Social Media – Boon or Nemesis?

April 29, 2018May 5, 2020 paulkfoxLeave a comment

This is an expanded version of an excerpt from my August 30, 2017 blog-post multi-part series entitled “Ethics for Music Educators II,” crossing over to multiple categories and perspectives for veteran music teachers, new or pre-service educators, and retirees, and touching on the timely issues of ethics, student/teacher safety, professional development, and personal branding.

The Paradox: Online Technology Pitfalls vs. Innovations in Education

This may be hard to believe, but when I started teaching in 1978, “social media” did not exist. If you can imagine this, there was no Internet yet, and most of us did not have computers. Flip or smart phones and tablets were only the subject of science fiction or Star Trek episodes. Guidelines for use or to avoid abuse of social media were not even a “seed” in our imaginations.

When MySpace and Facebook came upon the scene in 2003 and 2004, most school administrators recommended “stay away from these.” The online sharing and archiving of photos initiated the adoption of many other social media apps (Flickr and later Instagram, Tumblr, Snapchat, etc), which provoked new challenges in maintaining privacy, appropriateness, and professionalism. Danger, danger, danger!

However, very soon after, school leaders starting rolling out revolutionary “technology” such as “teacher pages” and school webpages, online bulletin board services, interactive forums, virtual learning environments like Blackboard and Blended Schools, and other educational tools which encouraged two-way communications among students in the class and the teacher. All of this is here to stay… so how should we use technology safely?

Cons – Negatives – Warnings

Paraphrasing current and past postings from the Pennsylvania Department of Education Professional Standards and Practices Commission Educator Ethics and Conduct Toolkit, social media and other digital communications may perpetuate the following problems:

Communicating digitally or electronically with students may lead to the blurring of appropriate teacher-student boundaries and create additional challenges to maintaining and protecting confidentiality.
Texts, emails, and social media postings are not private, and may be seen by others, forwarded, and/or copied or printed.
Out of context, they may be misinterpreted, appear to be inappropriate, and/or lead to a violation of “The Code.”
It is the responsibility of the teacher to control his or her “public brand,” how he or she wants to be perceived by students, parents, colleagues, and the public. One’s public brand can and does impact perceptions, which in turn can impinge upon effectiveness.

“Let’s debunk the free speech myth: Many teachers believe they have the absolute First Amendment right to post anything they want on social networking sites, including party pix and diatribes about the boss. After all, they’re on their own time and using their own resources. Sadly, the courts say otherwise.”

– National Education Association

There are a lot of pretty scary scenarios out there modeling “real” ethical dilemmas for teachers in the use of emerging technology and social media. If you can, take the time to preview a few of these case studies and videos:

Many have said that Facebook and educators, in particular, should never mix. Although not entirely accurate or perhaps fair to the social media “giant” (you can carefully set-up private, content-specific Facebook groups with restricted access and limited privileges), this seems to be supported by one news story about a Math teacher who loss her job because she failed to notice changes in her Facebook privacy settings, and the other, a clever Facebook vs. teacher presentation by R. Osterman. In my opinion, both of these should be “required viewing” by all college music education majors and current educators in all subject areas.

Pros – Positives – Recommendations

By no means are we implying that all forms of technology are “bad” or “dangerous” for music teachers. For example, some of us have explored the valuable web-based music education platforms of SmartMusic (MakeMusic, Inc.) and MusicFirst, and I can give you a handful of fantastic (free) links to online resources for the teaching of music theory, ear-training, and even sight-singing:

One of my favorite music educator blog-sites is Mrs. Miracle’s Music Room. Her March 2017 post, “Social Media for Music Teachers,” provides excellent insights into the safe and philosophically-sound use of Pinterest, Facebook, Twitter, Instagram, and YouTube. I cannot recall how many times I visited YouTube’s exhaustive library of recordings, sharing with my students both good and bad examples of the orchestral literature we were studying.

Another impressive article, “How Music Teachers Can Use the Power of Social Media” by Amanda Green, focuses on using the Internet to send out practice reminders, encourage practice uploads, share amazing performances, and communicate tips and reminders.

“Some people mistakenly assume that social media doesn’t apply to them. Take music teachers. Their work is done in person, one student at a time, right? Not at all. If you’re a music teacher and you don’t already have a Twitter account, a Facebook page, and a Tumblr blog set up for your music studio, you’re not taking advantage of all of the ways that social media can help your students. As the TakeLessons team notes: the Internet has enabled students to learn music from anywhere, often from teachers who are Skyping halfway across the country.” – Amanda Green

Here are several supplemental resources provided in NAfME Music in a Minuet:

Finally, I urge you to review Chad Criswell’s submission, “Social Media and Communication in the Music Classroom,” which was published in the February 2012 NAfME Teaching Music.

Exercising Good Judgment and Professionalism Using Technology

Ethics are all about making good choices. Returning to “my state’s” excellent ethics tool kit, the following links were suggested for additional study:

Pennsylvania State Education Association (PSEA): “Safe Social Media for Educators”
PSEA: “Social Networking Tips & Information”
PSEA: “Blogging 101”
PSEA: “Emailing and Text Messaging”

Guiding questions about the above links from the PA Professional Standards and Practices Commission:

“After examining these resource guides for emerging technology, did any of the guidelines surprise you?”
“Do you envision any problem for you personally in adhering to these guidelines?”

During my sessions on ethics in music education, I quote these ten rules from the American Board for the Certification of Teacher Excellence:

Know your school district or state’s policies on social media.
Never “friend” or “follow” students on your personal accounts.
Keep your profile photos clean
Do not affiliate yourself with your school on a personal profile.
Do not geo-tag your posts with your school’s location.
“Snaps” are forever! Anyone can take a screen shot of your posts.
Never mention your school or the names of staff or students in any post.
Set your Instagram account to private.
Never complain about your job online.
Never post photos of your students on social media

The final word, the most eloquent and comprehensive guide for all of us to use in our daily decision-making in the profession is the Model Code of Ethics for Educators, created by the National Association of State Directors of Teacher Education and Certification (NASDTEC).

“The Model Code of Ethics for Educators (MCEE) serves as a guide for future and current educators faced with the complexities of P-12 education. The code establishes principles for ethical best practice, mindfulness, self-reflection, and decision-making, setting the groundwork for self-regulation and self-accountability. The establishment of this professional code of ethics by educators for educators honors the public trust and upholds the dignity of the profession.” – NASDTEC

Here is the specific section applicable to social media and other technology. I cannot imagine that, after all of this, there is anything else left to say!

PKF

Photo credits (in order) from Pixabay.com: “Internet” by TheDigitalArtist, “notes” by Alehandra, “social-media” by mohamed_hassan, “network” by geralt, “Facebook” by Simon, “Internet” (2) by TheDigitalArtist, “portrait” by Karla_Campos, “woman” by shy_kurji, “smartphone” by TeroVesalainen, and “connection” by TheDigitalArtist.

Transitioning from Collegiate to Professional – Part III

April 14, 2018May 5, 2020 paulkfoxLeave a comment

The Final Leap from Pre-Service to In-Service:

The Metamorphosis and Integration of Philosophy, Maturity, and Teacher Preparation

To “wrap-up” our final segment, we will review the development of a professional “marketing plan.” This is blog #3 out of 3. (Be sure to also check out #1 and #2, too.)

These are three critical skills you need to foster in the search for a school music position, marketing yourself, interviewing, and landing a “good” job:

Personal branding (who are you, what makes you unique, and what do you have to offer?)
Story telling (anecdotes) of your positive attributes and personal brand, including a record of your habits of “engagement” in music education, and
Networking (associating with other professionals and getting your positive stories “out there”).

Personal Branding

“Personal branding is the practice of people marketing themselves and their careers as brands. While previous self-help management techniques were about self-improvement, the personal-branding concept suggests instead that success comes from self-packaging… Personal branding is essentially the ongoing process of establishing a prescribed image or impression in the mind of others about an individual, group, or organization.”

– Wikipedia: https://en.wikipedia.org/wiki/Personal_branding

What is the difference between marketing and branding? According to some, “marketing is what you do, branding is what you are.” (www.tronviggroup.com/the-difference-between-marketing-and-branding/)

Shama Hyder posted “7 Things You Can Do to Build an Awesome Personal Brand” at http://www.forbes.com/sites/shamahyder/2014/08/18/7-things-you-can-do-to-build-an-awesome-personal-brand/, including the following outlined summary:

Start thinking of yourself as a brand
Audit your online presence
Secure a personal website
Find ways to produce value
Be purposeful in what you share
Associate with other strong brands
Reinvent

During these waning months for college music education seniors, now is the time to finalize the preparations for personal branding and beginning the employment search! Personal branding is critical to help you “stand above the rest,” showing that you have what it takes and would be a major asset to a prospective employer, and defining and marketing your own unique qualities that would make you “a good fit” for the specific job openings.

The branding process involves first developing your philosophy of music education, archiving your awards and accomplishments, documenting your grades and experiences, and collecting stories/personal anecdotes of your strengths. The next steps include the creation of a written and electronic portfolio, business card, resume, and website. Finally, you must compile/assemble everything together and practice (and self-assess) your “story-telling skills” to answer those important questions at well-rehearsed “mock interviews.”

You will likely not have enough time to complete all of these tasks during methods classes or student teaching seminars. That’s okay. If you are serious about prepping yourself to find a great music teaching job, the valuable links (see below) and articles are out there… just manage your time and start reading.

Networking

According to the article “Network Your Way to Secure a Teaching Job” at https://resumes-for-teachers.com/job-search-help/teacher-network/, many people are unaware of the basics of networking and how to use them it to their advantage in securing a job:

“Networking simply refers to finding job-related contacts. Most teachers who are just beginning their careers may feel that they have few, if any, networking contacts in the teaching field. It is important to consider the many different areas of networking as you create your own group of networking contacts to help you secure a teaching job. It is interesting to note that many of the teaching positions that are filled each year are filled by those who came to the attention of personnel managers by recommendation.”

“Always think about adding to your teaching network. When meeting new people, be certain to add them to your network. Talk to them about your skills, education, experience, and learn about their jobs. Make sure that you always ask for a business card.”

