-anxiety-4944455 by Larsgustav
  • yoga-exercise-fitness-woman-health-3053488 by lograstudio
  • score-music-piano-guitar-melody-4947840 by sweetlouise
  • covid-19-coronavirus-distance-4940638 by geralt
  • meeting-relationship-business-1019875 by Peggy_Marco
  • wood-couch-potatoes-funny-potatoes-3119970 by Alexas_Fotos
  • sunset-island-mar-dusk-brain-485016 by 95C
  • pieces-of-the-puzzle-mix-hands-592798 by Hans
  • wooden-train-toys-train-first-class by Couleur

wooden-train-2066492_1920_

 

 

 

 

 

 

© 2020 Paul K. Fox

Engaging Music Students Online

COVID-19Once the COVID-19 emergency was declared and universally all schools and outside activities were cancelled (for who knows how long?), the 37th spring season of my community youth (of all ages) orchestra was also “clobbered!” Up to this time, the Western PA-based South Hills Junior Orchestra (SHJO) regularly met on Saturdays from 10:30 a.m. to 12:30 p.m. at the school from where I retired: Upper St. Clair High School.

It immediately became apparent I must reach-out to my instrumentalists and keep them “at it” to continue their music practice and artistic enrichment. How should we stimulate our music students and embrace those activities most of us “traditional” music teachers may be less skilled/experienced in approaching:

  • digital
  • virtual
  • remote
  • alternative or
  • distance music learning?

First, using a free-version of Mailchimp, a software tool that helps generate and send out group emails, we messaged our ensemble players, trying to inspire “re-connections” and independent learning, and giving them “pep talks”  like this one on March 30, 2020: https://mailchi.mp/129b1cfdc54e/music-and-artistic-enrichment-3922957.

Then, it was time to research the wonderful world of online music education, such as this huge collection of ideas from “professionals in the know.” (See my last blog-post at https://mailchi.mp/129b1cfdc54e/music-and-artistic-enrichment-3922957  OR this regularly updated link on the PMEA Council for Teacher Training, Recruitment, and Retention website.)

The results of all of this are the following SHJO.clips, being distributed to our SHJO families several times a week. This is an ongoing process, and we welcome YOUR COMMENTS – questions, concerns, and new suggestions, too.

[All of these and future posts are available as PDF files at http://www.shjo.org/clips.]

seriestoshare-logo-01

CLIP #1

Inspire: Have you ever tried the “experiments” in Chrome Music Lab?

What can you create?

https://musiclab.chromeexperiments.com/Experiments

Listen: Critique this YouTube recording of the Fugue in G Minor

https://www.youtube.com/watch?v=QmZURoUJQe0

Questions for self-reflection:

  1. What are a few of the strengths or positive attributes of this performance?
  2. Generally, how were the quarter notes articulated? Legato, marcato, staccato? In your opinion, how should they have been played?
  3. What improvements would you offer for the posture of the performers?
  4. What sections in the music did the ensemble “hang together” and when did they “fall apart?”

Practice: Select and play your favorite major key…

…performing a scale up and down on your instrument:

  1. Long tones (quarter notes), focusing on good tone and intonation. Quarter note = 60
  2. Four eighth notes per pitch in a legato articulation (same tempo).
  3. Two eight notes per pitch (same tempo)
  4. One eighth note per pitch (same tempo)

Every day you practice, change the key (start on a different note).

MusicTechTeacher

CLIP #2

Listen: Easy Guide to Appreciating Classical Music

https://www.youtube.com/watch?v=v11OJNEdIn8

Sit back (wash your hands and pass the popcorn) and enjoy this introductory video for listening to Classical Music.

Did you know the definitions of opus, fugue, subject, recap?

How was the nickname “Moonlight” assigned to Beethoven’s famous Piano Sonata?

How many different periods of Classical music does the moderator mention? Could you name them?

Inspire: Are you a little bored staying home from school?

Just for fun, here are a few online music games your parents would approve of you playing to review terminology, composers, and notation.

Practice: “The Ladder of Music Achievement”

Ever wonder how a music teacher knows what and when to teach a specific musical concept? Here’s the “rubric!” Start at the bottom and work yourself up “step by step.” Take a passage from our music. How high can you go?

  • Level 12: I played expressively.
  • Level 11: I played with self-confidence.
  • Level 10: I played with phrasing.
  • Level 9: I played with the dynamics as marked.
  • Level 8: I played with characteristic tone (with vibrato).
  • Level 7: I played with the correct bowing style (legato/detaché, staccato/martelé, or spiccato).
  • Level 6: I played with the correct articulation (legato, marcato, or staccato).
  • Level 5: I played the bowings (down and up) and slurs correctly.
  • Level 4: I played the pitches with accurate intonation.
  • Level 3: I played the correct fingerings and pitches.
  • Level 2: I played the rhythm accurately.
  • Level 1: I held a steady beat.

