Engaging Music Students Online

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

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

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

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

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

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

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

seriestoshare-logo-01

CLIP #1

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

What can you create?

https://musiclab.chromeexperiments.com/Experiments

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

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

Questions for self-reflection:

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

Practice: Select and play your favorite major key…

…performing a scale up and down on your instrument:

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

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

MusicTechTeacher

CLIP #2

Listen: Easy Guide to Appreciating Classical Music

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

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

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

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

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

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

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

Practice: “The Ladder of Music Achievement”

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

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

 

noteflight

CLIP #3

 

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

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

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

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

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

Listen: “Warren Music” series

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

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

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

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

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

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

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

Inspire: 126+ More Musical Games and Quizzes!

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

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

CLIP #4

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

“Dr. Tim!”

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

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

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

Listen: Pittsburgh Symphony “Extraordinary Measures”

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

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

Practice: “The Wheel of Fortune”

SHJO Practice Spinner

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

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

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

Share: We’re looking for more online games…

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

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

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

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

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

Create: BINGO CARD!

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

Send a single copy to pfox@shjo.org.

Mr. Fox's Music Bingo

CLIP #5

Share: “On the Ear” News Reporter

Broadcast your own music review!

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

Inspire: “The Musicologist”

Free music theory review, courtesy of musictheory.net

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

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

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

Listen: “How Bad Can It Get?”

Classical music “fails” – just for fun!

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

Practice: “Mr. Fox’s Music Bingo”

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

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

Practice: “Mr. Sheehan’s Practice Guide”

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

Four-a-Day Music Researcher

CLIP #6

Share:Easy Classical Music Games”

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

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

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

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

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

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

Practice: “Musical Dice”

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

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

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

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

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

Create: “Musical Dice II”

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

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

SHJO Music Exploration graphic

CLIP #7

Listen:YouTube Kids Playlist

Discover new online music videos!

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

Share: “Whack-a-Note”

Name these notes… fast!

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

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

Create: “Song or Music Writing”

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

Inspire: “Music Exploration and Reflections”

Maintain a journal to keep track of your work.

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

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

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

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

 

© 2020 Paul K. Fox

Sharing a New Discovery for Band

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

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

Hint? Here’s his picture.

John_Cage_(1988)

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

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

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

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

The “Classic” from John Cage’s collection

John Cage 4' 33"

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

From his Apprenticeship Period 1932-1936

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

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

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

Sample First Chance Works 1951-1958

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

Sample Happenings, Theater Music 1959-1968

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

Samples of Return to Composition 1969-1986

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

Sample Number Pieces and Other Late Works 1987-1992

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

New “Bandstration” by John Cage

SmartMusic library

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

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

Cage arrangement for band in SmartMusic

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

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

John Cage printed band arrangement

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

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

PKF

 

Bibliography

 

© 2020 Paul K. Fox

Virtual/Remote/Alternative Music Ed

Resources for Teaching Music Online During the COVID-19 Pandemic

COVID-19

The dreaded messages came to almost every educator:

EMERGENCY ALERT:

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

* * *

Dear Students, Parents, and Staff:

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

* * *

Important announcement:

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

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

Governor Wolf
Pennsylvania Governor Tom Wolf

Dear Families,

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

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

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

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

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

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

SHJOclips

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

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

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

smartmusic and musicfirst

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

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

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

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

 

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

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

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

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

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

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

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

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

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

PKF

 

 

Sources of Online Music Media and Instruction

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

© 2020 Paul K. Fox

Stressed Out?

More Remedies for Reducing Teacher Stress & Burnout

stress-1837384_1920_johnhainWelcome back to our series on music teacher (and other professionals) self-care.

First, as presented in this insightful article by Chris Mumford, we confirm the notion that “stress is inevitable,” but “how you respond to it can spell the difference between a long, rewarding career or one cut short by burn-out.” Based on new research, he offers some surprising (and even counter-intuitive) techniques to better deal with it, including these “9 Stress Management Strategies Every Teacher Needs to Know.”

  1. Breathe (properly)… When you’re experiencing intense levels of stress, breathe in deeply (put your hands on your stomach and feel it expand out), for four seconds, then exhale evenly for four seconds. Keep this up for two-three minutes for maximum effect. 
  2. Embrace the stress… Viewing your stress in constructive ways [reframing] will actually cause your body to respond to it differently and prevent long-lasting physical damage.
  3. Be imperfect… Teachers are often prone to perfectionism and its ill effects: they often feel that they aren’t doing enough, or that their mistakes are magnified because of the importance of their job. If you find yourself feeling this way, fight back.
  4. stress-2379631_1920_DavidqrPractice emotional first aid… Do you beat yourself up when you experience failure or make a mistake? [Find] ways to break the negative patterns of thought.
  5. Be grateful… We have to stop, quiet our minds, and create “stop signs”—little reminders of things that we should be grateful for every day.
  6. Limit “grass is greener” thinking… You will have challenges anywhere you go.
  7. Work smarter, not harder… Find ways to delegate some of your work, or invest in tools or technologies that will make your life easier. 
  8. Ask for help… doesn’t make you weaker, it makes you better at your job.
  9. Make a connection… When you connect with another person, your body produces oxytocin, which is a chemical that helps repair the heart. If you help your neighbors, family, etc., you’re much less likely to experience the negative effects of stress. 

 

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Just Breathe… According to the Navy SEALS!

The calming, deep-breathing practice (#1 above) can be learned by reviewing a host of resources, including the book Maximizing Your Human Potential and Develop the Spirit by former Navy SEAL Mark Divine, as well as these websites:

Examples of two different NAVY SEALS breathing exercises advise us on how to reach a more relaxed state:

TACTICAL BREATHING (to alleviate “fight or flight” tension)

Place your right hand on your belly, pushing out with a big exhale. Then breathe in through your nostrils, slowly drawing the breath upward from your belly to your upper chest.

Pause and exhale, starting from your chest and moving downward to the air in your belly. Imagine your belly button touching your spine.

Once you’re comfortable with a full, deep breath, repeat it, this time making the exhale navy SEALStwice as long as the length of the inhale. For example, inhale to the count of four, pause briefly, and exhale to the count of eight. Repeat three times.

Stephanie Vozza

BOXED BREATHING (to help ground you, sharpen concentration, and become more alert and calm)

Expel all of the air from your lungs
Keep them empty for four seconds
Inhale through your nose for four seconds
Hold for a four count (don’t clamp down or create pressure; be easy)
Exhale for a four count
Repeat for 10-20 minutes

Reuben Brody

 

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Mind Over Matter

Our own minds may be our own worst enemies. Have you read the insightful article “Sustaining the Flame – Re-Igniting the Joy in Teaching Music” by Karen Salvador in the December 2019 issue of Music Educators Journal? She offers research-supported strategies for nurturing courage, peace, and resilience as well as suggested habits of thinking and action. Samples of “cognitive distortions,” a term of which I had never heard previously defining “irrational beliefs,” is addressed by “reframing” our inner voice during specific incidents of emotional distress.

MEJ December 2019Her common examples of cognitive distortions include the following. Do any of these sound familiar?

  • Disqualifying (discounting) the positive events
  • Jumping to conclusions
  • Filtering (focusing entirely on the negative elements of a situation)
  • Double standard (placing unreasonable/unattainable expectations for ourselves)
  • Personalizing (or “taking something personally”)
  • Polarized (placing people or situations in unrealistic “either or” categories)

Additional recommendations by Nicole Stachelski for combating stress and burnout are listed in the article:

  1. Laugh with your students
  2. Eat your lunch (take a break or enjoy social time)
  3. Schedule regular physical activity
  4. Drink more water (and visit the bathroom as needed!)
  5. Prioritize your work and set boundaries
  6. Keep a consistent bedtime
  7. Delegate – don’t be afraid to ask for help
  8. Focus on what’s really important

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More Ideas — Just Pick One!

Take a gander at this excellent Scholastic.com teacher blog-post by Nancy Jang summarizing “15 Ways to Reduce Teacher Stress.” Can you try at least one new strategy this week that resonates with you and your life?

  1. Close the door during prep time.
  2. Make a SHORT and DOABLE “Must Do” and “May Do” lists.
  3. Delegate items to parent volunteers.
  4. Lay out your outfit and prepare your healthy lunch the night before.
  5. Get a full eight hours of sleep.
  6. Don’t correct every piece of paper.
  7. Work out!
  8. Get up early!
  9. Stay away from negativity.
  10. Don’t take things home.
  11. Plan time every week/day to enjoy something that is not remotely related to teaching.*
  12. meditate-1851165_1920_PexelsLearn something new.
  13. Plan a trip.
  14. Don’t over-commit.
  15. Take ten minutes a day and mediate.

*Probably one of my own worst habits was not modeling number 11 above. No matter how busy you are with your daily in-school teaching and extra-curricular music/coaching activities, the full recommendations are important to consider:

Spend time with your family and friends, travel, work on your garden, read for pleasure, take a hike. Learn how to turn off being a teacher. Balancing your time to just be YOU (not the teacher you) allows you to be renewed and have more mental energy for your students.

