Networking Niceties

April 4, 2016May 5, 2020 paulkfox1 Comment

The “How to Schmooze” Guide for Prospective Music Teachers

Do you have a business card, e-portfolio, resume, and professional website?

There are three critical skills you need to foster searching for a school music position, marketing yourself, interviewing, and landing a job:

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

In previous articles posted in this blog series, we have discussed the essential need for the development and constant revisions of a professional e-portfolio, resume, and website. If you have not read them, click on the following:

Merriam-Webster defines “networking” (noun) as “the exchange of information or services among individuals, groups, or institutions; the cultivation of productive relationships for employment or business.”

The concept of networking is two-way communications. Just like collective sets of nerve synapses, two-way connections are expected to fire repeatedly in all directions. That’s actually the science behind memory. For professional networking, it is your “charge” to create multiple pathways to/from school administrators, HR managers and secretaries, music supervisors and department heads, and music teachers… and you – your skills, accomplishments, unique qualities, experience, education, and personality traits.

Business Cards – One of the Earliest Known Methods of Networking

Do you know the history of the business card? How long ago was it introduced?

You might have guessed it was first “kicked-off” in the 1980s, the decade that corporations expanded on the adoption of the 3.5 by 2-inch rectangle business card format we know today.

However, according to Design Float Blog [Source: “A Brief History of Business Cards” posted at http://www.designfloat.com/blog/2012/04/02/history-business-cards/], its origin can be traced back to 15th century China. They were first known as “visiting cards” and used to announce one’s intention of meeting with another individual.

During the 17th century, especially during the reign of Louis the 14th, the “calling card” made its heyday in Europe. “…An individual’s success or failure in society often depended on the strength of their personal promotion.”

Etiquette was involved in the deployment of “acquaintance cards” in the 17-18th century.

“…A strict protocol existed to ensure that calling cards were employed correctly. If a gentleman wished to call on a lady, he had a lot to think about. On making a ﬁrst call, he had to make sure there is a separate card for each lady of the household. Alternatively, he could fold his card down the middle to indicate it was meant for all members of the household. Cards had to be left with the servant; admission to the house would only be permitted after the hostess had examined the card. Calling cards were to be collected on a small tray kept in the hallway, which would be presented by a servant on the palm of his left hand. While a gentleman may carry his cards loose in his pocket, a lady should use a card case. If the gentleman received no acknowledgement of his card, he had to accept that there would be no continuation of the acquaintance. And on no account was it ever acceptable to sneak a peak at cards that had been left by other callers.”

Later in the 17th century, London merchants used “trade cards.” At a time when street numbers were not in popular use, these cards were crucial in promoting the business and informing customers of its location and services available.

So how do you collect and distribute your business cards? What methods do you use to record and store the contacts you meet on a daily basis? How is your contact information given out to every professional you meet, especially at conferences, mass employment screenings, or job fairs?

Business Card Basics

Today’s professionals still exchange this “old-fashioned invention” called a business card as part of employment and business networking. (Who knows? Maybe someday we will be doing this electronically. Perhaps, our new “super-smart phones” will automatically talk to one another and seamlessly pass on our contact information.)

According to Ivan Misner, contributor to the online Entrepreneur website (http://www.entrepreneur.com/article/159492), “The business card is the most powerful single business tool – dollar for dollar – you can invest in. It’s compact, energy-efficient, low-cost, low-tech, and keeps working for you hours, weeks and even years after it leaves your hands!”

He outlines what it does in support of person-to-person networking:

The business card tells people your name and the name of your business.
It provides prospects a way to contact you.
It gives others a taste of your work, style and personality.
It can be so unusual or attractive or strange or charming or funny that it tends to stick in the memory of the prospective employer like a great radio or television ad.
It can be reused, passes from person to person, giving the same message to each person who comes in contact with it.

What data should be shared on a business card? The quick (and obvious) answer is your name, mailing address (street, city, state, zip), cell phone (and if you still have a landline telephone number), email address, and extremely important – a link to your professional website (and password if needed).

Your Personal Brand Displayed on a Piece of Cardboard

Huffington Post provides some insightful recommendations on the design of business cards (see http://www.huffingtonpost.com/2011/11/12/designing-a-business-card_n_997449.html):

Your card should look professional and project your image.
Do not use clip art.
Consider printing a QR code with direct access to your webpage.
Resist a cluttered business card layout.
Do not try to save money and buy cheap business cards.

Like it or not, your business card will convey (accurately or inaccurately) your image – possibly an instant snapshot of your professionalism, proficiency, and personality – to potential HR people and the decision-makers that hire future staff. What do you want to display… traits of artistry, collaboration, commitment, discipline, even temperament, goal-minded, initiative, leadership, mastery of music and music education, organization, positive outlook, style, tact, and/or teamwork… or just the opposite?