Do you have a business card? Is your résumé updated and available online on your professional website?

As I laid out in a previous blog “Networking Niceties: The ‘How-To Schmooze’ Guide for Prospective Music Teachers” at https://paulkfoxusc.wordpress.com/2016/04/04/networking-niceties/, the concept of networking is two-way communications. Just like collective sets of nerve synapses, two-way connections are expected to fire repeatedly in all directions. That’s actually the science behind memory. For professional networking, it is your “charge” to create multiple pathways to/from school HR managers and secretaries, administrators, music supervisors and department heads, and music teachers… and YOU – your skills, accomplishments, unique qualities, experience, education, and personality traits.

The above blog-post also explores setting up a good organizational system to manage your professional contacts.

If you are a Pennsylvania collegiate member (PCMEA), I heartily recommend the article “Networking 101” by Dr. Kathleen Melago, PCMEA State Advisor and Associate Professor of Music Education at Slippery Rock University, published in the Summer 2017 issue of the state journal PMEA News (pages 40-42). Here are several quotes from her work:

“One of the most common ways music educators can plan to network is at conventions. First, try to avoid interacting only with people from your school or people you already know from other schools. Go to sessions that interest you and look for opportunities to meet people there. Before the session starts, introduce yourself to people sitting around you. Use your social skills to assess whether they seem like they want to engage in a conversation or not. After the session, go up and meet the presenter.”

“Of course, social media is another great way to build your network. Networking with professionals already in the field can help you see what they are doing and help you build ideas of what you would like to do in your program someday.”

“Sometimes, you might find yourself networking unexpectedly. For example, you might go into school to work with their clarinet section during band camp and just happened to meet the choir teacher. That is networking!”

“To help your networking be most effective you need to have good communication skills. When interacting with others in a networking situation, be sure to focus on the person with whom you are speaking. Avoid looking off into the distance as if you were to anticipating someone else more important coming by. But your cell phone away and be present to the conversation.”

“Be yourself in your networking interactions. If you pretend that you are someone you are not, you will either end up unhappy or you’ll be discovered is someone who is not genuine.”

Dr. Melago goes on to provide a myriad of excellent examples of networking skills and opportunities.

Another resource specifically for networking at music teachers conferences is posted at https://nafme.org/getting-music-conferences/.

Engagement

Here is an excellent definition of “professional engagement” from “Domains of Teaching” of the Australian Institute for Teaching and School Leadership at https://www.aitsl.edu.au/teach/understand-the-teacher-standards/domains-of-teaching.

Teachers model effective learning. They identify their own learning needs and analyze, evaluate and expand their professional learning, both collegially and individually.

Teachers demonstrate respect and professionalism in all their interactions with students, colleagues, parents/carers and the community. They are sensitive to the needs of parents/carers and can communicate effectively with them about their children’s learning.

Teachers value opportunities to engage with their school communities within and beyond the classroom to enrich the educational context for students. They understand the links between school, home and community in the social and intellectual development of their students.

Engagement for prospective music teacher may include synonyms like “participate,” “enroll,” “join,” “be active,” “volunteer,” “seek experience,” and “make a difference!”

Are you a member of your professional music education associations?

NAfME National Association for Music Education
PCMEA Pennsylvania Collegiate Music Educators Association, or another state’s local NAfME collegiate chapter
PMEA Pennsylvania Music Educators Association, or another state’s NAfME-affiliated MEA
ACDA American Choral Directors Association
ASTA American String Teachers Association
NBA National Band Association

Did (or will) you attend your state music teachers’ conference and local workshops on music education and professional development?

To prove you are “professionally engaged,” I would expect to see a consistent record of modeling in the following areas:

Self-reflection of the professional’s teaching practices and modification of these as needed to match changes in the environment and circumstances
Self-assessment of the professional’s methods and approaches, as well as the progress of the students’ learning, using both formative and summative methods for constant and ongoing improvement
Identification and planning of professional learning needs.
Unsupervised (or unplanned by school administration) goal-setting and self-guided implementation of opportunities for professional development
Association with professional learning communities, school and community meetings, and other collaborative projects
Volunteer service in music and music education
Membership and subscription to music education journals and participation in online professional community discussion groups

Many have said that aspiring to be a music educator is a lot like a calling. One school superintendent I know said he expected prospective new recruits to show high energy, enthusiasm, sense of purpose, and dedication during the interview… even a supposed willingness to “lay down in front of a school bus” or “do what ever it takes” to make the students (and the educational program) successful. That’s engagement!

In summary, becoming a music educator is about finding your inner confidence, a mindset that you know what you’re doing, and that you’re ready for that real world experience. You’ve learned those essential skills in conducting, piano accompaniment, arranging, student behavior modification and discipline, music diagnosis and remediation, and even how to market your professionalism. Now… drum roll, please! Here’s… a master music teacher!

In closing, here are supplementary materials to help you to “get your feet wet,” all free and available online. The following lists, although not comprehensive, are a good place to start (courtesy of https://www.pmea.net/wp-content/uploads/2012/10/Collegiate-Communique-No11-022218-2.pdf):

Good luck!

Personal Branding, Marketing, and Networking

Business Cards

Résumés

Portfolios and Websites

Interview Questions, Techniques, and Skills of “Story-Telling”

PKF

Photo credits (in order) from Pixabay.com: “tutor” by nrjfalcon1, “trumpet” by congerdesign, “skills” by diwou, “phone” by Robin-Higgins, “OK” by Robin-Higgins, “feedback” by geralt, “young” by Robin-Higgins, “music” by ricardo-vasquez, “excited” by Robin-Higgins, and “classical-music” by pexels.

On the Road Again…

March 30, 2018March 31, 2018 paulkfoxLeave a comment

I hate the Pennsylvania Turnpike… but I’ll get over it!

Over the 43+ years that I’ve been involved in music education conferences starting in college and attending our annual events in Lancaster, Hershey, Valley Forge, and everywhere else, I have used this “blessed” road.

Oh, it’s much better now. There are more stretches of 70 mph speed limits, and even the rest stops and restaurants are improved than they were 10 and 20 years ago. However, the twisting-twining roads, usual “bad weather” (why does it always rain or snow during the state conference?), need to jockey for position with all those large tractor-trailer trucks, etc. always challenge my nerves and patience.

Hey, it’s what we do. And I’ll never give it up.

The annual trek for acquisition of professional development remain such a critical element for self-improvement, program assessment, and personal enrichment. The annual spring and summer conferences of the Pennsylvania Music Educators Association offer an incredible depth of new materials, methods, and perspective, not to mention the all-so-essential networking, “catch-up with colleagues,” and collaboration of ideas.

As they say in the movie Shawshank Redemption (1994), “get busy living or get busy dying.” In this business, we have to look forward, seek innovation and reinvention, “build a better mouse trap,“ and absorb advice from “the latest and greatest” clinicians and “people on the move.” That’s how you GROW!

For more than four decades, I have never attended a day of professional development or a conference that I didn’t learn a myriad of new things, feel refreshed and recharged, and return to “make a difference” in my classroom, my school, and my program.

Soon I will be attending my 51st PMEA conference (counting springs and summers). I always feel a little nostalgic this time a year when I recollect all of those PMEA District, Region State, and All-State festivals, the latter held in conjunction with the music educators conference. I’m also remembering all the times I took my students to these events, capturing memories of specific individuals, singing in their choral parts in the car, swapping old stories about previous orchestras, choirs, and conductors, and providing a few last-minute tips on how to take auditions.

Now that I’m retired, my time is more devoted in making presentations and sharing a portion of what is now a vast vault of hard-won knowledge, skills, and experiences in order to help my colleagues with their unique situations and problems. They say that “work” provides us with the three essential elements of purpose, structure, and community. Even in retirement, participating in PMEA provides me all these things and the chance to continue to interact with like-minded and committed music educators, literally for the good of the profession.

In my capacity as PMEA state retired member coordinator, I sponsor a breakfast meeting prior to the Friday morning sessions at the annual spring conference, and I have the privilege of keeping “in tune” with fellow retirees, active practitioners, and even members of our PCMEA pre-service music teachers. This has stimulated my mind, kept me current, made me a better listener, and fostered a lot of moments of satisfaction knowing that I can still help dedicated professionals in the career that I devoted most of my life.

For those of you who have never attended a PMEA spring conference, shame on you. The annual state-of-the-art music teacher clinics, music industry exhibits, keynote presenters, and “best in the state” performances are provided to inspire you and “recharge your batteries.” Take a few personal days and see what’s up. For Pennsylvania music educators during April 19-21, 2018, we are at Lancaster, Pennsylvania. (For a schedule of sessions, concerts, and meetings, go to https://www.pmea.net/wp-content/uploads/2014/12/2018-Conf-Schedule-from-Spring-News-edit-3.26.pdf.) Next year, we will convene in my hometown, Pittsburgh, a combined in-service conference with the biennial NAfME Eastern Division.

Finally, for those of you who have retired from day-to -day teaching of music classes, going to PMEA spring and summer conferences also offers you the opportunity to explore our fine state, visit historical sites, taste the cuisine, soak up the landscapes, and see the unique attractions in each city. Lancaster is a great place to take excursions. Did anyone suggest “road trip” for the grandchildren? Here are a few of the local (family-friendly) attractions you could “squeeze around” the official PMEA-scheduled events:

Amish Farm and House Tour: http://www.discoverlancaster.com/members/amish_farm_and_house.asp
Dutch Country Roads: http://visitpa.com/regions/dutch-country-roads
Historic Downtown Lancaster: http://www.discoverlancaster.com/vacation-ideas/city.asp
Historic Lancaster Walking Tour: http://www.discoverlancaster.com/members/historic_lancaster_walking_tour.asp
Kitchen Kettle Village: http://www.discoverlancaster.com/members/kitchen-kettle-village.asp
Lancaster Central Market: http://www.discoverlancaster.com/members/lancaster_central_market.asp
Lancaster County Shopping: http://www.discoverlancaster.com/shopping/index.asp
Lancaster’s Wolf Sanctuary: http://www.discoverlancaster.com/seasons/visiting-lancaster-in-spring.asp?story=lancasters-wolf-sanctuary
More Historic Sites: http://www.discoverlancaster.com/vacation-ideas/towns-villages-trips.asp
More Things-to-Do: http://www.discoverlancaster.com/activities/index.asp
Places to Eat: http://www.discoverlancaster.com/dining/pennsylvania-dutch-dining.asp
Riverlands (the great outdoors): http://www.discoverlancaster.com/towns-and-heritage/riverlands.asp

When you plan to come to Pittsburgh during the first week of April 2019, I want you to take an extra day if you can and enjoy our cultural attractions, sports events in one of the three stadiums, landmarks like the Blockhouse, Fort Duquesne, Point State Park, and the three rivers themselves, and go to places like the Carnegie Science Center, Andy Warhol Museum, Phipps Conservatory and Botanical Gardens, Pittsburgh Zoo and PPG Aquarium, etc.