 

noteflight

CLIP #3

 

Create: Learning to Hear & Compose Harmony for Our Favorite Theme

Video: https://www.youtube.com/watch?v=RomMDJmMUUc&fbclid=IwAR1TKISv7ICT7DouuQo5CZsyIQ6z7w_WTtQRoc3s-QykJFHopT8uvv5QARo

Score: https://www.noteflight.com/scores/view/f7c3185d04f2c9307dff1114e7ad6596eb46da3c

Website for Noteflight: https://www.noteflight.com/home

Not sure if SHJO members have access to Noteflight, a free program for generating sheet music, but just watching the video, you can learn a lot about creating harmony. If you are interested in “jumping into” learning Noteflight, go to their website above (ask for permission to sign-up – purchasing the premium version is not needed).

Listen: “Warren Music” series

Although focused on “popular” music and at times a bit repetitious, WARRENMUSIC provides a library of music theory and ear-training (even play-by-ear) lessons, enough to keep you busy for hours! Do you play guitar? You’ll love Warren! See samples below. If you want to “hit the street running,” peruse #5 and then videos #9 on.

https://www.youtube.com/watch?v=7wAux1hh9wU&list=PLz4ee9SDzhrpJ1v-o5VSqHSyMC3-rXjtP&index=1

https://www.youtube.com/watch?v=GWD5-xmSovo&list=PLz4ee9SDzhrpJ1v-o5VSqHSyMC3-rXjtP&index=5

https://www.youtube.com/watch?v=v7l6Y6fTPDw&list=PLz4ee9SDzhrpJ1v-o5VSqHSyMC3-rXjtP&index=9

Practice: “The Ladder of Music Achievement – Part 2”

Now let’s assess your practice. Pick out a passage from the SHJO folder or any excerpt (several measures or lines) from other challenging solo/ensemble repertoire.  Play the same section every day for a week. Create a journal with the date, problem solving observations, other comments, and rate your daily achievement using this meter:

  • Level 12: I played expressively. _______________________________________
  • Level 11: I played with self-confidence. _______________________________________
  • Level 10: I played with phrasing. _______________________________________
  • Level 9: I played with the dynamics as marked. _______________________________________
  • Level 8: I played with characteristic tone (with vibrato). _______________________________________
  • Level 7: I played with the correct bowing style (legato/detaché, staccato/martelé, or spiccato). _______________________________________
  • Level 6: I played the correct articulation (legato, marcato, staccato). _______________________________________
  • Level 5: I played bowings (down/up) & slurs correctly. _______________________________________
  • Level 4: I played the pitches with accurate intonation. _______________________________________
  • Level 3:  I played the correct fingerings and pitches. _______________________________________
  • Level 2: I played the rhythm accurately. _______________________________________
  • Level 1: I held a steady beat. _______________________________________

Inspire: 126+ More Musical Games and Quizzes!

http://www.musictechteacher.com/music_quizzes/music_quizzes.htm

Check the above link of MusicTechTeacher’s entire collection! You can review concepts while having fun GAMING!

CLIP #4

Inspire: “A Message from The Foxes’ Favorite Master Motivator”

“Dr. Tim!”

Did you sit down and view “A Message from Dr. Tim Lautzenheiser” we sent out in the last Mailchimp newsletter? If you do nothing else today, this should be your number one priority! (Share this with your family members.)

Here is the link: https://www.youtube.com/watch?v=4MwWVkBBREw

Think about trying one or two of the things he suggested for helping yourself and others during this break.

Listen: Pittsburgh Symphony “Extraordinary Measures”

We are always looking for more SHJO.clips, and Mackenzie Cloutier researched and found this link of five videos! Even live performances of the PSO have been cancelled, but they are playing “on the web” just for you! Go to:

https://pittsburghsymphony.org/pso_home/web/extraordinary-measures

Practice: “The Wheel of Fortune”

SHJO Practice Spinner

Do you need help deciding on WHAT TO PRACTICE? How about going tech with an online SPINNER to SELECT what you should work on? Mrs. Fox found this cool website: https://pickrandom.com/random-wheel/.

Spin to cover at least 3 categories a day. Use the setting that removes the number after you spin it (no repeats).

  • Zero = WARMUPS
  • One = SCALES
  • Two = ETUDES
  • Three = SOLOS
  • Four = ENSEMBLE MUSIC
  • Five = MEMORIZE A TUNE
  • Six = SIGHT-READ SOMETHING NEW
  • Seven = “OLDIES”
  • Eight = RECORD A SELECTION
  • Nine = PLAY A DUET WITH YOURSELF
  • Ten = PERFORM FOR SOMEONE

Share: We’re looking for more online games…

…that review music theory, history, notation, terms, etc.