Check out the unique examples and design elements (size, shape, color, style, materials, effects, printing methods, etc.) at http://www.webdesignerdepot.com/2010/06/how-to-design-your-business-card/. A wooden business card? How crazy do you want to be? Just remember, educational leaders are generally very “conservative” in the search for filling teaching positions in the public schools.

Readability and clarity are important (#4 above). After retirement, I had a lot of fun designing a new business card. Many retirees (myself included) lean towards putting more information than what is generally needed on their card. I was also guilty of printing a hodgepodge of all of my past school positions. Ironic, isn’t it? The business card is not really the device to archive past successes, especially for a retiree who is not trying to find a new full-time job!

I even went as far as to hire a professional layout artist to create a new personal logo. Can you tell my focus areas and favorite composer from the image to the right?

The Act of Sharing

When you meet someone for the first time, the unspoken code/decorum of networking and professionalism directs you to flash your most charming smile, look the person in the eye, introduce yourself (“hi, my name is…”), and offer/give a firm handshake. Repeat his/her name (place it permanently in your memory), and use it to strike up a short conversation to familiarize/update each other about where he/she works, and where you have most recently graduated or been employed.

First impressions mean a lot. Experts say that early judgments about you are made in the first ten seconds, and after four minutes, it’s all over. For employment consideration, others have written that you are evaluated by 7% what you say, 38% by your vocal tone, and 55% by your facial expressions.

Be very positive and be sure to closely listen to the other professional, responding to his/her questions or topics. Be outgoing and energetic (but not pushy) and friendly (but not overly personal). My former superintendent commented on a music teacher interview he experienced that did not go very well. The potential candidate did not seem to show personal initiative or self-direction, and lacked any overt displays of excitement or energy. Administrators want to see that you are truly committed to making a music program successful (“will go that extra mile”), have creative ideas to help “grow the program,” and love to work with children.

Before you close your “network connection,” be sure to swap business cards (have yours handy – nothing slows things down more than fumbling in your wallet or coat pocket), and make a promise to touch base with him/her again.

Gathering Data from Your End

One of the most important concepts about networking is how you use the information you collect. You need to “tag” or catalog the names of individuals with whom you come in contact, to help sort and create an easy-access index of professional resources.

After the opportunity presents itself to exchange business cards, you need to save and organize his/her data in a way to be able to place/find the acquaintance for future reference. Why was this professional important to you to remember his or her name? How, when, and where did you meet? Reference the subjects you may have discussed, school affiliation, title, and locality of the contact, so at some point, you can lay your fingers on the name in your file; just search on the “key” word or phrase like “choral director” or “XYZ School District.”

As soon as possible, copy the new contact’s name, information, and subject areas into your smartphone’s (and computer’s) contact app. If he/she was a potential administrator, department head, or teacher in the district, you are well within your rights to follow-up with an e-mail. “Do you know of any possible future music positions (or retirements) in your district?” “Should I send a letter to the superintendent for his consideration?”

Now Get Out There and “Meet and Greet!”

According to Devora Zack in her blog “Ten Tips for People Who Hate Networking” (a great read, see http://www.careerealism.com/hate-networking-tips/), “…Real networking is about establishing mutually beneficial, lasting connections, one person at a time… This new and improved definition of networking means being true to you, capitalizing on your strengths, and tossing aside ‘rules’ that don’t match your temperament.” She proposes several unique “rules for the road” for making positive peer connections from the book Networking for People Who Hate Networking (Berrett-Koehler 2010):

Be true to you
Realize less is more
Plan your first impression
Volunteer
Get in line
Set challenging yet achievable networking goals
Show, don’t tell
Research
Listen
Follow-up, or forget about it

Another good resource for quiet/unassuming personality types is the online article “Twelve Tips for Shy People” by Meredith Levinson: http://www.cio.com/article/2437488/relationship-building-networking/how-to-network–12-tips-for-shy-people.html.

Conclusion

Take advantage of any chance you have to present your personal brand, “sell yourself,” and connect with colleagues in the field of music education. Practice a few “schmoozing” techniques, but really try to be open, positive, true to yourself, and well-organized. The business card helps you to “call on” and make a lasting impression to potential employers. Good luck, and happy job hunting!

Sources for this article and additional hints on the use of business cards and networking may be found at the following sites. Here’s YOUR homework for further reading!

PKF

Interview Questions Revisited

February 27, 2016May 5, 2020 paulkfox1 Comment

New Getting a Job Tips for Prospective Music Teachers

The Interview Playbook: Directing a Showstopping Performance in Interpreting and Reciting Your Lines!

All the world’s a stage,
And all the men and women merely players;
They have their exits and their entrances,
And one man in his time plays many parts… – William Shakespeare

How do you get to Carnegie Hall? Practice, practice, practice! How do you market yourself, take interviews, and succeed in landing a job? Practice, practice, practice!