Nancy Jang

A few more ideas are offered by Jennifer Gunn in her blog-post from Concordia University “How Educators Can (Really, Honestly) Unplug – And How Stress Affects Us.” As always, it is suggested that you read the entire article at the link provided.

  • Practice mindfulness
  • Get a change in scenery
  • Focus on some serious self-care
  • Make plans with friends
  • LOL
  • Unplug, literally
  • Schedule your work time and your fun time

 

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Balance

Work Life Balance ZelinskiIn almost every health and wellness article, we hear the emphasis of prioritizing and seeking a more equitable use of personal time, achieving what Ernie Zelinski, author of the best-selling book How to Retire Happy, Wild, and Free, refers to as “work/life balance.” Future blogs on samples of “super stress reducers” in “setting boundaries,” time management, and innovative organizational tools will be forthcoming.

Several books are also recommended readings for addressing the issues of teacher health and wellness. We have already reviewed several of these. More to come.

 

Our next journey to an in-depth look at music educator self-care will explore more fully TEACHER BURNOUT. To stay up-to-date on past and future articles, publications, and workshop presentations on this topic, be sure to revisit the “Care” section of this blog-site.

 

Resources

 

PKF

 

Photo credits (in order) from Pixabay.com

  • “laptop-woman-education-study-young” by Jan Vašek
  • “stress” by johnhain
  • “stress-despair-burden” by Davidqr
  • “boat-teamwork-training-exercise” by skeeze
  • “mental-health-wellness-psychology” by Wokandapix
  • “stress-relief-help-sign-relax” by Pete Linforth
  • “meditate-meditation-peaceful” by Pexels
  • “handstand-beach-sea-ocean-sand” by MatanVizel
  • “wooden-train-toys-train-first-class” by Couleur

wooden-train-2066492_1920_

 

 

 

 

 

 

© 2020 Paul K. Fox

More on Teacher Interviews

Coaching Advice for Acing Those Employment Interview Questions

There is a huge body of information on preparing for the job search process, interviews, and marketing yourself previously posted at this site. Where should you go first? Be sure to survey the following blogs:

What else do you think we should cover on this topic? How about some specific “coaching” in recommended answers to commonly asked interview questions… tips from the experts, HR staff, interviewers, supervisors, and the like. We give each resource “the baton” and “the podium” to offer a glimpse in the triumphs, pitfalls, and pratfalls of frequently observed interviewee responses. For grasping the full comprehension and context, follow-up by reading the entire article posted at each link.

Many of these suggestions are geared to “general education” teacher interviews, but you can apply them to whatever specialty or grade level to which you are applying. After all, the person sitting at the other side of the desk is probably an administrator or director of curriculum, not a current/former music educator.

Again, be sure to visit each website. All told, there are more than 108 sample questions and responses in these collections below!

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What is your teaching philosophy?

Teacher interview questions like this ask, “Are you a good fit for our school?” It’s the teaching equivalent of “tell me about yourself.” But —

Don’t answer elementary teacher interview questions for an unstructured school with, “I believe in structured learning.”

Take the time to learn the school’s philosophy before the interview.

Example answer: “I believe in teaching to each student’s passion. For instance, in one kindergarten class, my students had trouble with punctuation. I observed that one student, Mary, suddenly got excited about apostrophes. I fueled her passion with a big book on punctuation. Her enthusiasm was contagious, and soon the entire class was asking bright and animated questions. Whenever possible, I try to deliver structured lessons in an unstructured way like this.”

That answer uses the S.T.A.R. approach to teaching interview questions. It shows a Situation, a Task, an Action, and a Result.

“25 Teacher Interview Questions and Answers” by Tom Gerencer

This is from a Zety “career toolbox” website. They also offer an outstanding app to “build” a resume, CV, and cover letter, all with excellent examples.

 

Why do you want to be a teacher/work with children?

You have to know who you are as an individual and as an educator, and you have to know what you can bring to the school… This question gets to the heart of that self-awareness and passion. The interviewer wants to know: What drew you to this field, specifically?

How to answer it: It’s obvious of course, but you don’t want to say, “Summer vacations!” This should be easy to answer simply because there’s probably something you can think of that made you want to get into education. Maybe you love teaching your friends new things, or are a facts wizard bursting with knowledge, or love connecting with children. Focus not just on what you like about teaching but also on what you can… bring to the table.

For example, you might say: “I really admired my third grade teacher, Mrs. Kim, when I was younger, and even after I left her class I still felt myself drawn to her for advice and guidance over the years. It’s that sense of warmth and acceptance she provided me that inspired me to become a teacher. I want to be that person others can lean on as they navigate the oftentimes tough waters of growing up.”

“15 Common Questions Asked in a Teacher Interview (and How to Answer Them With Ease)” by Alyse Kalish

In addition, the site above shares several important pointers from Calvin Brown, Senior Recruiter at Alignstaffing, an education staffing firm, and Dan Swartz, Managing Director at Resolve Talent Consulting, LLC, a firm that specializes in education recruitment.

Reaffirming the blog S is for storytelling at interviews: “If you have a situation or a story with a great outcome, absolutely share [it],” says Brown. “Stories are also a great ways to highlight your expertise and skill set if you don’t come with a traditional background in education.” Swartz adds, “Even if you’re not a teacher with experience, you can still highlight how you go about your work by giving past examples and scenarios of engaging others.”

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How would you handle a difficult student?

Mary Findley, Senior Teacher Success Manager at Skillshare, former Teach for America Core Member and elementary school teacher, suggests this scenario and answer:

“When students are disengaged, it’s either because the content’s too challenging, it’s too easy, or there could be some outside-of-school factors,” explains Findley. A good answer delves into figuring out the cause, as that’s often the most important step.

Then, your response should show that “you’re meeting the student where they’re at and building on their strengths,” she says. It should also emphasize that you’re “collaboratively discussing” solutions with the student rather than ordering them around. If you have an example story to tell, that’s a great way to state your case.

You could say: “For me, the first step would be to pull them aside and address the issue privately. My biggest questions would be about deciphering what might be the root cause of this student’s bad behavior. Once I know what may be contributing to their difficulty, I really try to work with them to come up with a solution. I used this strategy in my last classroom, where I had a student who couldn’t seem to stay in his seat during lessons. We talked about how his behavior affected the rest of the class and why he kept moving around, and we agreed that when he was feeling really anxious he could raise his hand and I’d let him take a lap around the classroom, but only when it was appropriate. I also decided to make some of my lessons more active and hands-on so that other students could benefit from getting out of their seats every once in a while.”

“15 Common Questions Asked in a Teacher Interview (and How to Answer Them With Ease)” by Alyse Kalish

child-1439468_1920_Counselling

How do you incorporate social-emotional learning in your lessons?

Many states and districts have added requirements for social-emotional learning into their standards. Explain how you will not only tend to the academic needs of your students but tie in lessons that satisfy the core SEL competencies. Describe how you will help students build their self- and social-awareness skills, how you will support them in building relationships, and how you will give them the skills to make responsible decisions. 

“18 Interview Questions Every Teacher Must Be Able to Answer” by Brandie Freeman

If you have never heard the term “core SEL competencies” in your methods classes, peruse the online article “Building SEL Competency in the Elementary School Music Classroom” by Lindsey Jackson, posted on the NAfME Music in a Minuet website.

How will you meet the needs of the students in your class who are advanced or say they’re bored?

and

How will you engage reluctant learners?

School leaders don’t want to hear canned responses about how you can differentiate; they want you to give some concrete answers and support your ideas. Perhaps you help get kids prepared for scholastic competitions once they’ve mastered the standard (spelling bee or chemistry olympiad, anyone?). Maybe you offer more advanced poetry schemes for your English classes or alternate problem-solving methods for your math students. Whatever it is, make sure that you express the importance that all students are engaged, even the ones that are already sure to pass the state standardized test.

Teaching in an age when we must compete with Fortnite, Snapchat, and other forms of instant entertainment makes this question valid and necessary. How will you keep students’ heads off their desks, their pencils in their hands, and their phones in their pockets? Share specific incentive policies, engaging lessons you’ve used, or ways you’ve built relationships to keep students on task. An anecdote of how a past student (remember to protect privacy) that you taught was turned on to your subject because of your influence would also help your credibility here.

“18 Interview Questions Every Teacher Must Be Able to Answer” by Brandie Freeman

women-1687852_1920_melysernaWhat are your greatest weaknesses?

Considered one of the “trick” or unfair questions by many, you should still be ready for it. One of the keys to sounding sincere is to personalize your response, and provide specific examples of the “problem,” self-improvement goals, and positive growth and progress.

At some point during the interview process, you may be asked to describe your personal strengths and weaknesses. Many job candidates are unsure about how to approach this question. However, by establishing the appropriate context, you can give hiring managers an honest, thoughtful answer that highlights both your self-awareness and professionalism.