Did you try all of these?  http://www.musictechteacher.com/music_quizzes/music_quizzes.htm

Sometimes music learning can be a lot like GAMING! Mr. Fox found another website with which to experiment:

Ultimate List of Online Music Games: https://cornerstoneconfessions.com/2012/08/the-ultimate-list-of-online-music.html

If you find something interesting – any game, recording, or website – share it by emailing Mr. Fox at pfox@shjo.org.

Create: BINGO CARD!

We are also looking for someone to design a fun practice card like this one: https://christina-yunghans.squarespace.com/s/Music-Bingo-Cards-sample.pdf.

Send a single copy to pfox@shjo.org.

Mr. Fox's Music Bingo

CLIP #5

Share: “On the Ear” News Reporter

Broadcast your own music review!

For this activity, you will need a device with voice recording capabilities, and a different device to listen to music selections, such as a radio or a record player, CD player, tape recorder, Music Choice channels on cable TV, or a computer on which you can view a YouTube selection, etc. Listen to an orchestral music selection or a recording of a selection for the instrument you play. (Examples: Bach Fugue in G minor, “The Lesser” or Haydn Trumpet Concerto, and so on.) As you listen to the music on one device, have you voice recorder ready to make running comments, just like a music reviewer or “play by play” sports event reporter. Download all of the instructions here:  http://www.shjo.org/s/Music-Reporter-032620.pdf

Inspire: “The Musicologist”

Free music theory review, courtesy of musictheory.net

We learned a lot last year using our Alfred Music Theory series. How much of it can you recall defining the “fundamentals of music notation?” (You do not have to purchase their Tenuto app as advertised on the website, although it is a reasonably priced option for further study! If you are a serious musician, Mr. Fox recommends it.)

Complimentary online instruction is available at https://www.musictheory.net/lessons.

To test your knowledge, here is the free link: https://www.musictheory.net/exercises.

Listen: “How Bad Can It Get?”

Classical music “fails” – just for fun!

Do you need a good laugh… conductors losing batons, concert disruptions, and much more? If you can get past the hideously out-of-tune and badly played introduction, see if you can find a violist making fun of a cell phone going off during his recital: https://www.youtube.com/watch?v=vPA31kvEUyY

Practice: “Mr. Fox’s Music Bingo”

A few ideas to keep on practicing and “give back” your music!     

If you want to print your own copy of the card or re-arrange the order of the activities, download from this link: https://christina-yunghans.squarespace.com/s/Music-Bingo-Cards-sample.pdf.

Practice: “Mr. Sheehan’s Practice Guide”

If you prefer a more cerebral plan, download/read/apply the excellent manual “What to Do When You Practice” written by the band director from Hollidaysburg Area Senior High School (PA), and the new President-Elect of the National Association for Music Education: http://www.shjo.org/s/What-to-Do-When-You-Practice-Booklet.pdf

Four-a-Day Music Researcher

CLIP #6

Share:Easy Classical Music Games”

Teach a younger sibling or neighbor the “basics of music!”

SHJO has a membership of all ages. Some of these clever activities are pretty easy, so “show your stuff” to a friend or family member: https://www.classicsforkids.com/games.html

Inspire: “Budding Composers: How to Avoid Getting Sued”

Mr. Fox’s latest YouTube video “find!”

How many Classical music themes seemed to be “borrowed” in popular music? A few tips on copyright law, too! Closer to home, do you remember SHJO’s playing of “Aura Lee?” Do you know the origins of the tune, who originally wrote the lyrics and music, and what popular piece/group used the melody? (Hint: Elvis Presley)

“14 Songs That Rip Off Classical Music” from the UK https://www.youtube.com/watch?v=yknBXOSlFQs

Practice: “Musical Dice”

A roll of the dice can lead to different pathways of music learning.

If you don’t have a dice, use this random number generator:  https://www.random.org/dice/

Start off with a “scavenger hunt” of researching music. First roll is the row, second is the column. (SEE ABOVE GRAPHIC)

Then, try a simpler dice game for individual practice on your instrument, rolling only once:

  1. Major or minor (alternate) scale and arpeggio
  2. A band or orchestra warmup (long tones, tuning, etc.)
  3. Slow lyrical section from your SHJO music (alternate)
  4. Favorite piece (solo, school ensemble, or SHJO)
  5. Fast passage from your SHJO music
  6. Section of a memorized piece (solo, school or SHJO) OR play along with a recording

Create: “Musical Dice II”

This time, YOU create-your-own practice game with the dice!

Write down and number six musical objectives you have, short school or SHJO sections, technical exercises, or solo pieces you want to learn. Divide up each “goal” into gradually more challenging success levels – focus on different excerpts, more measures, faster speeds, add dynamics, phrasing, articulations, etc.

SHJO Music Exploration graphic

CLIP #7

Listen:YouTube Kids Playlist

Discover new online music videos!