This article reviews rationale and methods to intentionally prepare, rehearse, “stage,” and “act out” your answers to interview questions.

Depending on the structure of the interview, the hiring procedures of the institution, and the type of session (whether it is a general screening prior to any job opening, or the first round, second round, demonstration lesson, final round with the superintendent, etc. in order to fill a specific position), you will be exposed to many different kinds of questions.

Listed below are 71 samples of what might be asked at interviews for a school music posting. As they say, it is time to “woodshed” your upcoming performances!

The first step is to think up as many examples as possible of past incidents that exhibit your mastery of core standards in teaching, critical thinking and problem solving, professionalism, music and academic accomplishments, and all positive interactions with children, in both musical and non-musical settings. Assemble and catalog these successful “scenes” (even write them down) to prep your responses for the interview.

As I go out to help at job fairs and mock interviews for music education majors, I advise the soon-to-be candidates to practice their storytelling skills and recall relevant personal anecdotes in order to satisfy the interviewers’ questioning, promote an image of competency and self-confidence, “show that you have what it takes” and would be a “good fit” for their school district, and ultimately “ace” the examination.

One example I give the “recruits” is probably more suitable to a sales position. If an interviewer asks something like, “What was your first job?” – your response should not be a quick rejoinder of several words like “a paper route.” To enhance your “personal brand” and illustrate your character, proficiency, and work history, you should take the opportunity to tell a story about that first “gig.” Describe what you did as the neighborhood paperboy, perhaps revealing a little insight into the kind of entrepreneur you are, adoption of “customer-first” philosophy and habits, a savvy business sense, focused motivation, and a strong work ethic. Narrate an anecdote rather than list facts. Plan (and dress rehearse) something like this script: “My route was small, so I surveyed my existing customers, asked about their needs, desires, and their definition of a ‘perfect paper delivery,’ and how I could help them. I tagged and followed-up on their unique requests, like ‘hiding the pile of papers that end up accumulating during vacation periods’ (advertising to the world that homeowner is out-of-town), and ‘when NOT to place the paper in the screen door early in the morning so as to avoid waking up the dogs and the whole household.’ I also solicited business from non-subscribers, asking them how I could be of assistance. Pretty soon, word got around, and my enhanced customer-care translated into almost doubling the number of the people on my route.”

Next, with or without help from your peers (your future competitors in the job market), set-up one or more video recording sessions of “mock interviews.” Put yourself in the shoes of the both the interviewer and the interviewee… randomize and select questions from the lists below (take representative samples from all three categories for multiple settings) and form your responses. View and assess your performances. What are your strengths and weaknesses, and what improvements could be recommended? Besides the content and clarity of your answers, monitor and evaluate your body language, eye contact, and posture, vocal tone and projection, and those intangibles like “charm,” “attitude,” and “first impressions.” If you do this in a group (roommates, collegiate music education chapter, methods class, etc.), request feedback from your “critics.”

Finally, here are five more considerations for successful interviews:

Answer the questions as truthfully as possible. Be true to yourself. Never try to predict or recite what you think the interview panel wants to hear. Also, keep in mind, “anything you say may be held against you…” such as declaring a willingness to participate in a host of extracurricular activities, sports, student council, and other clubs. If you claim you want to become the marching band director, musical choreographer, swim coach, Sadie Hawkins dance organizer, and yearbook sponsor, the administrators (who are always seeking to fill these positions) will expect you to sign up for all of these extra-duties in your first year!
Some questions may be designed to see how you respond to stress. Although no longer considered a valid measurement of intellectual capacity or emotional stability, “stress interviews” are still conducted by some institutions. You’ll know immediately if for some reason you are thrown into one of these seemingly “hostile environments.” No matter what you say or how you respond to a question, the interviewer(s) will exhibit a negative attitude, look disinterested, inattentive, unimpressed, or disappointed, or even act angry, belligerent, or argumentative. Talk about “playing to a dead crowd!” Actually, their sole purpose is to evaluate your behavior during artificially-induced tension or conflict. Your only strategy? Play the game! Stay calm, cool, and collected.
It is not a crime not knowing the meaning of a single educational term, solution to a problem, or failing to answer a question. If you are just starting out in your career, recently completed coursework in music education, don’t be surprised if a question or two is beyond your study or experience. Just admit it! You could say something like, “I haven’t had the pleasure of teaching long enough to totally comprehend what I would do in that situation.” Or perhaps, “I am not to familiar with that term/method/philosophy, but I am willing to research it, ask my building principal or supervisor for his/her advice,” etc.
Don’t get carried away, offer too much information, or share irrelevant personal information or random opinions. Listen carefully to the question. Be precise and stay “on topic.” Refine your response to a specific story to back up your perspective, understanding, and/or success in dealing with the issue. And, as the dictionary defines “run on,” don’t “blab, blubber, blurt, cackle, chat, gossip, gush, jabber, mumble, mutter, prattle, rant, rave, run off at the mouth, trivialize, or yak!”
Search and consume every job resource and advice you can get your hands on. Peruse the numerous articles about marketing your professionalism, branding yourself, creating e-portfolios, taking interviews, etc., and additional materials in the “Becoming a Music Educator” menu link at the top of this page.