Preparing ahead of time for this question is a valuable use of your time before the interview. Even if you aren’t asked about your strengths and weaknesses specifically, scripting out your response to this common question will give you a candid yet compelling description of what you bring to the table and how you wish to grow in the future.

job-interview-2552411_1920_shaukingBecause we all have weaknesses but rarely want to admit to them, it’s best to begin with a truthful answer and build your script from there. Select an answer that a hiring manager would not consider to be essential qualities or skills for the position as well as qualities that you are actively improving.

Some examples of weaknesses include:

  • Disorganized
  • Self-Critical/Sensitive
  • Perfectionism (Note: this can be a strength in many roles, so be sure you have an example of how perfectionism can be a problem to demonstrate that you’ve thought deeply about this trait)
  • Shy/Not adept at public speaking
  • Competitive (Note: Similarly to perfectionism, this can be a strength)
  • Limited experience in a non-essential skill (especially if obvious on your resume)
  • Not skilled at delegating tasks
  • Take on too much responsibility
  • Not detail-oriented/Too detail-oriented
  • Not comfortable taking risks
  • Too focused/Lack of focus

Example weakness: Perfectionism

“I tend to be a perfectionist and can linger on the details of a project which can threaten deadlines. Early on in my career, when I worked for ABC Inc., that very thing happened. I was laboring over the details and in turn, caused my manager to be stressed when I almost missed the deadline on my deliverables. I learned the hard way back then, but I did learn. Today I’m always aware of how what I’m doing affects my team and management. I’ve learned how to find the balance between perfect and very good and being timely.”

target-1414775_1920_DeedsterExample weakness: Difficulty with an area of expertise

“Math wasn’t my strongest subject in school. To be honest, as a student, I didn’t understand how it would be applicable in my adult life. Within a few years of being in the working world, though, I realized that I wanted to take my career in a more analytical direction. At first, I wasn’t sure where to begin, but I found some free online courses that refreshed the important basics for me. In my most recent job, this new foundation has enabled me to do my own goal setting and tracking. Actually, getting over the math anxiety I had when I was younger has been incredibly empowering.”

“50 Teacher Interview Questions and Answers to Help You Prepare” from Indeed.com

One final resource, perhaps more focused on business or company interviews, but still applicable to education positions, is the work of author, career counselor and interview coach Robin Ryan. Knowing that college students are by necessity drawn to “free stuff,” I would first view one of her YouTube videos such as https://www.youtube.com/watch?v=J_lgyK37JJM or venture into reading her “how-to” articles at http://www.robinryan.com/index.php/articles. There are some excellent gems perfect for “collegiates” here:

60 seconds and youre hiredFocusing on Robin Ryan’s “interview tools” such as “the five-point agenda” and “60-second sell,” her book 60 Seconds and You’re Hired ” is inspiring and provides much greater depth (76 pages!) on answering those “thorny” interview questions. Nearly all of the sample questions above are also analyzed, offering easy-to-understand comments and recommendations for specific career paths. For example, Robin Ryan also weighs in on that inquiry “What is your greatest weakness?” – first offering to joke about it “I cannot resist chocolate!” and then, if it is reiterated, endorsing a strategy to share a work habit problem (like being a “Type-A” person) on which you are currently improving but is not critical for the position they are seeking to fill.

To sum up the book, these are my favorite sections:

  • Chapter 2: The Five Point Agenda
  • Chapter 3: The 60-Second Sell
  • Chapter 5: Interview Etiquette (including tips on proper dress, good manners, nonverbal and verbal communication, the hand shake, and eye contact)
  • Chapter 7: 60-Second Answers to Tough, Tricky Answers
  • Chapter 12: 12 Pitfalls to Avoid

In conclusion, as stated throughout all of this literature on interview techniques, the keys to success are preparation and practice… just like getting ready for your semester jury or senior recital. After studying these materials, collaborate with your peers to hold “mock interviews,” video-record yourself answering the questions, and take time to review and self-assess. Yes, you CAN and WILL do well at future employment screenings!

PKF

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Photo credits (in order) from Pixabay.com:

© 2020 Paul K. Fox

 

Success = How Many Hours?

Fox’s Fireside article for adult learners

 

What Does It Take to Master Your Craft?

Practice with your fingers and you need all day. Practice with your mind and you will do as much in 1 1/2 hours. — Leopold Auer

Mastering music is more than learning technical skills. Practicing is about quality, not quantity. Some days I practice for hours; other days it will be just a few minutes. Practicing is not only playing your instrument, either by yourself or rehearsing with others — it also includes imagining yourself practicing. Your brain forms the same neural connections and muscle memory whether you are imagining the task or actually doing it. — Yo-Yo Ma

If I don’t practice for a day, I know it. If I don’t practice for two days, the critics know it. And if I don’t practice for three days, the public knows it. — Louis Armstrong

It is a mistake to think that the practice of my art has become easy to me. I assure you, dear friend, no one has given so much care to the study of composition as I. There is scarcely a famous master in music whose works I have not frequently and diligently studied. — Wolfgang Amadeus Mozart

 

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How much practice is enough? 2 hours? 4 hours? More or less? What constitutes too much practicing?

To grasp this essential question, a tug-a-war of time vs. attentiveness, Noa Kageyama quotes Arthur Rubinstein, Leopold Auer, Jascha Heifetz, Donald Weilerstein and others in his article “How Many Hours a Day Should I Practice?” He centers around the basic premise that deliberate practice is more efficient, engaging, and builds self-confidence.

When it comes to understanding expertise and expert performance, psychologist Dr. K. Anders Ericsson is perhaps the world’s leading authority. His research is the basis for the “ten-year rule” and “10,000-hour rule” which suggest that it requires at least ten years and/or 10,000 hours of deliberate practice to achieve an expert level of performance in any given domain — and in the case of musicians, often closer to 25 years in order to attain an elite international level. Note that the real key here is not the amount of practice required (as the exact number of hours is debatable) but the type of practice required to attain an expert level of performance. In other words, just practicing any old way doesn’t cut it.Kageyama

recycle-1000785_1920_johnhainThe famous “10,000 Hour Rule” was described in the book Outliers: The Story of Success written by Malcolm Gladwell, Based on studies in elite performance, Gladwell contended that it’s “an extraordinarily consistent answer in an incredible number of fields… you need to have practiced, to have apprenticed, for 10,000 hours before you get good.”

Gladwell’s message — “people aren’t born geniuses, they get there through effort” — was seized upon by popular culture.

There is a lot of confusion about the 10,000 rule that I talk about in Outliers. It doesn’t apply to sports. And practice isn’t a SUFFICIENT condition for success. I could play chess for 100 years and I’ll never be a grand-master. The point is simply that natural ability requires a huge investment of time in order to be made manifest. Unfortunately, sometimes complex ideas get oversimplified in translation.Gladwell

View his explanation on YouTube about his “metaphor for the extent of commitment that’s necessary for cognitive-complex fields” (how long mastery takes) here: https://www.youtube.com/watch?v=1uB5PUpGzeY.

nikola_tesla_napoleon-sarony-public-domain-via-wikimedia-commonsThe 10,000 hour rule was also cited in a book by Sean Patrick: Nikola Tesla – Imagination and the Man That Invented the 20th Century:

The rule’s premise is that, regardless of whether one has an innate aptitude for an activity or not, mastery of it takes around ten thousand hours of focused, intentional practice. Analyzing the lives of geniuses in a wide range of intellectual, artistic, and athletic pursuits confirms this concept. From Mozart to Bobby Fischer to Bill Gates to the Beatles, their diverse journeys from nothing toward excellence in their respective fields shared a common denominator: the accumulation of ten thousand hours of unwavering “exercise” of their crafts. — Patrick

 

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To be fair, many have taken exception to the 10,000 hour rule, in articles like “The Great Practice Myth: Debunking the 10,000 Hour Rule” by Michael Miller.

According to Ryan Branstetter in his November 2019 “The Ultimate Guide to Teaching Habits of Mind,” creating or reforming “patterns of thinking” and habits may instead take anywhere from 21 days to a year:

Have you ever heard someone tell you that it takes 21 days to form (or break) a habit? Well, scientific studies have found that to be unfounded. When it comes to something easy, such as grabbing a coffee at your local Starbucks on your way to school, it might take only a few days for a habit to form. But if it is a habit that is challenging, studies have shown that the 21-day myth may actually more like 66 days. Or for very challenging habits, it could take up to a year!Branstetter

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How about translating this prescription of 1-10 years to a weekly figure of five hours? With reading being the major focus for any stellar success in a profession, review the blog-post by Michael Simmons in Accelerated Intelligence: “Bill Gates, Warren Buffett, and Oprah All Use the 5-Hour Rule”

If 10,000 hours isn’t an absolute rule that applies across fields, what does it really take to become world class in the world of work?

…I’ve explored the personal history of many widely-admired business leaders like Elon Musk, Oprah Winfrey, Bill Gates, Warren Buffett and Mark Zuckerberg in order to understand how they apply the principles of deliberate practice.