So much to do and so little time…

PKF

You are cordially invited to…

…a PMEA session for soon-to-retire and retired music teachers

Transitioning from Collegiate to Professional – Part II

March 11, 2018May 5, 2020 paulkfox1 Comment

The Final Leap from Pre-Service to In-Service:

The Metamorphosis and Integration of Philosophy, Maturity, and Teacher Preparation

This segment, Part 2 of the series, and will continue with an examination of ongoing music teacher preparation (much of it “direct instruction”) and mentoring programs.

Moving from “Book Learning” to “Practical Application”

It is a challenge to squeeze everything necessary into a college curriculum for music education certification: mastery of your major instrument/voice, music theory, music history, sight-singing/ear-training, conducting, piano proficiency, instrumental and vocal methods, etc. The school from which I matriculated (Carnegie-Mellon University) had a five-year-plus program guiding me towards the degrees of Bachelor of Fine Arts in Music and Masters of Fine Arts in Music Education. Even with the extra year of classes, time over the summers, and practical “on-the-job training,” many things were overlooked.

NOW IS THE TIME to fill in these gaps!

First off, how well do you know common educational jargon? Prior to your interviews, it would be good to review the terms (and even abbreviations) in frequent use. My music education methods courses never got around to detailed definitions and applications of…

The Common Core
Whole Child Initiatives
21^st Century Learning Skills
Flipped Classrooms and Blended Schools
Multiple Intelligences
Depth of Knowledge (DOK) and/or Higher Order of Thinking Skills (HOTS)
Customization, Differentiation, and Individualization
Formative, Summative, Diagnostic, and Authentic Assessments

Just for fun (a crossword puzzle), how many of these acronyms can you identify? https://paulkfoxusc.wordpress.com/2015/07/18/the-alphabet-soup-of-educational-acronyms/

One of the tasks in “year one” of my first position was to write a course of study for junior high school music appreciation. I had received no training in writing curriculum. The “hurry-up” self-tutoring was stressful, and occupied many long nights and weekends. However, by December, I had satisfied my principal’s instructions and then began preparation over winter recess to teach that course for the coming second semester.

Since then, I have written dozens of course curriculum. Most of them required familiarity with the national and state standards in music, and a backwards-design approach introduced by Grant Wiggins and Jay McTighe (UbD) in the planning of curriculum “maps,” setting goals before choosing instructional methods and forms of assessment, and formulating essential questions (EQ), enduring understandings (EU), etc. (See: https://cft.vanderbilt.edu/guides-sub-pages/understanding-by-design/.)

Bottom line: Start now and assume the role and responsibilities of a professional music educator. Begin researching (even practicing) writing lesson targets, lesson plans, and even curriculum. Seek resources like the PMEA Model Curriculum Framework: https://www.pmea.net/resources/pennsylvania-music-standards/.

Other areas on which you may need to “catch-up” are:

Behavior management, disciplinary procedures (especially preventive practices) and posting class or ensemble rules
Valid assessments, scoring/rubrics, and use of the school’s grading system
Provisions of the Family Educational Rights and Privacy Act (FERPA) and other confidentiality policies
Individual education plans (IEP) and accommodating students with disabilities
Management of a proverbial “sea of paper” required of all music educators: purchase and repair requisitions, absences reports, student attendance records, conference requests, induction/in-service program assignments, etc.
Public relations and communications with parents and the community

It would not hurt to purchase and read cover-to-cover at least one book like The Everything New Teacher Book by Melissa Kelly (Adams Media, 2004) or The First-Year Teacher’s Survival Guide: Ready-to-Use Strategies, Tools and Activities for Meeting the Challenges of Each School Day by Julia G. Thompson (John Wiley & Sons, 2013).

In addition, take advantage of the outstanding free resources on the NAfME “Music in a Minuet” blog-site, like the following articles:

Artist vs. Teacher

The transition from a collegiate musician and pre-service educator to becoming an in-service “master teacher” involves the balance of two distinct skill sets: depth of knowledge vs. methodology. Both are absolutely essential!

In the first several years of classes like music theory, solfeggio, eurhythmics, and lessons on your major instrument or voice, most college programs focus on developing your own deep understanding and musicianship.

No one should become a music teacher who has not previously achieved a near-virtuoso level of playing/singing on their own part. The profession demands a high degree of technical mastery and artistry… which you will need when you stand in front of a school choir, band, or orchestra to prepare repertoire rated above a level 3 or 4.

However, in the methods classes that come later (perhaps in the second through fourth year?), the basics of “how-to teach” will come. Of course, as you sit in a class teaching you to “cross the break” on a clarinet or play a scale on the flute with good tone, you must also absorb (and remember) the finite steps required in the lesson to pass on this knowledge and skill, not just honk or squeak a few times to master the proficiency exam for yourself.

In addition, your studio teacher may help you to grasp the pedagogical concepts of these abstract but important foundations:

Assessment of student needs and diagnosis of problems and solutions to learning
Application of brain theory to “making connections” in order to recommend solutions to problems and in planning lessons
“Scaffolding of learning” techniques (interrelated “building blocks” of curriculum)
Creation of stories and analogies to introduce specific learning objectives such as the principles of breathing, embouchure, pitch, steady beat and rhythm, bowing or moving with a natural and efficient follow-through, etc.
Team building and collaborative learning
Leadership and the cornerstone of trust

One of the best courses I took at Carnegie-Mellon University was “repertoire class,” offered for no credit and no grade, but required by my string professor. We sat in a circle Monday afternoon for two hours and played solo selections assigned by our studio teacher, after which one-by-one we commented on each other’s performance. We learned the art of listening, prioritizing areas for improvement, and how to give constructive criticism and positive remediation without “crushing” the feelings of the player… probably among the most valuable lessons I later carried with me to my job as full-time string teacher in grades 5-12.

You will be required to seek additional research, study, and at times “re-tool” outside what was presented in your methods courses. Some of these new “best practices” will be presented by the induction or in-service training of your school district. When I was hired by the Upper St. Clair School District, a big three+ year professional development program was the Madeline Hunter Model of Mastery Learning. Grudgingly (at first I did not see the purpose), I came to realize that labeling and defining the “eight steps of effective lesson plan design” improved my overall skills as an educator, especially in many of her strategies of “anticipatory set,” “modeling,” “checking for understanding,” and “guided practice…” none of which were ever mentioned even briefly in my five-and-a-half years in college. (For more info, read https://www.doe.in.gov/sites/default/files/turnaround-principles/8-steps-effective-lesson-plan-design-madeline-hunter.pdf.)

Finally, I have said this before in past blogs: “You may be the best musician this side of the Mississippi, someone who has perfect pitch, can conduct Orff’s Carmina Burana or Shostakovich‘s Festive Overture blindfolded, play an extremely fast and even paradiddle on the snare drum, and sing a high “A” with perfect intonation and tone, but if you cannot inspire students, work with coworkers, and communicate effectively with the parents, your chances for success in the public schools is doomed from the start.

Generalist vs. Specialist

Whenever presenting at college chapters of NAfME or music education methods classes, I always try to ask the students several things on a one-to-one basis:

What is your focus or main subject area?
What would be your ideal job?
Do you see yourself as a band maestro… choral director… string teacher… jazzer… general music instructor… or early-childhood specialist?

Of course, these are “trick questions.” The answer should be “I want to teach music,” or even better, “I want to teach children.” In most of the school districts across the country (with a few exceptions in the Midwest and places that accept teaching specialty certification by grade level or subject area), you are licensed to teach music in grades Pre-K to 12. At no point in any conversation with a potential administrator (or colleague who may become a member of the screening committee for a music opening) do you want to be “pigeon-holed,” or give the impression “I can only teach_____.”

It is important to “apply your skills” and become a well-rounded “generalist,” while embracing the concept of unity in education, which includes the following philosophy (shared at college seminars):

The needs of “The Whole Child” are a priority.
All course offerings are equal in importance.
Most school districts do not design and administer their curriculum solely on one approach like Orff, Kodaly, Dalcroze, or Suzuki.
Avoid being labeled and “branded” to an exclusive subject area or grade level.
Multiple certifications and skills may be helpful to land a job (although later they may become liabilities if you never teach them).
Utilize your college resources now to “broaden your training” and lessen your insecurities.
Figure out your worse area – work on it now! (Get lessons, join ensembles, ask help from your peers, etc.)
Develop resources – people and programs to get and keep your job!

I ask, imagine what would be your worst assignment?

Coach a primary student to match pitch or maintain a steady beat.
Teach beginning or advanced guitar.
Introduce jazz improvisation for the first time to middle school instrumentalists.
Start a string program.
Accompany the chorus (any grade level) and be able to play simultaneously some or all the vocal parts in rehearsal (demonstrate altos and tenors only, soprano 2-alto 1-bass 1, etc.).
Accompany, direct/teach the drama, and choreograph the middle school musical.
Adjudicate and coach a high school instrumental or vocal ensemble.
Set-up a keyboard lab and instruct students in composition and A.P. Music Theory.
Arrange the music and chart the halftime show for the high school marching band.