“The world is a stage” and now you need to “act your part” when participating in employment interviews. Carefully prepare to show-off the best elements of your training, skill sets, and personality traits. In the field of music and music education, we preach “perfect practice makes perfect,” so apply your performance know-how to interview storytelling and get ready for the questions! The stage is now yours! “Break a leg!”

The word “theater” comes from the Greeks. It means “the seeing place.” It is the place people come to see the truth about life and the social situation. – Stella Adler

Questions on Philosophy or Core Teaching Standards

Concerning music education, what is your philosophy, vision, and mission? (Educational Philosophy)
What is your view of the teacher’s role in the classroom? (Educational Philosophy)
What is most important to you (and why): music content, outcome, or process? (Educational Philosophy)
Describe a successful lesson plan you have developed. (Knowledge/Education)
What rules and expectations would you establish in your classroom? (Classroom Management)
How will you control behavior in large ensembles? (Classroom Management)
How would you deal with a difficult student who has gotten off-task? (Classroom Management)
How will you incorporate the use of technology in your classroom? (Technology)
How have you utilized technology to assist in instructional preparation? (Technology)
Summarize a list of software programs and other technology you have mastered. (Technology)
Describe your strengths in oral communications and public relations. (Oral Expression)
How would you disseminate information to the students in support of your daily lesson targets? (Oral Expression)
Provide sample announcements you could make at an a) open house or b) public performance? (Oral Expression)
Discuss your strengths in writing and/or written communications. (Written Expression)
What role does the Common Core have in general music (or music ensembles)? (Written Expression)
Describe your last or favorite college essay or article on music or curriculum. (Written Expression)
Describe your leadership style. (Leadership)
What actions would you take to get a group of peers refocused on the task at hand? (Leadership)
Illustrate your role in a group project or collaborative assignment. (Leadership or Teamwork)
How would you involve students in the decision-making or planning of your classes/ensembles? (Teamwork)
How would you involve parents in your music program? (Teamwork)
How would your musical peers describe you? (Judgment)
How do you typically model professionalism and judgment in dealing with conflict? (Judgment)
How do you differentiate and teach to diverse levels of achievement in your music classes? (Problem Solving)
Describe a difficult decision you had to make and how you arrived at your decision. (Problem Solving)
How will you accommodate students who want to participate in both music and sports? (Problem Solving)
How do you insure that long-term plans and music objectives are met? (Planning and Organization)
Illustrate a typical musical (or marching band or ensemble) production schedule. (Planning and Organization)
How would you structure a general music (or ensemble rehearsal) classroom of the future? (Innovation)
Share an anecdote about a new or innovative teaching technique you have used in music. (Innovation)
Describe a project you initiated (or would initiate) in your teaching or extra-curricular activity. (Initiative)
What motivates you to try new things? (Initiative)
How much time outside the school day should a music teacher be expected to work? (Initiative)
How would you define professional commitment in terms of music education? (Dependability)
What after-school activities do you plan to become involved? (Dependability)
How do you cope with stress? (Adaptability)
How do you manage shifting priorities or changing deadlines? (Adaptability)
Why did you choose to become a music teacher? (Self-Insight/Development)
In your own music-making or teaching, of which are you most proud (and why)? (Self-Insight/Development)
If you could write a book, what would the title be? (Self-Insight/Development)
What hobbies or special skills do you have which may influence your future activities? (Energy/Enthusiasm)
In what extra-curricular activities did you participate at the HS and college level? (Energy/Enthusiasm)