Parents: Did you know you can set up a free account for “completely safe viewings” of YouTube media? Go to  https://www.youtubekids.com/. Mr. Fox took an entire afternoon off perusing these recordings, a little something for everyone (a flute player, cellists, sax quartet, etc. who will “knock your socks off!”) The marble machine is just for fun… one link is a machine, the other a live band. What is “looping?” Registration may be required to access links:

Share: “Whack-a-Note”

Name these notes… fast!

http://artsedge.kennedy-center.org/interactives/steprightup/whackanote/

Like “Easy Classical Music Games” in CLIP #6, teach someone basic notation… or just have fun with it yourself.

Create: “Song or Music Writing”

A Few “Basics” for Getting Started with Composing (sample websites)

Inspire: “Music Exploration and Reflections”

Maintain a journal to keep track of your work.

(SEE ABOVE GRAPHIC – Special thanks to the Greeley-Evans Weld County School District 6 for sharing their music grades 6-12 materials.)

First, download the original, full-size two-page document (so that the links will work with “click and go”) from the SHJO.clips page: http://www.shjo.org/clips. (Word file is best so you can write on it;  if needed, this PDF version is also available: SHJO Music Exploration).

The grid on the second page will allow you to write down your progress, time spent, and reflections.

You act as your own music teacher – seeking out ways to enrich yourself with new knowledge of music.

 

© 2020 Paul K. Fox

Sharing a New Discovery for Band

Here’s my first try at a little musicology! Retired music teachers and those “shut-in” due to COVID-19 (which is almost everyone) can take some of their free time to “dabble” in a review of famous contributors and contributions to our music history…

Quick! Can you name one of the most influential composers of the 20th century, a pupil of Henry Cowell and Arnold Schoenberg, who was also instrumental in the development of modern dance?

Hint? Here’s his picture.

John_Cage_(1988)

John Milton Cage Jr. (September 5, 1912 – August 12, 1992) was an American composer, music theorist, artist, and philosopher. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde. — Greene, David Mason (2007). Greene’s Biographical Encyclopedia of Composers. p. 1407

Cage was a pioneer of the prepared piano, an acoustic keyboard instrument with its sound altered by objects placed between or on its strings or hammers (see above photo), for which he wrote numerous dance-related works and a few concert pieces.

What may not be as well known was John Cage’s intense study of Indian philosophy and Zen Buddhism in the late 1940s, which led him to focusing on the concept of aleatoric or “chance-controlled music,” which he started composing in 1951.

The I Ching, an ancient Chinese classic text decision-making tool, which uses chance operations to suggest answers to questions one may pose, became Cage’s standard composition tool for the rest of his life. In a 1957 lecture, Experimental Music, he described music as “a purposeless play” which is “an affirmation of life – not an attempt to bring order out of chaos nor to suggest improvements in creation, but simply a way of waking up to the very life we’re living.” — https://en.wikipedia.org/wiki/John_Cage and https://johncage.org/

The “Classic” from John Cage’s collection

John Cage 4' 33"

Pianists and musicologists are familiar with the original Peters edition of one of his most notable works, titled 4′ 33″ (for its length), as well as his free use of exploratory and unconventional instrument types, equipment alterations, and groupings. John Cage was indeed most prolific with an exhaustive number of varied compositions to his credit, spanning his 80-year life:

From his Apprenticeship Period 1932-1936

  • Greek Ode for voice and piano (1932)
  • Three Easy Pieces (1. Round in A minor, 2. Duo in G major, 3. Infinite canon in F minor) for piano (1933)
  • Three Songs for voice and piano, (1932–33)
  • Sonata for Clarinet (1933)
  • Three pieces for two flutes (1935)
  • Quartet for any four percussion instruments (1935)
  • Two pieces for piano (1935?, revised 1974)
  • Trio for three percussionists (1936)

From his Modern Dance, Prepared Piano, and Transition to Chance Period 1937-1951

  • Music for Wind Instruments (wind quintet – 1938)
  • Bacchanale for prepared piano (1938)
  • Imaginary Landscape No. 1 for two variable-speed phonograph turntables, frequency recordings, muted piano and cymbal (1939)
  • First Construction (in Metal) for six percussionists and an assistant (1939)
  • Second Construction for four percussionists (1940)
  • Third Construction for four percussionists (1941)
  • The City Wears a Slouch Hat for narrator and six percussionists (1942)
  • Credo in Us for four performers with various objects (1942)
  • She Is Asleep: 1. Quartet for percussion, 2. Duet for voice and prepared piano (1943)
  • Ophelia for piano (1945)
  • Prelude in A minor  for flute, bassoon, trumpet, violin, cello and piano (1946)
  • In a Landscape for piano or harp (1948)
  • Sonatas and Interludes for prepared piano (1946–48)
  • Suite for Toy Piano (1948)
  • A Flower for voice and closed piano (1950)