…Many of these leaders, despite being extremely busy, set aside at least an hour a day (or five hours a week) over their entire career for activities that could be classified as deliberate practice or learning. Simmons

piano-286036_1920_crystalleHere are the “three buckets” (principles) of Simmon’s 5-hour rule:

  1. Read
  2. Reflect
  3. Experiment

Specific to number one above, apparently billionaire entrepreneurs like to read a lot, quantities of time, frequency, and number of sources (quoted in the article):

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By the way, how many books do YOU read a month? What publications do you have sitting on the coffee table or bed stand awaiting to be started/finished? A quick glance at my own collection of recent nonfiction acquisitions includes these titles:

  • Fewer Things Better – The Courage to Focus on What Matters Most by Angela Watson (Due Season Press and Educational Services, 2019)
  • UnSelfie – Why Empathetic Kids Succeed in Our All-About-Me World by Michele Borna (Touchstone, 2016)
  • The 100-Year Life – Living and Working in an Age of Longevity by Lynda Gratton and Andrew Scott (Bloomsbury, 2016)
  • The Microbiome Solution – A Radical New Way to Heal Your Body from the Inside Out by Robyn Chutkan (Penguin Random House, 2015)
  • The Weekend Effect – The Life-Changing Benefits of Taking Time Off and Challenging the Cult of Overwork by Katrina Onstad (Harper Collins Publishers, 2017)

(You see, I do not exclusively survey the current best-sellers or today’s fads/trends… ideas, insights, and innovations can come from anywhere and any time frame. Now that I am retired, I can “catch-up!”)

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Back to musical preparation. You may have heard that saying “practice makes perfect,” generally debunked in several of my “Fox’s Firesides” for music students. I revise this concept to “perfect practice makes perfect performance” promoting “the ten times rule” in applying focus, problem solving, and repetitive drill. Check these out:

Finally, citing the initial reference in this blog-post by Noa Kageyama, here are five tips for deliberate practice by which we should all abide:

  1. Keep practicing limited to a duration that allows you to stay focused.
  2. Utilize times during the day when you tend to have the most energy.
  3. Write down and keep track of your performance goals and what you discover during your practice sessions.
  4. Work smarter, not harder.
  5. Apply various techniques of problem-solving to practicing.

He also recommends this 6-step general “problem-solving model” as adapted from various problem solving processes online:

  1. problem solving chart
    asq.org

    Define the problem (what do I want this note/phrase to sound like?)

  2. Analyze the problem (what is causing it to sound like this?)
  3. Identify potential solutions (what can I tweak to make it sound more like I want?)
  4. Test the potential solutions to select the most effective one (what tweaks seem to work best?)
  5. Implement the best solution (make these changes permanent)
  6. Monitor implementation (do these changes continue to produce the results I’m looking for?)

More ideas can be researched by reading The Talent Code by Daniel Coyle or The Practice of Practice by Andrew Mason, or visit these links for further study:

saxophone-546303_1280_schuetz-mediendesign

The bottom line? Working “brainlessly” does not promote significant improvement. However, use of sufficient repetition, exploration, problem solving, and mindful and deliberate practice will stimulate your success in the pursuit of anything worthwhile… especially the self-realization of creative self-expression.

PKF

 

Photo credits (in order) from Pixabay.com:

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© 2019 Paul K. Fox

Do You Always Feel Exhausted?

Our second in a series on publications and other resources for self-care, health, wellness, and remediation of stress and burnout of music educators addresses one of the core issues for all of us — chronic fatigue.

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The medical definition is comprehensive:

Fatigue is a lingering tiredness that is constant and limiting. With fatigue, you have unexplained, persistent, and relapsing exhaustion. It’s similar to how you feel when you have the flu or have missed a lot of sleep. If you have chronic fatigue, or systemic exertion intolerance disease (SEID), you may wake in the morning feeling as though you’ve not slept. Or you may be unable to function at work or be productive at home. You may be too exhausted even to manage your daily affairs. — WebMD

In the NAfME community forum Amplify, another colleague turned me on to the book Exhausted — Why Teachers Are So Tired and What They Can Do About It by Paul Murphy (2017). Most of this blog will focus on a review of this work. I also recommend you visit his very informative website of blog-posts: Teacher Habits.

If you’re like most teachers, being tired at the end of the day is a way of life. We’ve become so accustomed to it that it’s hard to imagine how things could be any different. We get through out mornings with coffee, our afternoons with Diet Coke, and the ends of our school days with the iron strength of our will. We leave the building exhausted, having so much at work that there’s little left over for our families or even ourselves.Paul Murphy

So, what is the scope of the problem? What can we do about it?

 

What Is a Teacher?

Are you a teacher? If so, are you also a classroom work foreman, logistics manager, guide, drill sergeant, disciplinarian, cheerleader, data entry clerk, cultural advocate, or analyst?  Maybe you are all of these things and more.  Maybe, we need to look at educators in a new context of what teaching really is in most schools, and whether it should be given cultural, economic and technological change.

Merriam-Webster’s says “teach” is a verb, with several simple definitions that repeat themselves but ideologically are these five things:

  • to cause to know something
  • to guide the studies of
  • to make known and accepted
  • to impart the knowledge of
  • to conduct instruction regularly.

LeiLani Cauthen

Personally, I have always glorified the mission and “calling” of becoming an educator.

Teachers model the “habits” of

  • ornament-1899065_1920_xsonicchaosFocus
  • Self-discipline
  • Self-motivation
  • Self-assessment and self-improvement
  • Work ethic
  • Highest standards of behavior, appearance, and ethics

We serve as

  • Fiduciaries, looking out for the welfare of students
  • Model exemplars, both on and off school time
  • Self-starters, intrinsically motivated and goal-oriented
  • Professionals 24/7 – always “on the job”

This bar is further raised by the public’s and our very own highest expectations of the “nine characteristics of a great teacher” by Maria Orlando in Faculty Focus:

  1. A great teacher respects students.
  2. A great teacher creates a sense of community and belonging in the classroom.
  3. A great teacher is warm, accessible, enthusiastic and caring.
  4. A great teacher sets high expectations for all students.
  5. A great teacher has his own love of learning.
  6. A great teacher is a skilled leader.
  7. A great teacher can “shift-gears…”
  8. A great teacher collaborates with colleagues on an ongoing basis.
  9. A great teacher maintains professionalism in all areas…

I wouldn’t have it any other way! But these standards must take a toll on our health, wellness, and work/life balance!

 

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Stress and Data on Teacher Exhaustion

Do you find yourself tired most of the time? Quoted in Exhausted by Paul Murphy, does this sound like YOU?

  • “I’m exhausted, and every weekend, I spend at least one day in my pajamas.”
  • “I feel like work never ends.”
  • “I love my students, and I have a really good class this year, but I’m done and ready for a break.”
  • “I was so tired that I ended up missing out on family’s holiday dinner.”

Why is this so prevalent? According to Paul Murphy, “the answer, in a word, is STRESS! Teachers are incredibly stressed-out people, especially when they are at work.”

He shares some scary statistics:

Because our culture tendency to demand more of educators, that stress is on the rise. In 1985, 36% of teachers reported feeling great stress at least several days a week. Today, that number is 51%. Only doctors report higher levels of stress on the job.

The costs are high. A recent study of the U.S. Department of Education found a 10% of new teachers don’t return for second year. Nearly 185 new teachers are gone within five years. Many young people, perhaps persuaded by on his federal and Teacher should buy what they see on social media, won’t even entertain the thought of teaching. Between 2009 and 2014, enrollments in teacher preparation programs fell about 35% in the U.S., reducing the supply of available teachers by nearly a quarter-million. — Paul Murphy

These figures are supported by other sources as well. The American Federation of Teachers reported here that “61% of educators say their work is always or often stressful,” and, worse yet, “50% say they don’t have the same enthusiasm as when they started teaching.”

Teacher-stress-lede

In addition, according to James Anthony in “7 Conclusions from the World’s Largest Teacher Burnout Survey” posted here, 75% of teachers complained of health problems such as shortness of breath, dizziness, heart palpitations or chest pain, or regular headaches or stomach aches — symptoms often associated with a failure to deal with stress. His conclusion? “This is a worrying sign that pressure and workload of many teaching jobs is having a very real physical impact on many teachers.”

 

From the Back Cover of the Book

You should definitely grab a copy of Exhausted. Paul Murphy promises you will learn:

  • Exhausted by Paul MurphyWhy even good days with your students leave you drained.
  • What tired teachers have in common with doctors, major league baseball managers, and interview committees.
  • How Jeb Bush’s failure in the 2016 presidential primaries is related to your own fatigue.
  • What long distance runners, one of history’s greatest weightlifters, and a Stanford psychologist can teach you about the powerful influence of your mind.

He says you will find solutions to these problems and understand:

  • What teachers can learn from baristas and airline agents.
  • What supermarket layouts can teach us about the dangers of decision making.
  • Why AC/DC doesn’t belong in your classroom.
  • What an insurance agent’s plane crash can teach us about belief.