Content-Specific Questions & Demonstration Lessons

How would you teach “steady beat” or pitch matching in the primary grades? [GENERAL MUSIC]
How and when would you teach syncopation to the intermediate grades? [GENERAL MUSIC]
Describe in detail an introductory lesson on improvisation using 12-bars blues progression. [JAZZ]
How would you assess the learning in EL/MS music classes? [GENERAL MUSIC]
What marching band style do you prefer to teach and perform in the halftime show, and how would you organize the marching auxiliary units (majorettes, color guard, dance team, and/or drum line)? [BAND]
How would you improve the intonation/tone quality/bow technique of a string players? [STRINGS]
Describe the selections you would program for a EL/MS/HS choral/band/orchestra concert in December/May. [ALL]
How would you assist fifth graders performing dotted quarter/eighth combinations hesitantly or incorrectly? [ALL]
When and how do you present the concepts of shifting/spiccato/vibrato to string students? [STRINGS]
Describe a lesson in which you would use classroom instruments. [GENERAL MUSIC]
How do you advise/assist in the student’s selection of a beginning band instrument? [BAND]
What criteria and methods should be used assign voice types for your EL/MS/HS chorus? [CHORAL]
What steps would you take to improve an ensemble’s phrasing/blend/balance? [BAND/STRINGS/CHORAL]
Discuss the process you use in developing the singing voice. [GENERAL MUSIC/CHORAL]
Describe your background and knowledge of each of the following methodologies: Orff, Kodaly, Gordon, Suzuki, Dalcroze. [ALL]
What are your keyboard skills like? Vocal skills? Secondary instrument skills? [ALL]
How would you warm-up a band/chorus/orchestra? How do you tune instruments? [ALL]
Show us how you would start a piece in general music/band/chorus/orchestra. [ALL]
Tell us about a composition/improvisation/multimedia project you have done with students. [ALL]
How would you integrate music with the other academic subjects in the EL/MS/HS? [ALL]
What are the most common problems for beginning instrumentalists/vocalists? [ALL]

PKF

Hints for the Job Search Process

January 29, 2016May 5, 2020 paulkfox1 Comment

Ten (More) Tips to “Bag” Music Teacher Employment

I will probably never tire writing articles for new or prospective music educators seeking a public school position. I am subject to a flash of inspiration – epiphanies or revelations – at any moment, many of which come while I am walking the dogs or driving the car. Here are some random loose-ends I have not covered before, the results of recent bouts of brainstorming and mind wandering! Hopefully, they will provide you additional insight towards success in the job hunt process. Good luck!

First stop? Under “Becoming a Music Educator,” a link at the top menu of my WordPress site, there is a summary of all previous articles for getting a job. I have included many resources and recommended links to samples and blogs from “the experts” in developing marketing skills, personal branding, preparing for interviews, and e-portfolios. My blogs are presented in a suggested sequential order, so it would probably be a good idea that you read all of them chronologically beginning with “Marketing your Professionalism.” A copy of my PowerPoint slide handouts for presentations at collegiate music education seminars and PCMEA workshops is also posted.
Timing is everything. Teachers who are planning to retire usually have to notify their school administration in the months of February, March or April to receive some of their “golden handshake” benefits. For the school district, it helps them plan for future hiring. For you, it should focus your attention and organize your work at a time when the jobs are just becoming available. (Don’t wait for summer vacation!)
What is saturation? In “the old days” when I was fresh out of the university and looking for public school music employment, I used my own version of saturation marketing. I took the metal-end of a compass point and pushed it in a map on the spot where I was living. The pencil-end was stretched as far as I was willing to travel in one day to go to work (for me, seven PA counties). The circle that I drew represented the targeted school districts that I spent most of my effort. Of course, today we use online application registries such as PA-educator.com which broadcast data on the pool of candidates. Regardless, I sent a custom-designed letter to every superintendent of school “in my hot zone” announcing that I was interested, met all education and certification requirements, and was available for immediate employment consideration. You should prominently share the name/location of your professional website. In addition, this would be the perfect place to mention if you student-taught or served as a private teacher, coach, summer camp counselor, or marching band/musical assistant in their area. For me, this meant a lot of extra work (looking-up the names/addresses, and you can’t just send a blanket form-letter “To Whom It May Concern”), but it seemed to give me a little edge, a foot in the door so-to-speak, and the opportunity to place follow-up calls later to the HR department to confirm they received the letter and did not need anything to add to the file (transcripts/portfolio, etc.). If you’re not restricted to a specific geographic area, saturation this way would probably not be feasible.
Enhance your online presence! The more I think about the process that today’s graduates must go through to get a music teaching job, the more I am convinced that digital portfolios and a website would be essential to show off your skills, experiences, and accomplishments. I would even go as far as to suggest the purchase a premium domain name (something simple like yourname.edu or .com). Graduating this year from West Virginia University, my former student David Dockan (www.daviddockan.com), among a host of others at https://www.mcgill.ca/edu-e3ftoption/portfolios, http://music.psu.edu/musiced/e-portfolio.html, and http://cft.vanderbilt.edu/guides-sub-pages/teaching-portfolios/, have excellent sample postings for your perusal.
You need to research the school districts in your area for potential of job openings. If you graduated from a local school, a good person to ask is your former high school band, choral and orchestra directors. They probably go to music festivals and other events and would hear “through the grapevine” who may be transferring, going on maternity leaves, or considering retirement.
Like it or not, you will be judged on how you look! In another blog, I talked about coming to the interview in “business-professional formal dress.” Try to avoid anything trendy, mod, or “cool,” and guys, this means you wear a tie and a jacket. Unkempt or unusual length/coloring of hair, extra body piercings, and visible tattoos will not help project the classic corporate image of “conservatism” which most administrators seek in teachers. Sure, you do have the right to be “unconventional,” “artsy,” “one-of-kind” or “make a statement,” but you also have the right never to get a public school job!
Preparing digital samples of your teaching is important! Do this NOW while you are still in college. In a previous article, I have already strongly urged you to limit “specialization” and instead take pictures of all kinds of interactions with music kids: band and string lessons and small ensembles, large group conducting, choral practices, general music classes, dance/drama coaching, marching band rehearsals, etc. However, there is the issue of getting permission to photograph or video the students you are teaching in field experiences, problems with displaying their faces up-close in your e-portfolio and website (and definitely NOT printing their full names). In my school district, we have a “do not photo” list in each building, so just check with the school secretary where you are student teaching. This is also a concern for summer camps, recreational programs, church groups, etc.
Testimonies are great! Don’t be shy! As far as I am concerned, you are within your right to “beg” for a congratulatory note or a thank you letter from a parent to insert in your portfolio. This would look particularly good fulfilling Charlotte Danielson’s Domain 4c “Communicating with Families” in The Framework for Teaching (see https://paulkfoxusc.wordpress.com/2015/08/09/criteria-for-selection-of-the-ideal-teacher-candidate/. Probably, I would approach it this way: “Thank you so much for your kind comments. I am a budding music teacher, and need to get a few notes from parents to add to my portfolio. Would you be willing to send me something?” This process should be repeated with cooperating teachers and other professionals with which you have a relationship in music education.
Go to www.majoringinmusic.com. I stumbled on this delightful website that gives comprehensive resources for majoring in music and preparing for the job market! You should especially read their article, “7 Things Music Education Majors Can Do When Facing the Job Market” at http://majoringinmusic.com/7-things-music-education-majors-can-do-make-themselves-more-employable-2/, “hitting the nail on the head” about this topic! They have given me permission to share their outline below. (Do these sound familiar? They are preaching from the same pulpit as many of my past blogs!)
- Be an outstanding musician.
- Learn how to improvise.
- Acquire entrepreneurial skills.
- Become as broad-based and well-trained as possible.
- Combine advocacy with exchange to create better programs.
- Learn all you can about relevant technology.
- Keep an updated list of your skills, relevant experiences, and training.
College students who collaborate have a significant advantage. As they say, “there is safety in numbers,” and the concept of teamwork would do you well in the employment search process and preparation for interviews. For examples, you already have many lists of employment screening questions: https://paulkfoxusc.wordpress.com/2015/09/01/a-blueprint-for-success-preparing-for-the-job-interview/. It is inconceivable to me that you are not already spending massive amounts of time together, with or without your head music education professor(s):
- Dividing up the work load in finding contacts and possible job openings in local school districts.
- Helping each other with the proofreading process of writing/designing resumes, cover letters, a philosophy of music education, and a personal professional website.
- Holding numerous mock interview sessions, jointly assessing your class mates’ responses to possible interview questions and story-telling skills.