Sample First Chance Works 1951-1958

  • Sixteen Dances for flute, trumpet, 4 percussionists, piano, violin and cello (1950–1951)
  • Imaginary Landscape No. 4 (March No. 2) for 12 radios, 24 performers and a conductor (1951)
  • Music of Changes for piano (1951)
  • Seven Haiku for piano (1951–1952)
  • Waiting for piano (January 7, 1952)
  • Music for Piano 4–19 for any number of pianos (1953)
  • 26’1.1499″ for a string player (1953–55, finished in 1955)
  • Music for Piano 21–36, 37–52 for piano solo or in an ensemble (1955)
  • Speech 1955 for news reader and 5 radios (1955)
  • 27’10.554″ for a percussionist (1956)
  • Radio Music for 1 to 8 performers using radios (1956)
  • Winter Music for piano (1957)
  • For Paul Taylor and Anita Dencks for piano (1957)
  • Fontana Mix for tape (1958)
  • Aria for voice (1958)

Sample Happenings, Theater Music 1959-1968

  • Sounds of Venice for television set (one performer) (1959)
  • Water Walk, a work for a TV show for one performer with a variety of objects (1959)
  • Cartridge Music for amplified sounds (1960)
  • Music for Carillon No. 4 for electronic instrument with accompaniment (1961)
  • Variations II for any number of performers and any kind and number of instruments (1961)
  • Music for Piano 85 for piano and electronics (1962)
  • Variations III for any number of people performing any actions (1962)
  • Electronic Music for solo piano (or any number of pianos) with electronics (1964)
  • Rozart Mix, tape loops (1965)
  • Variations V (1965)
  • Variations VI for a plurality of sound systems (1966)
  • Variations VIII no music or recordings (1967; revised 1978)
  • Assemblage for electronics (1968)

Samples of Return to Composition 1969-1986

  • HPSCHD for 1 to 7 amplified harpsichords and 1 to 51 tapes (1967–69, accompanied with Program (KNOBS) for the listener, an instruction for playing back the recording of the piece)
  • Cheap Imitation for piano (1969; orchestrated 1972, violin version 1977)
  • Bird Cage for 12 tapes (1972)
  • Etcetera for small orchestra, tape and, optionally, 3 conductors (1973)
  • Exercise for an orchestra of soloists (1973, based on Etcetera; second version completed in 1984)
  • Etudes Australes for piano (1974–75)
  • Some of the “Harmony of Maine” for organist and three assistants (1978)
  • Etudes Boreales for cello and/or piano (1978)
  • Hymns and Variations for twelve amplified voices (1979)
  • Ryoanji for double bass, trombone, oboe, voice, percussion, small orchestra (1983; parts added in 1983–85, and an unfinished cello part survives from 1992)
  • Selkus2 (1984)
  • ASLSP for piano or organ (1985)
  • Haikai for gamelan ensemble (1986)

Sample Number Pieces and Other Late Works 1987-1992

  • Twenty-Three for 13 violins, 5 violas and 5 cellos (1988)
  • Five Stone Wind for three performers with clay drums, electronics and unspecified instruments (1988)
  • 1O1 for orchestra (1988)
  • Four for string quartet (1989)
  • One2 for 1 to 4 pianos (1989)
  • Three for three recorders (1989)
  • One7 for any sound-producing object (1990)
  • Scottish Circus for Scottish folk band of any number of musicians and any instruments/voices (1990)
  • Twenty-Six for 26 violins (1991)
  • Twenty-Eight for wind ensemble (1991)
  • Muoyce II (Writing through Ulysses) for speaker and tapes (May 1992)
  • One11 for solo cinematographer (1992)

New “Bandstration” by John Cage

SmartMusic library

We are happy to announce a fairly recent discovery, a unique musical “find” for band directors, the first of which is a new adaptation of his work 4′ 33″ available for middle to high school concert band (full instrumentation, listed below) and a reduced, surprisingly easy-accessible arrangement for elementary band.

The music can be ordered from number of publishing houses, including C.F. Peters Corp., Sheet Music Plus, and J.W. Pepper.

Cage arrangement for band in SmartMusic

Smartmusic (MakeMusic, Inc.) added the newest edition of 4′ 33″ to its music library, labeling it “concert” and “contest” genre at the “medium easy” level with options to practice, perform, and assess individual instruments from within the score, including:

  • Flute
  • Oboe
  • Bassoon
  • Clarinet
  • Bass Clarinet
  • Alto Saxophone
  • Tenor Saxophone
  • Baritone Saxophone
  • French Horn
  • Trumpet
  • Trombone
  • Euphonium T.C.
  • Euphonium B.C.
  • Tuba
  • Mallet Percussion
  • Percussion
  • Timpani

John Cage printed band arrangement

An even more simplistic elementary band version, with a recommended two minutes performance time, is published by Classical Arrangements for Young Bands.

Take time to explore the amazing life and music of John Cage. You won’t be sorry!