Who is this Paul Murphy guy? His own bio, the last section of the book, is unique:

Paul Murphy is a third-grade teacher in Michigan. This fall, he started his 20th year in the classroom. His writing focuses on improving the lives of teachers, both inside the classroom and out. He enjoys reading, writing, travel, exercise, craft beer, and Cheetos. His feet are perpetually cold, he bites his nails, and he regularly (and almost instinctively at this point) changes the lyrics to songs to make them inappropriate, much to the chagrin of his wife and daughter.

cat-3623703_1920_ Susanne Jutzeler, suju-foto

 

The Science of Exhaustion

The best way to review the innards of a publication and get to the nitty-gritty may be to frame a few guiding questions, to follow an outline summary on which to reflect while reading many of the early chapters:

  1. How many decisions do you make before you ever teach a single class every morning? What effect do they have on you?
  2. What is the link of willpower (ego depletion* and delayed gratification) to exhaustion?
  3. What do doctors say about the constant exercise of self-control and blood glucose levels, and why is the time of the day critical?
  4. What is “morning morality” and what does it have to do with planning your day as a teacher?

*Psychologist Roy Baumeister coined the term “ego depletion” after he found that humans have a limited supply of willpower.  He compares willpower to a muscle, which can strengthen but also wear out with use. Ego depletion has a general effect, meaning that using self-control in one area of your life erodes your ability to self-regulate in other parts of your life. Baumeister found that exerting self-control results in a significant drop in blood-sugar levels.  Low blood sugar leads to physical fatigue, which is why you’re so tired, even though the heaviest thing you lifted was a textbook. Paul Murphy

A few of my observations. Willpower is actually “won’t-do-power,” and represents the chronic stress teachers and other professionals place on themselves everyday: saying “NO” to such things as sleeping-in an extra 10-15 minutes, staying on your diet by passing by that Dunkin Donuts shop on the way to school, forgoing the idle chit-chat from the teacher’s room on the way to the photocopier, not allowing yourself to be distracted by a TV program instead of doing your own homework, delaying an update of your social media sites or reading personal email instead of finishing your lesson plans, grades, or the forms the principal requested for completion by the end of the week.

In other words, facing up to all of those grown-up expectations that grown-ups must do! There’s no room for youthful indulgences or “goof-off time” as an adult!

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Paul Murphy says, “Whatever you call it… resisting temptation, will power, self-control, self-discipline, grit, perseverance, self-regulation, or determination, science has proven that it exhausts us.”

Teachers endlessly self regulate. We hold back sarcastic rejoinders, walk away from lazy students when we what we really want to do is lecture them, keep her honest thoughts about the principles latest he’ll conceive ideas to ourselves, respond professionally to disrespectful emails from parents, work with students when we want to do anything but, plan the next day one would rather check Facebook, and bite our tongues when we’d like to drop F-bombs. We force ourselves to work when we feel like taking a break. We redirect students when we’d rather just let the behaviors go and avoid the resultant excuses and conflicts. We keep teaching even though we really, really have to pee. Teachers use a lot of willpower. — Paul Murphy

Couldn’t say it better myself!

Another personal observation also seems to be supported by Paul Murphy. I have found that “earlier is better” for doing creative tasks, solving problems, or completing highly detailed work. Most mornings (in retirement), I reserve my first two hours for writing. Others say that the AM is best for practicing or composing, when you feel the freshest! The closer to having a meal or having slept all night (which revitalizes our supplies of self-regulation and blood sugar), the better for tackling something hard… which for a teacher might mean facing the challenge of a “difficult parent” phone call, student discipline report, or conference with an “unhappy” administrator.

 

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Strategies for Releasing/Postponing Tension

Paul Murphy recommends that, instead of using up your willpower reserves to fight off the urge to snap at someone or suppressing your anger, “simply notice something else that requires less willpower” or distract yourself. Postponing can also be effective: Have your tantrum “not now, but later.” (Schedule your nervous breakdown for another day?) Often, once some time has passed, you may find your frustration has abated.

Another technique for alleviating stress is to actually do a deliberate exercise to release your emotions and desires… in a more controlled and constructive way.

I sometimes receive an email from a parent or supervisor that angers me. My instinct is to return fire. That’s a bad instinct, but it doesn’t mean I have to hold in those feelings. It also doesn’t mean I should vent to other teachers or my wife. They’ve got their own problems, and nobody really wants to hear mine. What I do instead is write my honest, no-holds-barred rebuttal. I let it all out, hammering the keyboard and plastering my screen with vitriol. I read it and re-read until it effectively conveys the righteous indignation I so strongly feel.

Then I don’t send it!

It released my anger, and it’s there for me to revisit. On those few occasions when I have gone back to reread these unsent missives, my anger is gone. I wonder why I was so outraged at the time. They’re actually embarrassing to read. If you do this a few times, you begin to realize that your initial feelings are often an overreaction (and also the result of depleted willpower and low blood sugar) and it becomes easier to avoid indulging them.Paul Murphy

 

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Intense Emotions = Model Teacher?

Who is a better teacher? An energetic, passionate, and always “fired-up” one, or a professional who exerts a calm, introspective, and less intense attitude? Some studies do show that an enthusiastic, engaging teacher who is passionate about his subject is more effective than a “dull” or less dynamic teacher who seems to dislike his job, but what of the costs? Again, in Murphy’s book, we have more research to the rescue: “…Science has proven that intense emotions tire us out!”

I’ll explain why teachers should aim for a feeling of inner calm for large chunks of their day. I’ll argue that the expectation we have for ourselves and other teachers to be constantly enthusiastic is counterproductive in the short-term and ultimately damaging to the education system in the long-run. And I’ll explain how being calm will not only conserve your energy, but will make your classroom a better learning environment for your students.Paul Murphy

Another reason to buy his book!

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The Mind Is a Terrible Thing to Waste!

Finally, our very own thoughts are amazingly powerful tools. Our brain can either help or make things worse! “If you believe a task is going to be difficult, it will be.” We all know that “positive talk” can alleviate the effects of stress, and can inspire greater levels of achievement. But, what about the relationship of negative thoughts to fatigue?

Almost every distance runner talks of hitting a wall. In 2012, Spanish researchers wanted to know what went through runners’ minds as they neared exhaustion, and they found exactly what you’d expect: the harder the runners work and the longer they run, the more negative their thoughts become. No surprise there.

runner-808932_1920+skeeze.jpgBut then a group of British and dutch researchers asked an interesting question. They wondered if everyone had it backwards. Did the discomfort of physical fatigue cause the runners to think negatively, like everyone assumed, or did the runners negative thoughts make them more physically tired and sore? It was a chicken and egg question.

The researchers found 24 healthy adults and had each complete a grueling ride on a stationary bike until they were exhausted. Then they were sent home for two weeks. During that time, half of the subjects were trained in positive self talk, a technique many sports psychologist coaches teach athletes to combat negative thinking that can lead to poor performance. The other 12 subjects were left alone. Then the researchers called them all back to hop on the bikes again.

On average, those who receive positive self talk training performed more than 17% better on their second ride than they had on their first. There was no improvement among members of the control group.Paul Murphy

He goes into great detail that the driving force behind our exhaustion may not even be the hours we work, the challenges we face in the classroom, or the lack of support we perceive from administration or parents. It may rest in our thoughts. And, he analyzes the negative effects of “worrying” and the concept of “mind over matter!”

 

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The Schedule That Doesn’t Help

Tiger Woods was known for so many “firsts” and breaking numerous golfing records in his early career. Many credited his success to his extreme focus, perseverance, and self-discipline. It was documented that he practiced golf 7-8 hours every day and worked out two or three hours more:

  • tiger-woods-79694_1920_ David Mark6:30 a.m. an hour of cardio
  • 7:30 a.m. one hour of lower-body weight training
  • 8:30 a.m. high protein/low-fat breakfast
  • 9:00 a.m. two hours on the driving range
  • 11:00 a.m. practicing putting
  • 11:30 a.m. playing nine holes
  • 2:00 p.m. healthy lunch
  • 2:30 p.m. two to four more hours on the golf course
  • 6:00 p.m. back in the gym working on upper-body
  • 7:00 p.m. dinner and relaxation

Then we learn about his personal “crash of 2009” when everything seemed to unravel:

  • Extra-marital affairs
  • Personal calls to escort services
  • Wife, discovering his “extra-curricular” activities, assaulting him
  • DUI arrest
  • Divorce
  • Destruction of his reputation
  • Injuries
  • Poor golf play

Certainly, Tiger had some deep-seated psychological issues. But I can’t help wondering if his remarkable self-discipline left him depleted to the point that he was unable to fight off his most distracted urges at the close of his ego-depleting days. Yes, he only had to focus for five hours during a round of golf, but Tiger Woods used will power from the time he woke up to the time he started texting port stars. His is a cautionary tale for anyone who spends large parts of the day exercising self-control. As teachers, there are lessons to be learned. Paul Murphy

Your own strict daily regiment may also contribute to your feelings of “total exhaustion.” Music teachers are usually their own worst enemies. We take on responsibilities for the hurry-2119711_1920_TeroVesalainensake of the music program, add a new ensemble, schedule after-school time to teach a solo or instrumental part, and plan more weekend and evening “learning activities” or events beyond the scope of most other academic subject teachers. It was not unusual for me to be at school by 6:45 a.m., eat lunch in my car on the way to my second or third assignment as an itinerant, stop for a quick “date” and dinner out with my wife, return to school for band, orchestra, or musical practices, and not get home until 9 or or 10 p.m. As a retiree, I now ask, “What ever happened to all of this stamina and endurance?” Pushing wheel chairs only four hours a day three times a week at a local hospital, I sometimes find myself wanting to take a “power nap” when I get home! Never you fear: the healthy “calendar of a retired music teacher” is as busy (and hectic) as full-time employment… We always say, “I wonder how I ever had the time to do all of these things and work at the same time!”