PKF

All Eyes Are on the Job Resume

January 12, 2016May 5, 2020 paulkfoxLeave a comment

Music Teacher Resumes Revisited: Planning, Creating, and Maintaining

“The resume is the first impression an employer receives about you as a candidate and also serves as your marketing tool.” – Carnegie Mellon University Career and Professional Development Center at http://www.cmu.edu/career/resumes-and-cover-letters/index.html

The walking document of “everything you always wanted to know about you” is your professional resume.

Inasmuch as it serves as an extended version of your business card, a “quick look” of your personal brand, an easy-access to contact information, and a showcase of your accomplishments and experiences, it is essential you invest a lot of time on the planning, careful review, creation, and constantly updating of your resume.

Here are a few tips I can offer, supported by websites like those listed at the end of this blog. My favorite resource for soon-to-be graduating musicians and music educators alike is the “Prepare Your Materials” section of the Institute for Music Leadership, Eastman School of Music (ESM)/University of Rochester, Careers and Professional Development (https://www.esm.rochester.edu/iml/careers/library.php), where you can download comprehensive guides for creating a resume, cover letter, and philosophy of music education, and browse audition tips and interview questions. You should remember to revisit this link over the coming summer months when, as noted by the Eastman Careers Advisor, a major revision of these materials is targeted for completion.