PKF

 

Bibliography

 

© 2020 Paul K. Fox

Virtual/Remote/Alternative Music Ed

Resources for Teaching Music Online During the COVID-19 Pandemic

COVID-19

The dreaded messages came to almost every educator:

EMERGENCY ALERT:

Out of an abundance of caution relating to the prevention of spreading the coronavirus, beginning on _____, all after-school, extra-curricular, and outside group meetings and rehearsals are postponed until further notice.

* * *

Dear Students, Parents, and Staff:

All ______ school programs such as sports, band and jazz concert, spring musical, choir festival, dance and voice recitals, booster meetings and fund-raisers, and the music department adjudication trip, are cancelled.

* * *

Important announcement:

The spring concert scheduled for March 28 at the Performance Hall will not take place. A decision about whether to cancel this performance or postpone it to another date will be made as the community health situation continues to evolve.

And then, the Governor closed the schools for two to eight weeks (or more?).

Governor Wolf
Pennsylvania Governor Tom Wolf

Dear Families,

Thanks for your patience as we work through the events that have been occurring and planning for what lies ahead. We hope you and your family are staying well, and we know that many of you are looking forward to a Virtual Learning experience for your child.

We want to share some important information with all of you as we prepare this transition. While we do not know how long our buildings will be closed, we want to be prepared for ______ Virtual Learning for as long as it is necessary.

The immediate effect? Suddenly, our kids were sent home for an extra-early spring break, hopefully remembering to bring their instruments and music! Trying to “embrace” this world emergency (from a safe distance, of course), no one had a “crystal ball” to predict or even imagine the far-reaching effects, many of which we are still awaiting answers!

  • When will we be able to go back to school?
  • How can we collaborate, grow, and share our music learning, personal progress, repertoire and skills learned over the past year?
  • What will happen to everything all of us were forced to leave unscheduled, unfinished, or “in production?”
  • Will commencement be cancelled, too?
  • Worst yet, will our seniors fail to graduate, receive their diplomas, and start college on time next fall?

Every music teacher I know cried out, “How can I reach-out to my students to help them find alternative avenues to making music? The challenge is now thrust upon us to find ways to inspire our students to continue building on their “musical momentum” in daily practice, as well as stimulate other sources of artistic enrichment and the self-motivation to create new music goals.

My first act as a community youth director was to “fire up” my orchestra’s website and Facebook page. We regularly send out Fox’s Firesides of articles on practice tips, music problem-solving techniques, goal-setting, keeping a journal, developing teamwork, learning to conduct, acquiring college references, showing concert etiquette, etc. and other notices to the members and parents using a free-version of Mailchimp.

SHJOclips

In addition, we launched something called SHJO.clips, low-tech but hopefully effective in “exciting” future music enrichment and exploration: online music games, worksheets, sample recordings and videos, practice excerpts, music theory exercises, sight-reading and ear training assignments, and much more… a treasure chest of FUN things-to-do or c.l.i.p.s. to do ON THEIR OWN: Create, Listen, Inspire, Practice, Share.

Archives of both Fox’s Firesides and SHJO.clips are available by clicking the menu at the top or visiting http://www.shjo.org/ (look under “resources”).

Are we permitted access to our students and classes online during the official closures? Does your school use Canvas or other virtual educational environments to hold digital classes, post learning activities, make assignments, provide feedback, and/or assess your students’ achievement? (Are you even allowed to do so? I cannot answer this essential question because I do not know school law and I retired from the public schools in 2013.)

smartmusic and musicfirst

Are you one of the “lucky ones” who had previously set-up either the Smartmusic or MusicFirst online platforms (and the students know how to use the it) and can continue encouraging your band instrumentalists, string players, or vocalists to sight-read, practice, explore new literature, perform, record, and assess themselves?

Do you and your students need cheering up with a “pep-talk” by Dr. Tim Lautzenheiser, the famous “music educator’s guru,” guest speaker and expert motivator often presented as the kick-off keynote session at music conferences. “Dr. Tim” challenges us all to focus on what’s important and how we can put our time to good use:

“Life is about 10% what happens to me and 90% how I react to it.”

The pessimist sees the challenge in every opportunity, but the optimist sees the opportunity in every challenge.”

 

Set aside 17 minutes to recharge with this video. Then, share it with your students!

I am proud to admit that, in a single act, our profession has so far risen to the occasion. In an effort to help our “stranded” programs and motivate music educators and their students, so many tech experts jumped into the fray to post their recommendations and resources. At the end of this blog-post is a (very long) list of links from them, at least active as of today, for distance learning strategies and virtual music education.

logo 2
https://www.pmea.net/council-for-ttrr/

We have taken the time to compile many of these suggestions and warehouse them on the Pennsylvania Music Educators Association State Council for Teacher Training, Recruitment, and Retention website here. Look under the heading “Virtual Music Learning – Engaging Students During the Break.” This is the impetus for this article. The samples provided below (probably only the “tip of the iceberg” and already out-of-date) are by no means all-comprising and fully comprehensive. With every minute of the day dragging on during this crisis and we are still “shut in” our homes away from our music students, new solutions are being posted to Facebook groups like Music Educators Creating Online Learning.