However, to put it in perspective, here is a copy of my former professional schedule that I was (mostly self-) assigned to teach grades 5-12 strings in three buildings, manage the fall play and spring musical, assist the marching band, work with the superintendent on school district public relations projects, prepare for PMEA and NAfME music festivals, and serve as my district’s Performing Arts Curriculum Leader.

Schedule 2013

As an administrator, the number of “contact hours” over the maximum was irrelevant; it was never an option to submit a grievance to the teacher’s union. Actually, I accepted the responsibility of planning what I thought was necessary for the success of my program, my students, and my music staff… no matter what the cost! Sound familiar?

 

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Other Remedies to Lower Tension and Exhaustion

This is just “the tip of the iceberg” for an analysis of the book Exhausted. Part two which we have not covered here is entitled “What To Do About It.”

More recommendations for better time management, remediation of teacher burnout, development of a self-care plan, and techniques for stress reduction will be addressed in future blogs. At this point, from three excellent sources, these tips may steer you towards improved rest, personal life/work balance, and general health/wellness. Stay tuned for more at https://paulfox.blog/care/.

Numbers 1-6: Paul Murphy: Exhausted: Why Teachers Are So Tired and What They Can Do About It http://teacherhabits.com/about/

Numbers 7-15: Raphailia Michael: “What Is Self-Care, and What It Isn’t” at PsychCentral https://psychcentral.com/blog/what-self-care-is-and-what-it-isnt-2/

Numbers 16-22: Lesley Moffat: I Love My Job But It’s Killing Me https://squ.re/2TaXoAr and (also see this blogpost)

  1. Work less/fewer hours
  2. Time before school is worth more than twice as much as time after school
  3. Use class time to check student work
  4. Leverage technology
  5. Don’t grade everything
  6. Stop assigning things
  7. Create a “NO” (I will not do) list
  8. Promote a nutritious, healthy diet
  9. Get enough sleep
  10. Follow-up with medical care as needed
  11. Use relaxation exercises and/or practice meditation
  12. Spend enough time with loved ones
  13. Do at least one relaxing activity every day, whether it’s spending 30 minutes unwinding, listening to music, or taking a walk
  14. Do at least one pleasurable activity every day, from going to the cinema, cooking, or meeting friends
  15. Make opportunities to laugh
  16. Take a break from social media
  17. Seek out ways to compliment others
  18. Allow someone to go ahead of you in line at the store
  19. Set your alarm for nine minutes earlier and use those nine minutes to listen to an inspiring song
  20. Turn off notifications on your phone and/or avoid electronic devices for the first hour of your day
  21. Take deep breaths when you encounter spped bumps and stop signs/lights during your daily commute
  22. Stay hydrated

PKF

 

Photo credits (in order) from Pixabay.com

© 2019 Paul K. Fox

Becoming a School Music Educator

[A quick summary, portions reprinted from the April 17, 2019 posting on LinkedIn: https://www.linkedin.com/pulse/becoming-school-music-teacher-paul-fox/]

One of my goals after retiring from 35 years as an educator and administrator in the public schools was to reach-out to college music education majors and offer some tips and techniques for preparing for this honorable career.

I have assembled a library of blog-posts on a variety of topics at my website (https://paulfox.blog/), and invite you to peruse the section “Becoming a Music Educator” at https://paulfox.blog/becoming-a-music-educator/.

If you are a junior or senior in college, assigned to field experiences or student teaching, or a recent graduate or transfer looking for a job or otherwise unemployed, I hope I can help you!

Please review the following categorized outlines of links to articles and other resources.

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Student Teaching

First stop: Tips on Student Teaching.

Also check out these past issues of PMEA Collegiate Communique:

 

“Secrets” for that First Year

  1. maestro-3020019_1920_mohamed_hassanDiscounted NAfME + PMEA first-year membership: only $90. (If you are a recent college graduate in your first year of teaching, or if you are the spouse of a current or retired NAfME member, contact NAfME at 800-336-3768 or email memberservices@nafme.org) to find out if you qualify for a reduced rate.
  2. PMEA Mentor or other state’s MEA support program for new teachers.
  3. R3 = Retiree Resource Registry for PA music teachers.
  4. PMEA Webinars.
  5. NAfME Academy of numerous videos (only a $20 annual subscription).
  6. Professional development credits just for reading an article in NAfME Music Educators Journal
  7. Model Curriculum Framework (Have to be a PMEA member)
  8. What a deal! PMEA summer conference  as little as $30/person. Check out your own state’s MEA discounts and offers for collegiate members and new teachers!
  9. Numerous helpful blog posts from NAfME Music in a Minuet and paulfox.blog.

 

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Everything… Including the Kitchen Sink

Check out the online resources on the PMEA Council for Teacher Training, Recruitment, and Retention website, free/open to all music teachers. Especially take note of the supplemental links on a variety of topics posted here.

 

Job Seekers

A summary of my re-occurring themes on marketing your professionalism and a few “pet peeves” include the following:

  1. Create a multi-media digital portfolio, video recording excerpts of your memorable solo, chamber, and ensemble performances, teaching experiences, and other opportunities you have had in working with children of all ages. To the interviews, bring both a printed version and jump drive (the latter to leave with the screening committee) of these artifacts and a list of your other activities, awards, accomplishments, mission/vision, transcripts, music education and class management philosophies, recommendations, etc.
  2. Take the time to assemble “the stories of your life, work, and teaching experiences” (both successes and the “glitches” or “snags” along the way which you had to resolve) that demonstrate your competencies, relationships with students, personality traits, acquired skills, problem-solving, and maturity.
  3. woman-613309_1920_jsotoBring to any employment screening your resume, business card, and an e-portfolio referencing a professional website which archives everything in #1 and #2 above.
  4. Avoid one-word responses or short answers to most interview questions. Instead, seek ways to incorporate the anecdotes you have made ready at your fingertips (#1 above) that model those characteristics a prospective employer is seeking in a music teacher.
  5. If you want to be the one “in control” of the possible jobs that may come your way, avoid marketing your skills as a “music specialist” (e.g. band director or elementary music teacher). Most degree programs prepare the students for teaching certification in “Music Grades Pre-K to 12.” If you are looking to expand your opportunities, don’t limit your capabilities or options upfront. You CAN teach all forms and levels of music!
  6. music-818459_1920-thedanwClean-up and curate your social media sites, treating your Facebook pages as another “personal branding resource.” Experts recommend that “your profile information should reflect integrity and responsibility… You should expand or add content that projects a professional image, shows a friendly, positive personality, demonstrates that you are well-rounded with wide range of interests, and models… great communication skills.” Source: https://paulfox.blog/2019/03/01/collegiates-clean-up-your-social-media/.
  7. How to your get to Carnegie Hall? Practice, practice, practice! How do you ace your interview? Practice, practice, practice! Put yourself through “mock interviews” and record and later assess your “performance.” Sample questions are posted at my blog-site.

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 Collegiates, welcome to the profession!

“Break a leg” at your employment interviews!

PKF

 

Photo credits in order from Pixabay.com:

 

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© 2019 Paul K. Fox

Do I Need Ear Plugs?

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What do the following famous artists all have in common?

  • seriestoshare-logo-01Pete Townshend
  • Roger Daltrey
  • Neil Young
  • Barbra Streisand
  • Eric Clapton
  • John Densmore
  • Anthony Kiedis
  • Ozzy Osbourne

Answer? According to AARP (see this article), all of the above celebrities have serious hearing loss, audio difficulties, or been diagnosed with “tinnitus” or “buzzing in the ears.”

Music students, teachers, musicians, or family members who go to music performances: Have you ever noticed humming in your ears? Did you recently attend a rock concert or had a indoor rehearsal of your school’s marching band? This could mean you were recently exposed to excessive levels of loud sound (musical or noise) which may eventually lead to future, long-term, and permanent damage to your hearing!