Keep it short and simple. Most people agree on the recommendation that no more than two pages is sufficient. According to The Ladders, an online career resource service (see http://www.theladders.com/career-advice/how-long-should-resume-be), “Professional resume writers urge their clients to first try to trim their resumes down to a maximum of two pages.” One exception for a three-pager might be if the job seeker was to transition from one field to another, having to cover both sets of the candidate’s skills, qualities, and experiences.
The format, style, and overall design should be clean and foster clarity. The resume is a reflection of your mission, professionalism, organizational skills, and even personal judgment and intellect. Yes, you want to layout the content to highlight your skills and grab the reader’s attention, but you do not want to clutter it with crowded text, over-use of multiple fonts, or fail to provide enough white-space separation between sections and margins. In Pulling the Pieces of the Job Hunt Puzzle Together for Your Success at http://www.powerful-sample-resume-formats.com/resume-fonts.html, it is suggested that you limit your choices to just one or a few of the most well-recognized and easy-to-read fonts in your collection. “Your goal is not to make your resume beautiful to your eyes… it’s to make it extremely readable to the people doing the screening and hiring.”
A K-12 music teacher resume is no place to broadcast a limited vision or capacity of your skills and experiences. In other words, don’t label yourself as any kind of music specialist (e.g. band director), thereby eliminating all of the other music teaching jobs in which you are certified. I have tried to underscore the importance of modeling yourself as a competent, comprehensive “Generalist,” not a single-subject “Expert” (which may decrease your chances in finding a job) in a previous blog: https://paulkfoxusc.wordpress.com/2015/07/04/marketing-yourself-and-your-k-12-music-certification/.
Consider the difference between a traditional resume (mostly a record of subjects, titles, or positions using nouns) versus a qualifications brief (verbs or action words that truly describe what you have done). When I approached getting a job back in 1978, most resumes were just lists. Many now say that giving more meaning or “the stories” behind the job assignments, field experiences, or awards… is better. What did you do in each situation, what did you learn, and how did you grow? Check out author Diana in NoVa’s ideas at http://www.dailykos.com/story/2011/07/10/993023/-The-Qualifications-Brief-When-Should-You-Use-It. This viewpoint is furthered by Dr. Ralph Jagodka at http://instruction2.mtsac.edu/rjagodka/BUSM66_Course/Qualifications_Brief.htm. “Start a ‘Profile Folder’ that contains paragraphs about what specific skills you possess. In this folder, focus on identifying all of your knowledge, skills and abilities (in separate paragraphs),” writing them in terms of accomplishments (not just duties and responsibilities). This matches several of my “sermons” posted in previous blogs on “Marketing Professionalism” (especially https://paulkfoxusc.wordpress.com/2015/08/02/when-it-comes-to-getting-a-job-s-is-for-successful-storytelling/), where I echo Dr. Jagodka sentiments about “develop a plethora of anecdotes regarding the various solutions you can provide,” in this case, for the leadership staff of prospective school districts, school buildings, and specific music class teaching assignments.
Go online and study samples of resumes, their standardization and conventions of grammar, punctuation, style, and order of presentation. For example, for new music educators entering the field, it is generally recommended that you list your experience, education, and achievements chronologically starting with the most recent at the top of each section. According to http://www.wikihow.com/Make-a-Resume, “chronological resumes are used for showing a steady growth in a particular career field.” That is perfect for the average college student entering the field of music education for the first time!
Prepare the draft – gather and rank the importance of all your data. This could mean prioritizing and peering down from a list of your strengths, accomplishments, education, and experiences (see http://jobsearch.about.com/od/resumetips/qt/resumecontent.htm). A music supervisor or curriculum leader might be interested in hearing about your solo and ensemble performance experience, recitals, chamber music, compositions/arrangements, examples of jazz improvisation and/or singing, etc. However, from an administrator’s perspective, it may be more important to know about the prospective music teacher’s field experiences and previous employment working with children, classroom management skills, professional development goals and initiative (would you be interested in coaching or directing extracurricular activities?), teamwork and leadership skills, personality traits like patience/even temperament/self-discipline, and knowledge of a few “buzz words” of educational terminology and acronyms (like The Common Core, DOK/HOTS, IEP, PLC, RTI, UBD, formative/summative assessments, etc. You are welcome to review some of these completing a crossword puzzle at https://paulkfoxusc.wordpress.com/2015/07/18/the-alphabet-soup-of-educational-acronyms/.)
Is creating one resume good enough for all job openings? Perhaps not. According to Lannette Price in her blog Five Simple Tips for Building a Resume at https://www.resume.com/blog/5-simple-tips-when-building-a-resume/, you should “understand the position and tailor the resume.” She emphasizes this point. “Always look over a job posting and use the similar or the same words as the job description to highlight what has been accomplished in previous job situations.” Among her other suggestions are writing “an objective statement” which summarizes your goals to being employed at the school district, “support skills sets with problem solving examples” (see #4 above), and “proofread, proofread, proofread” for accuracy and to enhance your image. Sloppy resumes with typos or misspellings project the wrong message to prospective employers.

So, take the time, and “do it right!” Peruse numerous online samples and anything given to you by your university’s career center or music department. Share a draft of your resume with family members, college roommates, and/or trusted music ed buddies. (Accept their constructive criticism.) Be ready to adapt/update your document for a particular job.