If you think you are a “miserable” pianist, take a few extra lessons. Or conquer your other “fears” such as learning to sing better, playing a new string instrument, crossing the break once again on the clarinet, practicing jazz , etc.

Cultivating a Mentor or Two

Ego and arrogance has no place in the teaching profession. Where did I hear this saying? “The more you think you know, the less you actually know.” Joining a mentoring program or finding a formal or informal veteran teacher “buddy” will go far to insuring your professional success and dodging those first-year teacher “pot holes” (dumb but common blunders) and “rookie blues.”

Your state MEA may have a mentoring program. Go to their website. A quick (non-comprehensive) Google scan of “music teacher mentors” fetched links for the following:

California: http://www.calmusiced.com/index.php/cmea/cmea-mentorship-program
Michigan: http://mmeamichigan.org/professional-development/mentoring/
North Carolina: https://www.ncmea.net/programs/mentoring-program/
Oklahoma: http://okmea.org/mentorship/one-to-one-mentoring-program/
Pennsylvania: https://www.pmea.net/specialty-areas/mentor-program/
Texas: https://www.tmea.org/programs/mentoring-network
Wisconsin: http://wmeamusic.org/pro-development/mentoring/

A well-defined description for the benefits of first-year teacher orientation and connection and assignment to a “senior advisor” comes from TMEA:

These blog-posts are also excellent resources:

Retired music teachers are another excellent resource. For example, if you live or work in Pennsylvania, many post-employed PMEA members have placed their name and contact information on the Retiree Resource Registry to serve as willing, capable, and informal consultants for pre-service, novice, or other members recently transferred into a non-major specialty “outside their comfort zone.”

R3 documents the amazing record of contributions of some of the still most active albeit retired PMEA members while it allows needy members access to “expert advice” on a number of essential topics:

Although it is free, the advice and experience of these retirees may be considered “priceless.” In addition, retired music teachers may have more time available to confer in person or by phone, respond to your concerns more quickly, and have a few “quick fixes” or share their “bag of tricks” to solve the problems of “newbie teachers.” It’s all about, “been there, done that!”

All you have to do? Just ask for a little help! You won’t be sorry.

Please feel free to comment on this blog-post. What are your thoughts?

The “finale” (Part 3) is coming soon and will devote discussion on these concepts, significant issues about marketing your abilities and getting a job as a music teacher:

Personal Branding
Networking
Engagement

PKF

Photo credits (in order) from Pixabay.com: “tutor” by nrjfalcon1, “woman” by RobinHiggins, “microphone” by KimKin, “excited” by RobinHiggins, “boy” by Silverfuchs, “thinking” by RobinHiggins, “board” by geralt, “birds” by Dieter_G, and “listen” by RobinHiggins.

Transitioning from Collegiate to Professional – Part I

March 2, 2018May 5, 2020 paulkfoxLeave a comment

The Final Leap from Pre-Service to In-Service:

The Metamorphosis and Integration of Philosophy, Maturity, and Teacher Preparation

Are you ready to assume the role of a music teacher? Besides the completion of your coursework and field experiences, have you acquired the necessary attitude and personal skills? Do you “have what it takes” to become an ethical role-model, leader, and “fiduciary” responsible for the welfare and special needs of your students?

Before long, you will shed the label and function of a “college student” (although still remaining a life-long learner… and never stop the quest for new knowledge and self-improvement!). The focus will shift from YOU to YOUR STUDENTS. The prerequisites for a career in education are unique and do not resemble the same challenges as success in business, manufacturing, retail, service industry, or becoming an entrepreneur, blue-collar worker, or even a composer or professional musician. The sooner you realize these are world’s apart, the better, and now is the time to finish your major and life-changing transformation to… a professional music educator.

This series for college music education majors will explore perspectives and definitions involving the evolution and (dare we say?) “modulation” to a productive and successful career in music teaching.

Professionalism

What does a “professional educator” look like? Do you belong as a member of this group?

Succeeded in and continues to embrace “higher education”
Updates self with “constant education” and retooling
Seeks change and finding better ways of doing something
Like lawyers/doctors, “practices” the job; uses different techniques for different situations
Accepts criticism (tries to self-improve)
Proposes new and better things “for the good of the order”
Can seemingly work unlimited hours (24 hours a day, 7 days per week?)
Is salaried (does not think in terms of hourly compensation, nor expects pay for everything)
Is responsible for self and many others
Allows others to reap the benefits and receive credit for something he/she does
Has obligations for communications, attending meetings, and fulfilling deadlines
Values accountability, teamwork, compromise, group goals, vision, support, creativity, perseverance, honesty/integrity, fairness, and timeliness/promptness
Accepts and models a very high standard of behavior, etiquette, appearance, language, and ethics.

In addition to mastery of their subject matter, skills in collaboration, communication, critical thinking (problem solving), and creativity (also known as “the four C’s”), according to “The California BTES – Overview of the Ethnographic Study” by David Berliner and William Tikunoff, effective teachers regularly demonstrate these traits:

Accepting
Adult involvement
Attending
Consistency of message
Conviviality
Cooperation
Engagement of students
Knowledge of subject
Monitoring learning
Optimism
Pacing
Promoting self-sufficiency
Spontaneity
Structuring

However, effective teachers DO NOT score high on the negative attributes of abruptness, belittling, clock punching or counting hours, defiance, illogical views or statements, mood swings, oneness (treating the whole group as “one”), or self-recognition. Human resource personnel and administrators look for candidates who model (and can confirm their history of) the habits of the first group, with no evidence of the latter behaviors.

The bar is raised even further. In addition to holding oneself up to the highest standards of the education profession, teachers also exemplify “moral professionalism” in their daily work. As cited in the chapter “The Moral Dimension of Teaching” in Teaching: Theory Into Practice by E.A. Wynne, teachers must

Come to work regularly and on time;
Be well informed about their students and subject content-matter;
Plan and conduct classes with care;
Regularly review and update instructional practices;
Cooperate with, or if necessary, confronting parents of underachieving students;
Cooperate with colleagues and observe school policies so the whole institution works effectively;
Tactfully but firmly criticize unsatisfactory school policies and propose constructive improvement.

Ethics

Have you viewed your state’s teacher expectations, code of ethics, and code of conduct? It may surprise you that a number of seasoned professionals have never seen these documents. You may be ahead of the game if educator ethics were even mentioned briefly in a methods class, as indoctrination to student teaching, or orientation within the induction program of your first job.

The “code” defines the interactions between the individual educator, students, schools, and other professionals, what you can and cannot do or say, and the explicit values of the education profession.

No excuses! Better go look this stuff up. If you reside in Pennsylvania and plan to become employed there, go immediately to http://www.pspc.education.pa.gov/Pages/default.aspx. If your state does not have a code of ethics or state-specific conduct standards, download and consume this excellent reference: http://www.nasdtec.net/?page=MCEE_Doc. The National Association of State Directors of Teacher Education and Certification proposes these principles:

Responsibility to the Profession
Responsibility for Professional Competence
Responsibility to Students
Responsibility to the School Community
Responsible and Ethical Use of Technology

After reading all of this, what would be on proverbial “ethics test?” Well, can you answer questions like these?

How do ethics inform a teacher’s personal and professional actions?
What does it mean to be a “moral exemplar” or “role model” in the community?
What are the professional expectations for working with diverse populations of students, parents, and colleagues?
How should teachers handle social media and other electronic interactions with students?
Do you see yourself as a potential “friend” or “confident” of the music students in your classes?
Is it okay to accept personal gifts from students, their parents, or music vendors who do business with your school… or to give presents to students for no educational reasons?

For the last two questions, the response should be a resounding NO!

Here’s another query. What five groups of people are both “professionals” and “fiduciaries…” and have a legal responsibility to serve the best interests of their “clients?” The answer is… doctors/nurses, lawyers, counselors (both mental health and investment), the clergy, and… teachers.

Although teachers seem to be the only one of these who DO NOT have formal pre- or in-service ethics training, and our “charges” represent a “captive audience,” our duty is clear: to act as a fiduciary for our students’ best interest, and to create and maintain a safe environment for them at all times.

The keystone of “right or wrong” and what your mother always said was “behaving appropriately when no one is watching you” are all about professional ethical standards that guide decision-making. The work of Troy Hutchings (among other leaders in this field) helps to further clarify these sometimes-blurred definitions:

Personal Morality: “Personal values and beliefs derived from one’s life experiences… subjective and may/may not align with community mores.”
Regulations of Law: “Policies, statues, and judicial activity that articulate conduct absolutes.”
Professional Ethics: “Professional ethical standards that assist practitioners within situation and systemic contexts in choosing the best course-of-action.”
Professional Dispositions: “Agreed-upon professional attitudes, values, and beliefs to be held by educational practitioners.”

For a comprehensive review on “Ethics for Music Educators,” please visit these links:

All of these are available at https://paulkfoxusc.wordpress.com/category/ethics/.

At this point, if most of this makes you feel uneasy or uncertain, then perhaps it is time to switch majors and look into pursuing another line of work!

Philosophy

Have you written your personal philosophy of music education?

Regina Zona wrote in her article, “For Teachers: Writing a Music Teaching Philosophy Statement” that a music education philosophy statement is “a way to connect on a personal level to your students (current and potential) by stating who you are as a teacher (your beliefs and ideals), how you do what you do, and how that positively impacts the study of music.” If you have not completed your philosophy, here are her essential questions to guide your thoughts:

What do you believe about teaching?
What do you believe about learning? Why?
How is that played out in your studio/class?
How does student identity and background make a difference in how you teach?
What do you still struggle with in terms of teaching and student learning?

She adds, “If you are having a hard time answering these questions, maybe because you haven’t been teaching very long, think on a teacher who made an impact on you (positive or negative), your education, your life. How did they communicate? Did they have passion for their work and if so, how did they express that passion? What were their methods of imparting the information?”

Read Zona’s entire blog-post at http://musiclessonsresource.com/writing-a-teaching-philosophy-statement.