This article is a comprehensive look at “hearing conservation” for all practitioners of the Performing Arts… “food for thought” to review and reflect on your own “safe habits” of sound consumption!

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First, I would like to reprint a portion of an “ear-opening” flier thankfully shared by an expert in the field:  Dr. Catherine Palmer of the UPMC Musicians’ Hearing Center (Pittsburgh, Pennsylvania).

Hearing Protection for Young Musicians

UPMCWe would not consider allowing our youth to play football without a helmet, work in chemistry lab or shop class without eye protectors. Yet everyday, we allow our children to participate in school-sponsored instrumental music activities without hearing protection.

Loud sounds are the number one cause of permanent hearing loss and this type of hearing loss is 100 percent preventable. The result of noise exposure is ringing in the ears (tinnitus) and permanent hearing loss. By the time people realize that they have permanent hearing loss, they have significant damage to the inner ear. Hearing loss impacts individuals across life activities – social, school, work, and home. School age children are the fastest growing population of noise-exposed individuals suffering permanent hearing loss.

Background

Day in and day out, music students (e.g., band and orchestra members) and their instructors are being exposed to potentially damaging levels of noise during practices and performances. Hearing loss is a function of exposure time, the average noise level, and peak level of very loud sounds. The chart below illustrates the levels of sound produced by the various instruments played in schools. Alone or together, musicians often are exceeding safe limits of noise during practice and performance.

Musical Levels

Musical Levels

I recommend perusing the entire website of the UPMC Musicians’ Hearing Center here and view Dr. Palmer’s video on noise-induced hearing loss.

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After a few additional online searches, I found numerous quotes from supportive research, articles, and links.

Surveys of universities reveal that more than 60% of band members suffer from tinnitus, or ringing in their ears, and more than 50% suffer from Noise-induced hearing loss. According to the World Health Organization, loss of hearing has escalated over the past 20 years and shows no sign of slowing down.

Band members have an increased risk for hearing loss as they have spent a majority of their young lives playing loud instruments near each other and during this time they have been exposed to horribly dangerous and irresponsible decibel levels without being warned about the lifelong pain and discomfort that they may potentially face due to playing in the band. Most musical instruments used in marching bands produce sound levels ranging from 92 – 126 dB as shown below will if unregulated or protected against cause irreparable hearing loss and may have already caused you tinnitus (rdistortioninging in the ears).  — Big Ear (#9)

As I understand it, the problem is two-fold: exceeding the safe decibel-levels of sound and the length of time you are exposed to these dangerous dosages without protection.

According to NIOSH, any level higher than 85 decibels (dB) for a cumulative period of 8 hours is damaging to the hearing mechanism and requires hearing protection. As the decibel level increases, the safe duration decreases. This means that a jazz band playing at 100 dB is safe for about 15 minutes before hearing damage ensues. —  BandDirectorsTalkShop (#10)

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Professional musicians may be at significant risk, according to many research studies, including one documented by the University of Toronto and the National Ballet Orchestra of Canada.

For the study published this month in the [January 2011] journal Noise and Health, a team from the University of Toronto’s sensory communications group attached microphones to the musicians’ shoulders — as close to their ears as possible — with a wire connecting them to a bulky box at their waist that recorded the “dose” of noise. To avoid under-estimating the risk, they chose performances of Sergei Prokofiev’s Romeo and Juliet, the loudest ballet the company performs, then extrapolated the results across the full season of shows and rehearsals.

Some of the National Ballet musicians were exposed to levels as high as 94 decibels, equivalent to the sound of an electric drill. Interestingly, the flute and piccolo players absorbed the loudest noise, followed by brass instruments, and the double bass. The violins had the quietest experience, according to the study. —  National Post (#7)

For young musicians, I have recommended the specially discounted Etymotic’s ER-20 ear plugs, which seem to offer a practical way to help protect hearing during rehearsals and performances. The company that makes them offers an interesting article about their “adopt a band” program here and a “slide rule” tool (pictured below) to help predict measurements of dangerous levels and time exposures to loud sounds here.

Know the Risk

There seems to be some debate about sound distortion with the use of these ear plugs. The cheap yellow foam plugs may cause alteration of the music’s intensity and timbre. Personally, I have noticed few problems with the ER-20s, although you may “hear” of conflicting viewpoints on hearing/comfort/distortion issues in the media.

This is the chasm between audiologists and musicians. We [Etymotic] think we’ve found the answer and the technology, and the musicians are telling us, no, not yet. This outlines the importance of collaboration between audiologists, hearing health care providers, and musicians to find what works. —  Ascent Hearing (#11)

The bottom line, if you want to protect your hearing, you will have to use them regularly.

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Also from the University of South Carolina Marching Band and Big Ear (#11), here are a few tips on conserving your hearing in a band rehearsal. Starting right now, you can “monitor and adjust” any excessively high sound exposure and dangers to your health!

  1. If you feel any sensation in your ears, speak up. Your section leaders and band directors are across-the-board caring people with a healthy appreciation for music and those who make it, so don’t ever feel like you are being bothersome if you talk to them about pain in your ears.
  2. Notice the times of your rehearsal when the music peaks and prepare yourself by having a cheap pair of foam earplugs to stick in for that overwhelmingly loud duration.
  3. Distance yourself from an unruly player. If there is a member of your band who is known to let off an extra loud trumpet, piccolo, alto sax, or drum solo after you finish a song, try to distance yourself from the blast zone and be aware of your surroundings.
  4. Hand-in-hand with tip number 3, talk to that person about their habit and politely ask them to be mindful of their fellow musicians around them.
  5. If you are taking any medication, talk to your doctor or school nurse about the specific medications interaction with decibel levels as there are hundreds of medications that can damage your inner ear hair cells and cause you permanent hearing damage.
  6. In the same light, if you hear the word ototoxic followed by the name of a medication you are taking, speak to your doctor and band director immediately.
  7. If you hear for any reason at all ringing in your ears, address the sensation immediately with your section leader or band director.

The final authority on noise-induced hearing loss comes from the United States Department of Health and Human Services, National Institutes of Health, a good online resource posted here.

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For our South Hills Junior Orchestra players, we are selling the ETY-20 ear plugs (discounted by UPMC for only $6/pair). Last year (2018-2019), I made sure my piccolo players had a set, and will strongly encourage the purchase of these by all of my brass and percussion instrumentalists, especially those who participate in their school marching band programs.

PKF

 

References

  1. “Teen Musicians: ‘Uncool’ Earplugs May Save Your Hearing” https://www.seattletimes.com/life/wellness/teen-musicians-uncool-earplugs-may-save-your-hearing/
  2. “Musicians in an Orchestra May Be Exposed to Unhealthy Sound Levels” https://www.noisyplanet.nidcd.nih.gov/have-you-heard/orchestra-musicians-unhealthy-sound-levels
  3. “Protect Your Hearing When You Play a Musical Instrument” https://www.noisyplanet.nidcd.nih.gov/have-you-heard/musicians-face-higher-risk-of-hearing-loss
  4. “Incidence and Relative Risk of Hearing Disorders in professional Musicians” https://oem.bmj.com/content/oemed/71/7/472.full.pdf
  5. “School Band Performances Causing Hearing Loss” https://www.hearhereindy.com/school-bands
  6. “Musicians and Hearing Loss: What You Need to Know” https://www.signiausa.com/blog/musicians-hearing-loss/
  7. “Orchestral Musicians Face Unhealthy Sounds: Study” https://nationalpost.com/news/orchestral-musicians-face-unhealthy-sound-levels-study#ixzz1ApNlDV42
  8. “Turn It Up? Musicians Run Far Higher Risk of Hearing Loss” https://www.nbcnews.com/health/health-news/turn-it-musicians-run-far-higher-risk-hearing-loss-n93981
  9. “Why Do I Need Hearing Protection?” https://www.bigearinc.com/university-of-south-carolina-marching-band-hearing-protection/
  10. “Conserving Your Earsight” — https://banddirectorstalkshop.com/2017/11/24/hearing-protection-for-band-directors/
  11. “Musicians, from School Bands to Symphonies, Risk Hearing Loss” — https://www.ascenthearingsimivalley.com/musicians-from-school-bands-to-symphonies-risk-hearing-loss/
  12. “Noise-Induced Hearing Loss” — https://www.nidcd.nih.gov/health/noise-induced-hearing-loss
  13. “List of Rockers with Hearing Loss Grows” — https://www.aarp.org/health/conditions-treatments/info-2018/musicians-hearing-loss.html
  14. “Musicians’ Hearing Center” — https://www.upmc.com/services/ear-nose-throat/services/hearing-and-balance/audiology/musicians-hearing

 

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

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

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

Click here for a printable copy of Do I Need Earplugs?