Click here if you would like a printable PDF file of this revision of resources.

Take the time to research what might work for you. At the very least, pass on the music games and puzzles offered at sites like Music Tech Teacher or Cornerstone Confessions. Venture into learning new apps like Zoom.com for webinar/meeting management.

Music does make a difference in all of our lives… and we need to keep our musicians and singers “at it” even during this catastrophe!

Best wishes to you and yours. Stay safe and healthy! Thank you for your dedication and contributions to music education!

(Editor’s Note: We have continued adding many more updates to the list below at the website of the PMEA Council for Teacher Training, Recruitment, and Retention accessible from this link.)

PKF

 

 

Sources of Online Music Media and Instruction

Photo credit from Pixabay.com: “child-play-game-technology-3264751” by ExplorerBob

© 2020 Paul K. Fox

Will You Still Need Me When I Retire?

the-beatles-509069_1920_skeeze
Pixabay.com by skeeze

When I get older, losing my hair
Many years from now,
Will you still be sending me a valentine,
birthday greetings, bottle of wine?

If I’d been out till quarter to three
Would you lock the door?
Will you still need me, will you still feed me,
When I’m sixty-four?

– John Lennon / Paul McCartney, songwriters

When I’m Sixty-Four lyrics © 1967 Sony/ATV Music Publishing LLC

 

Mattering vs. Marginality

Perspectives for Those Leaving the Profession

Adaptations of the article in PMEA News (Fall 2019) and the blog “Retiree Concepts.”

Do you feel “needed” and “making a difference” to others? This is an essential part of what author Ernie Zelinski of the best-seller book How to Retire Happy, Wild, and Free emphasizes: “finding purpose, structure, and community” – goals for which your job and career usually provide – but are equally essential in retirement.

shutterstock_590895482_Your_Opinion_Matters

“Work structures us and gives us routine in our lives,” says psychologist Louis Primavera of Touro College in New York City, who co-wrote the 2012 book The Retirement Maze: What You Should Know Before and After You Retire. “We plan around work. It is part of our identity. We go to a social gathering and people say, ‘What do you do?’ Clearly, what happens is people say, ‘What am I going to do? What am I going to be?’ The loss of identity is a major fear.”

Retiring is “a series of transitions,” says Nancy Schlossberg, a professor emerita of counseling psychology at the University of Maryland, and now of Sarasota, Fla., where she is a consultant and public speaker on life transitions. “Change is very unsettling. There are people afraid because they can’t forecast the future,” she says, and because they worry “they no longer will have a purpose.”

In her 2009 book Revitalizing Retirement: Reshaping Your Identity, Relationships, and Purpose, Schlossberg talks about “mattering,” which she describes as “the degree to which you feel you’re appreciated, you’re noticed, you’re depended upon.”

Citing the research of Morris Rosenberg and B. Claire McCullough (adolescent studies) at https://psycnet.apa.org/record/1983-07744-001, Schlossberg further defines it as “a universal, lifelong issue that connects us all.”  Her “four dimensions of mattering” are:

  • Attention – the feeling that a person has the interest of another;
  • Importance – the feeling that others care about what you want, think, and do;
  • Ego-Extension – the feeling that others will be proud of your successes and/or saddened by your failures;
  • Dependence – the feeling that a person can depend on someone else.

shutterstock_1549374344_Ignored

Schlossberg also describes the opposing term “marginality” as “a sense of not fitting in,” which can lead to “self-consciousness, irritability, and depression. For some, these feelings can be permanent conditions.” Furthermore, “feelings of marginality often occur when individuals take on new roles, especially when they are uncertain about what these entail.”

Sound familiar? This might resemble that sometimes-tumultuous passage to and emotional ups-and-downs during the initial stages of “life after the work!”

Retirees, do you wake up in the morning feeling like you have an important part to play in the grand scheme of things? According to blogger Carol Larson and life coach Mary Helen Conroy, “During those early months of retirement, folks often try to figure out what their purpose is now that they’re not working. They wonder if they matter.” They view this concept through the lens of popular culture and the literature of transitions. You are invited to try their shared “recipe for mattering” in the Retiree Rebel free-podcast posted at http://www.retireerebels.com/mattering-matter-retirement-mhc-214/.

Dr. Amit Sood, author of the Mayo Clinic Guide to Stress-Free Living, recommends to “treat the first year in retirement as if you are ‘interning’ to give yourself time to readjust and set new expectations.” So, seemingly taking his advice, plan a “break” from everything, take extended trips, tours, or cruises, and enjoy some unscheduled time… to literally “go with the flow.”

shutterstock_450462928_senior_exercise

Susan Woodward, now 75 and living in Tucson, spent four years of her retirement traveling the country in her RV. She visited national parks and the maritime provinces in Canada, and even spent of that time volunteering. What she remembers most is her first trip, when she headed to Deming, N.M. from Raleigh, N.C. “I had such a sense of freedom, empowerment, expansion. I can’t even explain it,” she said. “It was like the whole world opened up.”