Borrowed from the esteemed colleague and CEO of MusicFirst, Jim Frankel, is the introduction to many of his music education technology sessions, the foundation for teaching music in the schools:

What is your personal mission? Why?
What is the role of music in a child’s education?
Are we creating performers, theorists, teachers… or lifelong music lovers?

If you are looking for sample philosophical statements, there are many “out there” on the Web. Here are several of my favorites:

Take time to peruse these and others. Most of these sites also offer excellent examples of personal branding and marketing of the prospective job hunters’ experiences, skills, and achievements… material for our next blog on this topic.

Future blogs in this series will continue with a focus on these concepts:

Moving from “Book Learning” to “Practical Application”
Cultivating a Mentor or Two
Personal Branding
Engagement
Networking

PKF

Photo credits (in order) from Pixabay.com: “tutor” by nrjfalcon1, “music” by brendageisse, “idea” by RobinHiggins, “woman” by RobinHiggins, “young” by RobinHiggins, “singer” by BEP, “ying-yang” by Printoid, “music” by davorkrajinovic, “isolated” by RobinHiggins, and “orchestra” by ernestoeslava.

Practice Journals Are “Notable” and the “Key” to Making Musical Progress

February 19, 2018February 20, 2018 paulkfoxLeave a comment

It’s all about defining focus, setting goals, practicing, and methodically solving problems!

A good way to “warm-up” to the benefits of making a personal practice diary, check out this video of cellist Sarah Joy “A Look Inside My Practice Journal.” https://www.youtube.com/watch?v=253UMKMfOoc.

(She has quite a collection of YouTube releases… everything from sight-reading tips to structuring your practice time. They are short and sweet!)

So, let’s get started with the “why” and “how” of using practice journals…

I asked the South Hills Junior Orchestra members to give me their insight on how they prioritize/plan their practice time. Thankfully, I received a thoughtful response from one of our violinists, Nicolette:

For practicing, I usually start out with a scale. Then, I’ll play a couple etudes I have. However, I won’t play all of them, instead I’ll leave some to play at the end of my practice. Then, I’ll move on to some of my easier pieces to practice. Moving on from that, I’ll play my harder pieces, or my orchestra music. I usually try to change it up a bit so I don’t get bored. Then I’ll finish up with the rest of my etudes. After I’m done practicing, I usually try to write in my practice journal. Whenever I practice, I will keep out my notes from my teacher and my practice journal to look back at while practicing.

For my practice journal, I try to write in it whenever I remember, because I would be lying if I said I wrote in it every day. When I do write in my practice journal, I write down what I need to practice the next day, whatever I was having difficulty with that day, and maybe some notes my teacher gave me.

If I’m starting to feel stressed and frustrated, or if I’m starting to get bored with practicing, I’ll start listening to music. The music can vary, but I mostly stick to musicals.

What do the experts say some of the rationales for maintaining a written journal for any serious educational pursuit?

It defines targets for a more efficient use of time. http://www.essential-music-practice.com/efficient-practice.html
Promotes accountability. http://theaspiringguitarist.net/guitar-practice-journal/
Documents progress. https://www.musicindustryhowto.com/the-musicians-practice-journal-and-why-you-need-one/
Keeps track of details. https://music.stackexchange.com/questions/3299/do-music-students-find-practice-journals-useful
Harnesses creativity. https://lifehacker.com/why-you-should-keep-a-journal-and-how-to-start-yours-1547057185
Explores what is important to you. http://blog.connectionsacademy.com/5-reasons-for-students-to-keep-a-journal/

What does a typical practice log/diary/journal look like?

The “basics” are lists of specific assignments, warm-ups, musical and technical goals, and repertoire. For example, the Fort Couch Band Director Dr. John Seybert distributes the following simple form to his grades 7-8 band students:

Each entry should be dated and allow space to make comments and goals for your next session of practice. Many musicians divide up the page into segments, such as warmups, scales/exercises, etudes (studies), method book or solo pieces, and ensemble music, each with an area to jot down a narrative of what you did and how well things went.

When I was teaching strings (grades 5-12), my students and I developed an extremely detailed daily practice regime, which included a year’s checklist of lesson targets:

You can make your own “things-to-do” list, including the focal points your music teachers “harp on” for improving form and technique. What does the band or orchestra director say about long tones, tuning, good posture, steady beat, rhythms and note-reading, fingerings, ensemble blend and balance, etc.? Emphasize one or more of these for each practice session!

In your “customized” journal, I recommend leaving space for metronome markings, special articulations, practicing tips and instructions (like “repeat it three-times-in-a-row perfectly” or “work on measures #1-8 today, #5-12 tomorrow,” etc.) and time spent. Remember, you are a problem solver and seek ways to integrate your “tool box of tricks” to learn each challenging passage. What works for you? What doesn’t? That’s the true magic of a journal… in with the good, and out the bad!

Several previous Fox’s Firesides have explored practice methods and the setting of goals: http://www.shjo.org/foxs-fireside/. There are many other online resources, samples, and articles about practice journals. A few sites try to sell you printed forms, but others just offer you advice on creating and using documents to set practice goals. Take time to peruse these:

“Start Small, Win Big” https://www.thepracticejournal.com/blogs/the-practice-journal-blog/start-small-win-big
“How to Bullet Journal Practice” https://www.youtube.com/watch?v=iTABUNHmczs
“Ten Noteworthy Music Apps for Productive Practicing” https://shenoted.com/2014/09/16/10-noteworthy-music-apps-for-productive-practicing/
Blogs at “Musician’s Way” like https://www.musiciansway.com/blog/2009/11/the-power-of-specific-goals/
“Daily Practice Planner” https://faculty.ithaca.edu/mauk/docs/dailypracticeplanner.pdf
“How to Practice – Five Habits to Help Make Your Music Practice More Efficient and Effective” http://www.essential-music-practice.com/support-files/how-to-practice-five-habits-to-help-you-make-more-progress.pdf
“Practice – A How-To Guide and Workbook for Music Students” https://docs.wixstatic.com/ugd/b6966e_a29f9fc2e51746d6902666074f16d214.pdf
“Practice Diary” https://www.musiciansunion.org.uk/Files/Forms/Education/Practice-Diary

What do you have to lose? Try setting up and maintaining a practice journal! It may improve the value and focus of the time you devote to working on your music… and make a real difference in your musical progress! Like Olympic athletes… go for the goals and the gold!

For a printable copy of this article, click here.

Feel free to share all SHJO enrichment resources and “Fox Firesides” at http://www.shjo.org/foxs-fireside/.

PKF

Photo credit from Pixabay.com: “Fire” by Alicja

Retirement… It’s a Private Matter!

January 28, 2018 paulkfox2 Comments

The clock may be ticking (28+ years in the field?), and you are the most senior music staff member.

“They” are all out there waiting for your decision.

When are you going to retire?

Like it or not, your “education community” and the coworkers with whom you have collaborated as much as half of your life, will want to share this special moment with you. You should expect the planning of multiple sets of farewell parties (especially if you were assigned to teach in several school buildings – I had four functions) and the second your retirement is posted, “your friends” will start collecting for gifts and maybe even begin speech-writing for a roast or two!

We want to be there for the “big event!”

And, it’s none of their business.

People need to respect your privacy on this life-changing passage to self-renewal and reinvention. If you’re about to make that decision to “bite the bullet,” you have to be sure you are psychologically prepared for it (there’s usually no turning back), and then hopefully be permitted to announce it in your own way and on your own time. Well, not exactly…

You will be compelled to officially state your intentions.

Yes, you’re probably contractually required to put in your “walking papers” early in the second semester so that the school district can start the process of hiring a replacement, but there are a lot more issues at stake here. And, like it or not, there is probably no way to keep it “under wraps” for very long!

When the time is right, your fellow teachers and other school staff will want to celebrate your many years of meritorious service. They will hardly be able to contain themselves experiencing a myriad of emotions associated with living vicariously… excitement, joy, jealousy, pride, optimism, anxiety, fear of the unknown, and even “what’s in it for me?”

Some of my colleagues have told me, when they were ready, they just wanted to fade away from the landscape, and quietly go without fanfare or festivities. Call it modesty, discretion, shyness, timidity, or social awkwardness? The sad truth, a few were leaving before they were really ready. They would admit they had more to give and still enjoyed teaching children and making music. However, they felt they had to retire early because of a perception that there was declining support for the music program, fear of staff/class reductions or student enrollment decreases, negative updates on the status of the labor negotiations, predictable loss of benefits as defined by a new contract, possible emotional burn-out or fatigue, or simply a sense of being devalued or ignored as a professional, “kicked to the curb” or “it’s time to leave before anything gets worse!”

You didn’t appreciate me when I was teaching here, so don’t make a lot of whoop-la as I prepare to retire!

Of course, other reasons to retire are more concrete: health problems (yours or other members of your family), your spouse is retiring or relocating, opportunities to travel, you were offered a new position (higher education or other field), etc.

One big issue is how to you tell your students. My own story was that (although a very good indication of strong community support in my high school spring musical production) I had several school board members serving as theater volunteers. I was required to tell the superintendent of my plans by February, and he then distributed the list of projected staff retirements at a Board meeting the last week of the month. “The word was out” before opening night, and I had to scramble to tell my grades 5-12 string students, even taking into consideration a few of their feelings of guilt or abandonment while alleviating unsubstantiated fears for the future of the orchestra program.

That’s not how our former music teacher Mr./Ms. _____ used to do it!

Someone wise once told me that no matter how you perceive your standing or “popularity” with the kids, 30% of them will be upset at your leaving, 30% of them will be happy or at least interested in someone new taking over your position, and 40% will be ambivalent. For those of us teaching instrumental and choral electives (saddled with the overall responsibility for our own recruitment and retention), it is important that during this transition, you encourage your students to support and assist the new hire, and continue their enrollment in the class and positive behavior, motivation, and participation in the program. I remember a few lectures about the “benefits of change” and “patience” and the role of student leadership in the process.

The music parents are another matter. I had great support of both the band/string parents and my loyal “theater angels” throughout my career, and I made sure to attend meetings as early as possible to tell them “in person” my future plans so that they did not have to rely on those “rumors on the street!” One advantage I had was I lived in the district. I promised to roll-up my sleeves and support a fund-raiser or two, and was able to attend numerous concerts and musicals to support my “extended family” as a nonjudgmental retiree.