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

Photo credits (in order) from Pixabay.com

 

© 2019 Paul K. Fox

Ethical Scenarios

Empaneling the “Ethic Jury” to Review Mock Case Studies

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

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Full discussions and samples of “the codes” (ethics and conduct), professional aspirations, and government policies/statutes – a proverbial “curriculum” exploring ethics for music educators – have been posted at this blog-site. You should peruse these first before proceeding further:

In addition, articles cautioning educators’ use of social media are offered:

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All of these should be “required” reading. Few of us have ever received a full-blown class or induction program on ethics. Now is the time to study this topic, and as ethics expert Dr. Troy Hutchings would say, to view it through multiple perspectives – “the lens of…”

  • “Ethos of care”
  • “Educator risks”
  • “Consequences”

The purpose of this blog is to provide supplemental materials for personal reflection, possibly inspiring thought-provoking group dialogue during methods classes, professional development workshops, or music staff meetings.

 

Degrees of Misconduct

The Rubric

It is more important to know why something is wrong, rather than simply labeling the degree of misconduct or likely discipline action. However, for the purpose of introspection during this exercise, we will first recognize “the problem” presented in each re-enactment. We will use these “color-coded” criteria, and allow “snap judgments” in the simulated evaluation by a “jury of our peers.” Put on your thinking caps! You may be surprised with the incongruities of your first impressions once the likely outcomes of these stories are revealed!

Use this tool to judge the severity of the upcoming case studies.

DEGREES OF MISCONDUCT (from bad to worst)

  • GREEN (not illustrated)  = not a misconduct
  • BLUE (not illustrated) = inappropriate, unwise, or “bad for appearances” – but no consequences
  • PURPLE = “Unprofessional” – unlikely to result in serious consequences except possible damage to one’s professional reputation
  • GOLD = “Immoral” – no guarantee of consequences except may result in lowering the year-end teacher evaluation score, earning a “warning” or “write-up” by the principal/supervisor, or consideration for a job re-assignment
  • ORANGE = “Unethical” – which will result in discipline action and possible loss or suspension of certificate
  • RED = “Illegal” – which may add criminal penalties, fines, jail time, etc. All it takes is a felony or misdemeanor conviction to lose your job… and your certificate… even if it is unrelated to your employment or taking place at school.

 

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Essential Ethical Questions

It is important to analyze your response to these reflections during your assessment of each ethical dispute:

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

 

Mock Scenarios

CASE #1

Melissa S. was a 23-year-old high school music teacher who also supervised the production of the school musical. After months of practices, Miss S. became very close to several seniors including David, the male lead in the musical.  She and David began sharing emails and texts with one another.  Most of the communications were playfully flirtatious but not overtly sexual.  Immediately after graduation, however, Miss S. and David began dating and became sexually intimate. After discovering the relationship, David’s parents filed a complaint against Miss S. with the district superintendent.

CASE #2

My drum major was suspended because she smoked pot and was caught. I needed her to run the half time show we had been practicing for months and so I attempted to convince administration that she had to participate because it was part of my curriculum and part of her grade. I decided the other kids shouldn’t be punished because of her idiocy so I worked hard to keep her in the show.

This assumes the principal will make the ethical decision in allowing or prohibiting the student leader to participate.

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Let’s put this choice squarely on your shoulders (where it usually sits). What would you do if you were the one that discovered your soloist, lead, accompanist, or drum major was drinking on a school music trip? What if he or she was the one performer you counted on for an outstanding adjudication?

You walk into the Disney World cafeteria, see your student has a wine cooler on his/her tray sitting at the tables. Since no one else sees you standing there, you walk out as if nothing has happened.

CASE #3

You are taking your high school music department to Orlando. Because of the size of the trip, you have to put it out on bid. One company offers a generous “under the table” deal: “If you choose our travel agency for the Florida trip, we will throw-in the gift of a new conductor’s podium and set of two dozen music stands.” You decide to go with them.

CASE #4

James C. is a middle school music teacher who was arrested for drunk driving. After several months, the teacher goes to court and is convicted of the offense. When the district moves to have Mr. C fired for his conviction, he argues that this offense has no influence over his ability to instruct his students. Also, the episode happened during the weekend on his private time.

CASE #5

Mrs. K is a high school choral director whose husband recently divorced her. During a lesson one day, she breaks down in front of her class. In an attempt to calm the students, she explains her emotional state and discusses the end of her marriage. After school that day, a male student visits Mrs. K to see if she has recovered. The student explains that his parents are also divorcing and he understands her feelings. The student begins stopping in to see Mrs. K more frequently and the pair begins spending more time outside of class supporting each other. Mrs. K’s colleagues start to become suspicious of her relationship with the student and report the teacher’s actions to their principal.

 

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Food for Thought – Suggestive Answers

Please keep in mind my disclaimer, “I am not an attorney, a member of a human resource staff, nor a research scholar or expert on school ethics.” However, although retired, I continue to teach (part-time) and face day-to-day decision-making… now for more than 40 years.  These are my responses to the above cases. I welcome your comments, and any input from highly respected leaders in the field of educator ethics like Dr. Troy Hutchings (Chair of Education, University of Phoenix) and Dr. Oliver Dreon (Associate Professor, Millersville State University of Pennsylvania).

RESPONSE TO CASE #
  1. ETHICS VIOLATION: In my opinion, this would likely result in loss of employment and revocation of her certificate. The debate in some areas of the world supports that it may be permissible to have an intimate relationship with a former student as long as it did not start while the student was at school. We have learned that the American Psychological Association has an ethical guideline of non-fraternization for at least two years post-treatment, while the National Association of Social Workers has a one year moratorium for sexual involvement with a client. However, frankly, in the teaching profession, due to the inherent power imbalance that can influence inappropriate relationships between teachers and students or former students – even after graduation: Are either of these models relevant?
  2. ETHICS VIOLATION: Most would say this was a serious noncompliance with the school district’s drug and alcohol policy, violation of the local laws governing underage consumption, and likely breach of your fiduciary responsibility. No decision is a decision… walking away means you condone the behavior. What if the drinker becomes sick or has an accident and gets hurt “on your watch?”
  3. ETHICS VIOLATION: Better check your state’s code of ethics. From the Pennsylvania Code of Professional Practices and Conduct, “No educator is permitted to accept personal or financial gain or advantage (other than their contractual compensation package) through their work in a school system.” Interpretations may disagree on a “true-life” experience: At a music conference, I was invited to a special dinner celebrating the “best clients” by a vendor representative who insisted on picking up the tab. Minimal infraction?  Would you change your misconduct rating if the party took place at Hooters? How about at a strip club?
  4. ETHICS VIOLATION: The convicted drunk driver did not win his argument. He probably would lose his job and faced criminal penalties! Although he may still hold his teaching certificate, it is unlikely he will ever be considered for employment as a teacher in any state.
  5. ETHICS VIOLATION: Did you initially interpret this as the choral director being misguided, emotionally immature, and only exhibiting unprofessional conduct by allowing the sharing their mutual feelings and experiences? According to the author of this scenario, after investigation, she was asked to resign from her position, and she complied. She did not lose her certificate… but could have depending on state or district regulations and the extent of her off-school behavior.

 

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More ethical dilemmas and case studies for discussion are available here, the second page of a handout distributed at one of my teacher ethics workshops.

Of course, ETHICAL ISSUES are not always black and white… no one will ever agree on one definitive set of moral standards. My purpose here was only to inspire thinking and a fresh perspective on this topic… probably succeeding in creating more questions than answers in your mind.

 

business-1753098_1280_ Mary Pahlke

Definitions and Revisiting MCEE

To summarize, lets review the well-stated foundations of “right or wrong” making up our “ethical equilibrium,” and these concepts that represent the compass of decision-making in education:

  • Personal Morality: “Personal values and beliefs derived from one’s life experiences… subjective and may or 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.”

 

MCEE

Finally, at this juncture, it would be most appropriate for you to recap your thoughts and correlate your “judgments” of the above scenarios with the National Association of State Directors of Teacher Education and Certification Model Code of Ethics for Educators. If you have not read this comprehensive document, “do it now!” You should also review your own state’s code of ethics.

This is all about BALANCE and exercising extreme care and sensitivity in meeting the needs of our students. Keep “fighting the good fight” and your commitment to ETHICS and the highest standards of what E.A. Wynn refers to as “moral professionalism” in his research article, “The Moral Dimension of Teaching.”

PKF

Special Thanks to These Sources of Mock Scenarios
  • Pennsylvania Educator Ethics and Conduct Toolkit by Dr. Oliver Dreon, Sandi Sheppeard, and the Professional Standards  and Practices Commission
  • Nebraska Professional Practices Commission
  • Connecticut Teacher Education & Mentoring Program

 

Featured photo credit from FreeImages.com:
“Ethics” by Olivier Le Moal

 

Remaining photo credits in order from pixabay.com:
“ethics-right-wrong-ethical-moral” by Tumisu
“mobile-phone-smartphone-keyboard” by Gerd Altmann
“question-mark-pile-question-mark” by Arek Socha/qimono
“choice-arrow-question-mark-path” by Eric Leroy/Kingrise
“business”-idea-style-concept-goals” by Mary Pahlke
“wooden-train-toys-train-first-class” by Couleur.

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© 2019 Paul K. Fox