— Alessandra Malito

But, a “traditional retirement” may not be for everyone. As Alessandra Malito writes in MarketWatch https://www.marketwatch.com/story/afraid-of-being-bored-in-retirement-consider-these-options-2017-10-10, “Some can’t wait to put in their papers, while others dread the day they give up work for fear of having nothing to do, and no meaning to their name.”

It’s true that retirement can be a dangerous time for some. Without a sense of purpose, the risk of depression increases, and what should be a relaxing time becomes an anxious one. Studies show that without anything meaningful to do, and “mental exercises” throughout the day, cognitive abilities diminish in early retirees. They should also engage in social activities and find a leisurely activity they can enjoy if they aren’t trying to spend their retirement years still working.

— Alessandra Malito

The good news? You have friends in high places… NAfME and your state’s federated music education association (MEA) colleagues who have successfully “Crossed the Rubicon” into an active, meaningful, healthy, and happy retirement.

pmeaAnyone contemplating retiring over the next three years should visit their state’s retired member section and Retired Member focus area on the PMEA website: https://www.pmea.net/retired-members/. Take a look at past issues of the PMEA Retired Member Network eNEWS, read the Ultimate Retiree Resource Guide/Bibliography (also posted here), and view the video How-to-Retire.

Finding purpose and “mattering” during your post-full-time employment years will be easier if you continue your own pursuits in music artistry and creative self-expression, as well as your support of music education – be as active as you want – but consider the value of a few of these Goals/Benefits of NAfME/State MEA Retired Membership:

What music teacher retirees need from their professional associations…

  • Recognition and archival of past and current professional accomplishments, assignments, interests, skills, and talents.
  • Sessions geared for retired members, such as nurturing expressiveness and participation in amateur/community ensembles, retirement planning, etc.
  • New “brain-engaging” outlets for learning, leadership, advocacy, “encore career” development, and service.
  • Discounts for membership and attending festivals, workshops, and conferences.

What NAfME and state MEAs’ need from its retirees…nafme

  • Mentoring of new/less experienced teachers
  • Advising “best practices” in curriculum, instruction, assessment, and literature
  • Serving as leaders or consultants on local or state councils/boards
  • Volunteering at local workshops and state conferences
  • Advocating music education to the legislature and general public
  • Presenting sessions at workshops or conferences
  • Conducting, coaching, or accompanying students at festivals
  • Assisting in technology, teacher training, recruitment, auditions, etc.

Yes, you do matter, and you have a lot to offer benefiting the profession to which you have devoted your life! Happy trails to all retiring and retired members!

shutterstock_439838155_retired_couple_small

References

Jayson, Sharon. (2017). Are You Afraid to Retire? AARP: https://www.aarp.org/retirement/planning-for-retirement/info-2017/retirement-fear-fd.html

Larson, Carol & Conroy, Mary Helen. (2017). Mattering: Do I Matter After Retirement? Retiree Rebels: http://www.retireerebels.com/mattering-matter-retirement-mhc-214/

Malito, Alessandra. (2017). Afraid of Being Bored in Retirement? Consider These Options. MarketWatch: https://www.marketwatch.com/story/afraid-of-being-bored-in-retirement-consider-these-options-2017-10-10

Malito, Alessandra. (2017). This is What Older People Do When They’re Not Quite Ready to Retire. MarketWatch: https://www.marketwatch.com/story/this-is-what-older-people-do-when-theyre-not-quite-ready-to-retire-2017-07-07

Malito, Alessandra. (2017). Why Retirement Can Be a Dangerous Time. MarketWatch: https://www.marketwatch.com/story/why-retirement-can-be-a-dangerous-time-2017-09-18

Primavera, Louis, Pascale, Rob & Roach, Rip. The Retirement Maze: What You Should Know Before and After You Retire. Rowan & Littlefield Publishers, 2012.

Rohwedder, Susann & Willis, Robert J. (2010) Mental Retirement. National Center for Biotechnology Information: https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2958696/

Rosenberg, M., & McCullough, B. C. (1981). Mattering: Inferred significance and mental health among adolescents. Research in Community & Mental Health, 2, 163-182

Schlossberg, Nancy K. Revitalizing Retirement: Reshaping Your Identity, Relationships, and Purpose. American Psychological Association, 2009

Sood, Amit. The Mayo Clinic Guide to Stress-Free Living. Da Capo Press, 2013

Zelinski, Ernie J. How to Retire Happy, Wild, and Free. Ten Speed Press, 2009

PKF

© 2020 Paul K. Fox