If some of your parents are more of a pressure group or negative influence, you may wish to discuss their role in your impending departure and warn an administrator. Avoid being a part of any gossip or political controversy… it’s no longer your “sandbox.”

Of course, you should NOT be involved at all in the search, interviewing, or even training of your replacement. Sure, it is a good idea to meet with the new teacher once or twice to “hand over the reins” and perhaps tell him/her where the closets are if not the skeletons. Willingly give out your phone number if the newcomer wants help, but then STAY AWAY. No one can BE YOU, and trying to “clone” your essence in a potential “protege” or well-tutored graduate from your program is an invitation to disaster. The new staff member must find his/her own way, making more than a few mistakes along the way (like you did a long time ago?), but not experience any interference from the “old veteran!” You have to trust that your superintendent, HR/personnel director, and other school leaders found the most qualified and talented candidate available and will support him/her during that “sometimes bumpy” orientation/transitional period

What is your legacy?

Now would be a good time for you to review “for posterity” your professional record quietly behind-the-scenes or even share this with your closest colleagues or supervisors. Sort of like writing your own obituary (a little morbid?), reflect on and frame your career in music education. For what do you want to be remembered? What was most important to you? (It was disappointing to me that one of my principals showed he didn’t know me very well at our last faculty meeting and my final “sendoff.” In his speech, he focused on my tendency for long and sometimes passionate emails as the single greatest contribution to 33+ years in his building.)

In Pennsylvania, we are fortunate to have the PMEA Retiree Resource Registry (R3), which besides providing a pool of well-qualified consultants and unofficial mentors for PMEA members, pre-service teachers, and “rookies” who want advice, it allows our retired members to archive their achievements, awards, and teaching assignments online. I believe it’s just good mental health for recent retirees to look backwards and revel in a little personal gratification, esteem, and peace-of-mind for their contributions to the profession. Yes, you deserve to be proud.

You truly “made a difference.”

PKF

Photo credits (in order) from Pixabay.com: “shaking-hands” by geralt, “best wishes” by artsy-bee, “man” by geralt, “guitar-player” by couleur, “woman” by cnort, “gratitude” by johnhain, “piano” by stevepb, and “couple” by memorycatcher.

The Professional Website

January 14, 2018May 5, 2020 paulkfox2 Comments

Pre-Service Music Educators Looking for Employment: Build a Web Platform to Promote Your “Brand”

According to Wikipedia, “an electronic portfolio (also known as an eportfolio, e-portfolio, digital portfolio, or online portfolio) is a collection of electronic evidence assembled and managed by a user, usually on the Web. Such electronic evidence may include input text, electronic files, images, multimedia, blog entries, and hyperlinks. E-portfolios are both demonstrations of the user’s abilities and platforms for self-expression. If they are online, users can maintain them dynamically over time. One can regard an e-portfolio as a type of learning record that provides actual evidence of achievement…”

A couple years ago, I wrote a blog about the “perfect portfolio” for getting a job at https://paulkfoxusc.wordpress.com/2015/11/15/planning-the-perfect-professional-portfolio/. As a review, these elements were endorsed for inclusion in an e-portfolio:

Educational philosophy
Résumé or Curriculum Vitae
Letters of recommendation
College transcripts
Praxis® exam results
Copy of teaching certificate(s)
Artifacts of student work
Classroom observation documents/evaluations
Statement about class management theory (discipline) and the steps that you would take inside your classroom to create a safe and orderly environment
Letters from parents commending the work you did with their children
Samples of student assessments/rubrics
Excerpts (short video or audio recordings) of you performing on your major instrument/voice, solo and chamber recitals, piano accompanying, playing in college ensembles, and especially teaching in as many settings as possible: small and large group instrumental (band and strings), choral ensembles, elementary classroom lessons, extracurricular activities like marching band and musical, private lessons, etc.
Pictures (quote from http://www.theeduedge.com/top-five-must-haves-top-five-could-haves-your-teacher-interview-portfolio/): “We cannot emphasize the power of pictures enough when it comes to portfolios. During interviews, committee members are trying to get to know you and trying to envision you teaching. Don’t trust their imaginations to do so, give them pictures… photos or newspaper articles of you teaching students in the classroom, with students on field trips, learning excursions or outside class activities, with children while you are serving in adviser roles, with your students at musical or athletic events, coaching or working with children in a coaching capacity, as a leader and role model.”

As I said in my article, all of this is “perfect fodder for marketing yourself” at future employment interviews. Do you have “what it takes” to be a professional music teacher?” In your opinion, what makes you qualified (“a good fit”) for a position in our institution?”

I also recommend you revisiting my blog-post “Tips on Personal Branding” at https://paulkfoxusc.wordpress.com/2015/12/16/tips-on-personal-branding/ for steps on warehousing the elements of your “professional brand.”

If your college does not set you up with a free online site, consider a “do-it-yourself” website creator from one of these, and read the rest of this blog-post:

WordPress.com
Wix.com
Weebly.com
SquareSpace.com
Web.com
Yola.com
GoDaddy.com
eHost.com
Site123.com

WordPress is a popular “open source” solution. This means you will need to independently set up a server, download a third party template, manage updates, set up a domain name, and configure everything on your own. This is what I did for this paulkfoxusc blog-site, and I paid zero for a domain name… but more on that later.

The Essential Step-by-Step Guide to Making Your Own Website

One of my favorite online “instruction manuals” for building a website comes from Christopher Heng’s “How to Start / Create a Website: The Beginner’s A-Z Guide” at https://www.thesitewizard.com/gettingstarted/startwebsite.shtml. Their steps:

Get Your Domain Name.
Choose a Web Host and Sign Up for an Account.
Designing your Web Pages.
Testing Your Website.
Collecting Credit Card Information, Making Money (not needed for us?).
Getting Your Site Noticed.

This should be required reading… but take it slow, and click on all of the secondary links.

Some website builders and managers offer e-commerce and other special features. For a professional website to post your experience and accomplishments, you can avoid the extra cost of these nonessential additional web tools.

If you can afford it, purchasing a simple domain name like your first and last name (something easy to remember) would be a great idea. Prospective employers will not have to write down a bunch of numbers, know your birthday, learn your nickname, etc. to find your e-portfolio. If you have an unique middle name or surname, you might luck out and be able to snag (and register) the perfect domain name. This was not possible for me! Do you know how many Paul Fox’s (even Paul K. Fox) are “out there” already taken?

In the process of obtaining an available email label, if needed, try rearranging your name (e.g. listing the last name first?), placing dots between the first and last name, etc.

Strategies for Saving Money and Seeking Tech Help

If you are like me, lacking a little confidence about advanced online technology or mastering a complicated website building program, read the following article for a general review of the process and terminology. Take the afternoon off (order a pizza, too) and totally consume it and “A Beginner’s Guide to Creating a WordPress Website” at https://www.smashingmagazine.com/2016/02/beginners-guide-creating-wordpress-website/#article-wpcom-wporg.

I suppose it would be fair to say that college students are not “made out of money,” so going to a professional website designer is probably “out of the picture,” even though this is one of your most essential tools for successfully communicating your brand! Are you going to lay out some big bucks for an impressive looking resume and business card?

However, have you considered the alternative of asking for help from your roommate, class buddy, or other student acquaintance who is majoring in communications? (Would “free pizza” be enough incentive for someone to sit down with you and get you started?)

The most cost-effective approach may be to sign-up for their FREE plan and self-hosting within the WordPress.com environment. (I am still amazed that this entire blog-site of mine, now archiving more than 73 articles, has been 100% free!)

If you desire more features, a free domain name, and no advertising on your site, you can upgrade to a monthly plan for WordPress (or any of the above providers).

For me, WordPress was/is an easy application to use. You do not have to learn a programming language or fancy commands to format your menus and text. There are a lot of samples you can (almost literally) copy. The hard part is just… GETTING STARTED!

One of the first decisions you have to make is to establish a domain name. If you decide to be “cheap” (like me), just create a Google email account with a suitably professional name. If it is available, you set-up one like “first name” + “middle name” + “last name” + “music educator” or something else appropriate. Dots can be inserted as dividers in an email address. Shortly before I retired (and would lose my school email account), I found that paulkfox.usc@gmail.com was available. (USC is where I taught and continue to live.)

It should be noted here that “partying tuba player” and “crazy singer” are probably not good “professional names.” If you need help, just ask your grandmother what she thinks is appropriate. Remember: teaching is one of the most conservative of professions!

To create your web site’s identity, WordPress will remove the dots and add their company’s moniker “.wordpress.com” at the end of your email name. That is how https://paulkfoxusc.wordpress.com was born!

Your next choice will be the theme, style, and features of your website… probably challenging because there are so many free templates available. Check these out:

As an example, for this site, I use the FREE “Nucleare” theme by CrestaProject. Their description is the following: “Nucleare is a classic blog theme with a crisp, elegant design and plenty of handy features. A built-in search box, links to your favorite social networks, four widget areas, and beautifully styled post formats make this an ideal theme for your personal blog.” Nucleare also supports the following features:

Site logo
Social Links Menu
Post Formats
Custom Menus
Widgets
Custom Header
Custom Background
Full-Width Page Template

A Model Music Teacher Website

Educators love it when one of their students leave their classroom and choose to become a significant contributing member to our “exalted” profession! I felt blessed and privileged to have had the opportunity of teaching David Dockan, a trumpet player in both our Upper St. Clair High School orchestra and marching band. He validated some of my advice for marketing himself to land a job, and has created a super website. Go to http://www.daviddockan.com/ and use the password “Music” to view his e-portfolio.

His menu sections:

Home (Introduction)
Teaching (General, Choral, Instrumental, assigned schools, Private Lessons)
Philosophy
Musicianship (Performance, Conducting)
Resume
Contact

A trumpet teacher colleague of mine, Ryan Wolf, messaged me on Facebook after he read the initial posting of this blog. He said he had great success hosting his professional website on Yola.com, but he maintains his e-portfolio on his Google Drive to make it easy to share.

In conclusion, I offer a few more recommendations for your consideration:

Proofread your online presence very carefully… misspellings, bad punctuation, grammar mistakes, or poorly formatted displays would be negative PR and a detriment to your marketing plan.
Websites require frequent updates. Keep yours up-to-date at all times!
Print the link to your professional website on your business card and resume.
Consider placing a Q-Code on your business card that, if scanned on a smartphone, would redirect your contact or prospective employer to your website.
Be careful to obtain permission in advance to video record students for your e-portfolio. During your field experiences or student teaching, ask your cooperating teacher (or his/her supervisor’s) permission. Some schools have “do not photo” rosters. (However, in my district, only a few elementary students were “on the list” and most defaulted to a “permissible” status unless the parent opted out. The principal’s secretary had a record of all exceptions.) It is also suggested that you focus your camera mostly on YOU and not the students, from the back of the classroom or rehearsal facility (possibly from afar), so that the student faces are not clearly discernible. To respect their privacy, in the recorded excerpts, do not use any segment announcing the names of your students.
Showing your versatility, try to assemble a collection of still photos, audio examples, and videos that ideally represent all specialties in music education: choral, dance, general music, concert band and string instrumental, marching band, jazz, theater, etc., and demonstrate your proficiency in multiple settings at all grade levels.
There are many blog-sites with tips on “curb appeal” – layout and design, style, overall impact, style, user-friendliness, etc. Since this involves a cross between artistry and efficiency, these advisors may not agree (one says use large images, another suggests smaller pictures mean faster loading speeds). A few samples:

If you were introducing a new “widget” to the market or promoting a sales campaign, you would spend a lot of time (and money) on advertising. A website and e-portfolio are a job hunter’s advertisement tool. Take advantage of any chance you have to present your personal brand, “sell yourself,” and connect with colleagues in the field of education. Archive your training, successes, and goals. Show off your professionalism, proficiency, and personality to prospective HR people and the decision-makers that hire future staff. Be sure to provide “live demos” of your traits of artistry, collaboration, commitment, discipline, even-temperament, initiative, leadership, mastery of music and education, organization, positive outlook, style, tact, and teamwork.

Good luck!!

PKF

Photo credits (in order) from Pixabay.com: “men” by photoshootings, “beautiful” by PublicDomainPictures, “internet” by thedigitalartist, “business” by PublicDomainPictures, “turn-on” by geralt, “web” by CyberRabbit, “iPad” by fancycrave1, “maintenance” by geralt, and “people” by Akshay93.

Retiree Concepts

December 20, 2017December 20, 2017 paulkfoxLeave a comment

Random Terms Re: Retirement Transitioning

The “new” definition of retirement includes a unique collection of synonyms. Gone are the designations “seclusion,” “privacy,” “withdrawal,” “retreating” and “disappearing” based on archaic models of retiring when the average life expectancy at birth in the 1800s was 38 and in the 1900s was 47. (Merriam-Webster and others still show these words on their online dictionaries!) Now, some of the more creative descriptors for retirement are “renewment,” “rewirement,” “rest-of-life,” “second beginnings,” and “reinvention.” (Also see http://www.cbsnews.com/news/how-do-you-define-retirement/.)

In addition to these, there are a few nontraditional terms that may come up during the passage from full-time employment to “living the dream” (hopefully) in retirement. These will not show up in a typical book for retirees… but, understanding them can “make a difference” through this roller-coaster ride of coping with life-style changes/altered expectations, and finding creative new ways to self-reinvent and thrive.

Marginality and Mattering

Do you feel “needed” and “making a difference” to others? The definition of “mattering” is “the belief that we matter to someone else.” This is an essential part of what author Ernie Zelinski of the best-seller Retire Happy, Wild, and Free emphasizes the importance of “finding purpose, structure, and community in retirement.”

“It has been suggested that one problem of retirement is that one no longer matters; others no longer depend on us… The reward of retirement, involving a surcease from labor, can be the punishment of not mattering. Existence loses its point and savor when one no longer makes a difference.” – Rosenberg and McCullough Quoted in Revitalizing Retirement: Reshaping Your Identity, Relationships, and Purpose by Nancy Schlossberg (APA, 2017)

According to counseling psychologist Nancy Schlossberg, Rosenberg’s concept of “mattering” is “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.

Although initially attributed to collegiate retention, persistence and “getting students connected” (https://sites.google.com/site/uscedco030/Home/theorist-pages/marginality-mattering-and-validation-theory-nancy-schlossberg-laura-rendon/schlossberg), Schlossberg defines “maginality” as “a sense of not fitting in” and 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 a new role entails.”

Just like the sometimes tumultuous passage to and emotional ups-and-downs during your “life after the work?”

PTSD

What does “post-traumatic stress disorder” have to do with leaving your job? Hopefully it does not apply to you, but…

If are among the surprisingly large number of music teachers who lost their job “involuntarily,” you may be undergoing the same “stages of grief and loss” often shared during the breakup of a marriage or the dealth of a loved one:

Denial (disbelief, numbness, shock)
Bargaining (preoccupation with “what could have been,” guilt, remorse)
Depression (sadness, loneliness, emptiness, isolation, self-pity)
Anger (feelings of helplessness, abandonment)
Acceptance (emotional resolution, healing)

Feeling you were “kicked to the curb,” “downsized,” “minimized,” or somehow “forced” to resign or retire comes from many scenarios:

Music or staff are eliminated from the curriculum or building in which you teach.
You feel you must retire early before the end of the contract to avoid losing existing medical or other contractual benefits.
While voluntarily retiring from the full-time “day” job, you hope to continue serving in the capacity as assistant director (marching band, musical, etc.), but are not re-assigned or asked to return.
The new head coach of the sport in which you have assisted for many years fires you to bring in his “cronies.”
The perception that the program to which you have devoted your whole career is being dissembled or de-emphasized for the next “flavor-of-the-year.”

Most mental health experts agree, you cannot self-diagnose PTSD. However, the “warning signs” are probably evident. If you are having trouble sleeping, difficulty with relationships, or find yourself feeling significantly depressed or lethargic, visit your health care professional.

Losing old habits…

“Surrendering your urge to be an agent of change!”

The next retiree concept is more of a habit or tendency, something that those of us who retired from education may find it a little hard to stop doing at first. Among the core values of “moral professionalism,” we consistently seek ways to reform “the system,” much like efficiency experts. In other words, “break it if it needs fixed,” or seek new practices or approaches to solve problems. This means we seldom accept the status quo or “that’s the way it’s always have been done.”

I found that in my volunteer work, when I come up to a challenge like a policy that isn’t working, I look for better ways of doing it. Teachers always self-assess and seek changes for “the good of the order,” but these “systems” are not our classrooms. Educators were expected to “monitor and adjust,” modify our lesson targets, rip down old bulletin boards and put up new with more exciting media, re-write curriculum, etc. – always with the mission to “build a better mouse trap” for more efficient delivery of instruction to all.

In retirement, this can be frustrating. You can’t tell somebody else how to run their operation. Some people do not want to hear criticism, nor do they care what your opinion is, nor do they want to change their traditions or fine-tuned (?) step-by-step procedures. You on the other hand want things to improve, e.g. better training, more consistent application of the rules, etc., and therefore you feel “unrequited stress.”

Throughout my whole “professional life,” I never looked the other way. I try to fix things. But that’s not everybody’s inclination, and the world is not going to come to end if someone doesn’t take your advice. As retirees, remove the unnecessary hassle. You have two choices. Resign from the activity, or step back from being its self-appointed critic, accept the situation, and let everyone go back to playing their own way in their “sandbox.”

Caregivers anchor

Many retirees choose to be part- or full-time caregivers, perhaps babysitting or serving as the custodian of a senior family member.

If you are fortunate enough to have grandchildren (your own or adopted ones), enjoy them! Your generous super-competent daycare services may provide ever-so-essential attention to your loved-ones. “Playing with the kids” is wonderful for your own mood, perspective, and mental health. And, how many times have I heard the sage advice to “immerse yourself around young people and you will stay forever young!”

However, invest your time wisely. Retirees deserve a life of their own and opportunities for unstructured “time-off.” Don’t forget the other items on your “bucket lists” (like travel, “encore career,” and volunteering). Serving as your family’s childcare “safety net” is nice, but don’t let this schedule dominate everything you do in your retirement… trading one job for another… with no financial compensation (but a whole lot of fun, I know).

Sometimes the responsibility of taking care of an elderly family member comes to you unexpectedly (like an ill parent or grandparent). When this “all-encompassing” duty is thrust upon you, it may consume every free moment in your schedule.

This excellent advice is from the blog-site “A Place for Mom.”

Many of us do end up deciding to become family caregivers, a demanding role that often includes advocating for your loved one, coordinating providers, and performing home medical care tasks.

In fact, over 65.7 million Americans currently provide care for a family member or loved one, according to the National Alliance for Caregiving, and 36% of those are caring for an elderly parent.

Being prepared for the role of caregiver means taking a lot of different factors into consideration. You will need to ask yourself hard questions about how your own availability and care-giving capabilities will affect your ability to provide effective care — for your loved one and yourself.

– https://www.aplaceformom.com/blog/2-24-14-caregiver-questions-to-as/

Several of the “big questions” from their site:

Am I financially prepared for the extra costs of care-giving?
Am I really capable of taking care of Dad or Mom all by myself?
Do I have the social support and resources I’m going to need?
How will care-giving affect my physical and mental health?
Will I be able to make time for myself and my family?

Again, that focus on “first things first” (remember the book of the same name by Stephen Covey?) and “take care of yourself, too!”

In her book In A Different Voice (Harvard University Press), author Carol Gilligan describes the philosophy of moral development based on “evolving steps of caring.”

Decisions based solely on care for their needs. (GOOD)
Decisions based on care for the needs of others. (BETTER)
Decisions based on care for themselves and others. (THE BEST)

As mentioned in a previous blog, we could all hope to prescribe to Kathy Merlino’s “independent-living manifesto” ― being actively involved in her children’s lives, but NOT leaving them the ultimate chore of “taking care of mom!”

“Stressed over the season”

Finally, while we are on the subject of care-giving, here are a few links to alleviating stress, especially around the coming winter holidays:

Also, although I wrote my own blogs about “the happiest time of the year,” (see https://paulkfoxusc.wordpress.com/2015/11/29/tips-for-retirees-on-managing-stress-during-the-coming-winter-celebrations/ and https://paulkfoxusc.wordpress.com/2015/12/22/random-acts-and-other-resolutions/, I found more wisdom re: “stress for seniors.”

Best wishes for you and yours to enjoy the festive season and a Happy New Year!

PKF

Photo credits from Pixabay.com: “person” by RitaE, “dictionary” by stevepb, “volunteer” by maialisa, “stress” by thedigitalartist, “checkmate” by stevepb, “head” by johnhain, “comic-characters” by OpenClipart-Vectors, “grandfather” by kko699, “grandparents” by sylviebliss, “seniors” by geralt, “shopping-mall” by stocksnap, and “senior” by RitaE

Help! How Does One Keep Up?

December 1, 2017May 5, 2020 paulkfox1 Comment

Time, Task, & Media Management for Pre-Service/New Music Educators

This article is in memory of the late Thomas Labanc (October 1946 – November 2017), my friend, colleague, Upper St. Clair School District social studies teacher, curriculum leader, and assistant to the superintendent, school historian, brilliant visionary and fellow risk-taker, who taught me the basics of Priority Management and collaborated on many of our school district’s communications and public relations projects, including the establishment of the highly successful community publication UPPER ST. CLAIR TODAY magazine. PKF

Imagine there is a bank that credits your account each morning with $86,400.
It carries over no balance from day to day. Every evening the bank deletes whatever part of the balance you failed to use during the day.
What would you do? Draw out every cent, of course!!!
Each of us has such a bank. Its name is TIME.
Every morning, it credits you with 86,400 seconds.
Every night it writes off, as lost, whatever of this you have failed to invest to good purpose.
It carries over no balance. It allows no overdraft.
Each day it opens a new account for you.
Each night it burns the remains of the day.
If you fail to use the day’s deposits, the loss is yours.
There is no going back. There is no drawing against the “tomorrow.”
You must live in the present on today’s deposits.
Invest it so as to get from it the utmost in health, happiness, and success!
The clock is running. Make the most of today.
To realize the value of ONE YEAR, ask a student who failed a grade.
To realize the value of ONE MONTH, ask a mother who gave birth to a premature baby.
To realize the value of ONE WEEK, ask the editor of a weekly newspaper.
To realize the value of ONE HOUR, ask the lovers who are waiting to meet.
To realize the value of ONE MINUTE, ask a person who missed the train.
To realize the value of ONE SECOND, ask a person who just avoided an accident.
Treasure every moment that you have! And reassure it more because you shared it with someone special, special enough to spend your time.
Remember that time waits for no one.
Yesterday is history. Tomorrow is mystery. Today is a gift.
That’s why it’s called the present! – Pratheek Naidu

Philosophies of Time Management

Even though it is from a book on post-employment transitioning (Purposeful Retirement: How to Bring Happiness and Meaning to Your Retirement), the author Hyrum W. Smith suggests several thought-provoking questions on prioritizing time:

Does your management of time reflect your governing values?
Are you giving the most time to that which matters most?
What can you do tomorrow to ensure your time aligns with your priorities?

A similar perspective but providing much more detail, I recommend consuming from cover-to-cover First Things First by Stephen R. Covey, who succinctly defines this conundrum about using time wisely.

“For many of us, there’s a gap between the compass and the clock – between what’s deeply important to us and the way we spend our time. And this gap is not closed by the traditional “time management” approach of doing things faster. In fact, many of us find that increasing our speed only makes things worse.” – Stephen Covey

The four sections of Covey’s book dive into these concepts:

The Clock and the Compass
The Main Thing is to Keep the Main Thing the Main Thing
The Synergy of Interdependence
The Power of and Peace of Principle-Centered Living

In addition, I found additional insight and inspiration in the philosophy of managing time from these links:

For those of you who have already begun your career in music education or even working as a day-to-day music sub, try these classroom and time management tips (thanks to NAfME):

The 4 D’s

Have you ever heard of a system called Priority Management (PM)? PM proposes methodology and business tools to immediately route every piece of paper and your daily “to-do tasks” that come into your life to one of the four D’s:

Do it! (now)
Date it! (assign it to the future)
Delegate it! (give it to someone else to do) or
Dump it! (into the trash)

PM’s “WorkingSm@rt method” promises to help you “gain control over your day, find balance, prioritize your work, and reach your goals,” giving you time to focus on the tasks that are important to you. The bottom line – every digital or printed post-it-note, piece of mail, receipt, publication, email or other communication – must be “put in its place” on the spot – either completed instantly, deferred to another time, given to someone else to do, or THROWN OUT!

time-management-2323612_1920-mohamed1982eg

Yours truly, a “late baby boomer,” never enjoyed that prophesied and romanticized revolution of a “paperless society.” Did you? PM recommends the creation of a “future reading” file, a subcategory of “date it.” Experts on Google Mail will extol the merits of creating a folder and categorizing/storing messages such as emailed issues of MEJ, Kappan, SB&O, and other digital editions of professional newsletters. I have found that this doesn’t work very well, even in retirement. The file folder just fills up, and I never seem to get around to reviewing the things I thought were so important to save. Nor did the practice of our grandmothers’ generation clipping articles (and coupons) out of newspapers. You would think you could solve this media overload by just printing a small excerpt of what you want to peruse later and putting it in a letter tray near your desk? Nope. It just piles up! However, probably the ideal solution would be to designate a specific 15 minutes or more every day for something they used to give to the middle school students I taught: “silent and sustained reading.”

“Pros” Wrestle Control of Their “Free Time!” You Can Do That, Too!

“When you get right down to it, intentional living is about living your best story.”

– John Maxwell, Intentional Living: Choosing a Life That Matters

How many times have you heard it? Make your plans and goals “intentional!” Besides all of the upcoming deadlines and appointments to which you are committed, include in your daily and weekly schedule opportunities for individual reflection and growth.

Plan 30-60 minutes of professional enrichment every day, throughout the year. The list below is based on an hour, but when time is really at a premium, just divide everything in half.

Read an article in a professional journal or digital newsletter (15 minutes)
“Keep up your chops” in ear training, sight-reading, and score reading. Have you ever used something like Elementary Training for Musicians by Hindenmith and practiced exercises that make you sing in syllables, tap a different rhythm independently with your left hand, conduct the beat pattern with your right hand, and beat your foot to the pulse? Revisit your college solfeggio assignments, and of course, sight-singing anything is also most beneficial. (10 minutes)
Perform on the piano, rotating weekly to different styles and forms of music. If you’re not a piano major or an accomplished choral accompanist, include playing at sight several different voice parts simultaneously from choral octavos. (10 minutes)
Research and add professionals to update your contact file. Did you run into any new music teachers or school administrators this week? Search school district websites for the names of music department chairs and supervisors. (5 minutes)
Practice your story-telling skills (organized and “polished” telling of anecdotes about your achievements, teaching experience, “personality pluses,” and problem solving. Role play answering job-screening questions in video-recorded mock interviews, and allow time to assess your “performance.” (10 minutes)
Work on personal branding and marketing projects: making, refining, and customizing your e-portfolio, business card, professional website, and resume. (10 minutes)

The last three bullets above are covered extensively within this blog. Try these links:

If you “think” you are ready for the job search process, complete the self-assessment at https://paulkfoxusc.wordpress.com/2017/04/24/intereviewing-the-situation-and-jobs/.

What about vacations or academic breaks when it seems there’s more time to spare? With some repetition to the above, in the December 2017 issue of Collegiate Communique, a digital publication of the PMEA Council for Teacher Training, Recruitment, and Retention (in support of the Pennsylvania Collegiate Music Educators Association and Society for Music Teacher Education), these recommendations were offered for college music majors who are leaving school for their winter or summer recesses.

“After you finish your semester finals, juries, concerts, writing assignments, and other projects, you may have several weeks before you have to return to full-time classes at the university. Besides catching up on your sleep and visiting your family and friends, how many of these enrichment activities can you accomplish?”

Share your musical gifts.

Sit in with a church or community choir, orchestra, or band.

Learn something new about music… even outside your specialty.

Spend a lot of time sight-reading.

Improve your score reading and analysis.

Volunteer to coach/conduct music rehearsals at the local public school.

Attend as many concerts as you can.

Compose a short seasonal, folk, jazz, or classical piece.

Record video/audio excerpts of your major instrument/voice in preparation for placement in your e-portfolio.

For upcoming employment prep and practice of mock interviews, review the marketing professionalism articles at https://paulkfoxusc.wordpress.com/becoming-a-music-educator/.

– Collegiate Communique #8

Of course, from a 35-year veteran teacher now retired, a snide remark in response to feeling a little “stressed over the schedule” could be to “get used to the 24/7 nature of the job.” A music teacher works from sun-up (and before) to sun-down (and after), and constantly has to juggle multi-tasking on a wide variety of to-do’s, all landing at the same time: writing lesson plans, arranging music or drills, preparing scores or accompaniments, planning and rehearsing ensembles, managing the grade book and attendance records, attending faculty meetings and parent conferences, writing curriculum, student assessments, and lesson targets, preparing for extra-curricular activities like marching band, chorus, or the musical, finishing your own homework for graduate courses, district inductions, or professional development assignments, ETC.

But, if you “get organized,” you will love it! There is nothing better (albeit hectic) than the “calling” of serving your students and the profession as a music educator, inspiring creative self-expression, artistry, music appreciation, and life-long learning.

PKF

Photo credits from Pixabay.com: “hourglass” by annca, “children” by mochilazocultural, “stopwatch” by geralt, “parade” by Marmiche, “time management” by mohamed1982eg, “choir” by intmurr, “time” by geralt, “box” by rawpixel, and “businessman” by Fotomek.

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