Final piece of advice? Read these and other web resources for building/maintaining your resume. Good luck, and “happy hunting!”

PKF

Tips on Personal Branding

December 16, 2015May 5, 2020 paulkfoxLeave a comment

Prospective Music Teachers: Why Personal Branding Might Help You Land a Job!

“A brand is anything—a symbol, design, name, sound, reputation, emotion, employees, tone, and much more—that separates one thing from another.”

– Neil Patel and Aaron Agius

Quick – Who are you? Define yourself in three words!

This is one of the most common job interview questions. In my past blogs on the subject of getting a music teaching job (see https://paulkfoxusc.wordpress.com/category/marketing-professionalism/), we explored preparing for interviews, planning portfolios, developing stories/personal anecdotes of your strengths, defining criteria for the ideal music teacher candidate, and understanding the term “professionalism” as it applies to music education. Now to wrap-up your “marketing plan,” it is time to dive into “personal branding” as it is presented by quite a few experts in the field.

What is Personal Branding? Google defines it as “essentially the ongoing process of establishing a prescribed image or impression in the mind of others about an individual, group or organization.”

Branding is critical to help you “stand above the rest,” showing you have what it takes and would be a major asset to a prospective employer, and marketing your own unique qualities that would make you “a good fit” for the specific job opening. But you don’t have to take my word on this… a quick search on the Internet yields numerous articles on branding and marketing yourself.

The question is no longer IF you have a personal brand, but whether you choose to guide and cultivate the brand or to let it be defined (or assumed) by others on your behalf.

According to Shama Hyder, bestselling author of The Zen of Social Media Marketing, “The term branding has long been relegated to companies, but today almost every individual has a personal brand. Not many of us have consciously cultivated these brands, but they exist nonetheless. A digital footprint in the sands of time and space crowd sourced by friends, colleagues, and bosses. According to an AVG study, 92 percent of children under the age of two already have a digital footprint.”

At http://www.forbes.com/sites/shamahyder/2014/08/18/7-things-you-can-do-to-build-an-awesome-personal-brand/, Hyder posted “7 Things You Can Do to Build an Awesome Personal Brand,” including the following outlined summary. (Take a look – you won’t be sorry!)

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

You can learn something about branding from an accountant. In “Five Tips on Branding Yourself” (by the American Institute of CPAs) at http://www.aicpa.org/InterestAreas/YoungCPANetwork/Resources/Career/Pages/FiveTipsToBrandingYourself.aspx, steps are offered to help build a positive image and promote your professionalism. Branding helps “to remain current in your field, opens doors for you, and creates a lasting impression…”

Define your brand and become an expert.
Establish a presence.
Generate brand awareness through networking.
Remember the 3 Cs of branding – clarity, consistency, constancy.
Get feedback from those who know you best—at work, at home, anywhere.

For #1 above, hopefully you have already read my epistle (see https://paulkfoxusc.wordpress.com/2015/07/04/marketing-yourself-and-your-k-12-music-certification/) on not limiting your options or selling yourself short as a music specialist (e.g. band director or elementary vocal teacher). If you want a job with a Pennsylvania Music K-12 Instructional certificate or equivalent, you have to be “expert” on all types and grade levels of public school music.

The music curriculum leader/department chair/lead teacher involved in the employment screening will want to know your mastery of creating lessons in everything from the foundations of “steady beat” and “matching pitch” to developing advanced technique and musicianship in any/all instrumental and vocal ensembles, including jazz improvisation, a cappella singing, and string chamber music.

However, principals, HR staff, and other administrators will likely care more about your classroom management skills, ability to communicate and work with others, personal initiative and willingness to work after school and in the evenings, record of consistent attendance (low incidence of absenteeism or tardiness re: college classes and other work history), and other personality characteristics. Believe it or not, at more than one interview, I was asked, “Since you call yourself trained as a musician, are you temperamental?”

The single most comprehensive publication on branding (and it looks like it is provided as a free service!) is The Complete Guide to Building Your Personal Brand by Neil Patel and Aaron Agius” at https://www.quicksprout.com/the-complete-guide-to-building-your-personal-brand/.

According to them, the greatest rationale for building your personal brand is that it opens up more professional opportunities. “Creating a vision for your future and implementing that vision can lead to a better job…” You should take time to read the guide’s chapters in detail:

How to Create Your Personal Brand Vision
How to Define Your Target Audience
How to Build Up Your Online and Offline Assets
How to Build Your Brand Through Outreach
How to Get Free Press Coverage
How to Connect with Mentors
How to Monitor your Brand
Be Yourself Because Everyone Else Is Taken

After you peruse all of the above material on personal branding, here are my top ten “takeaways” specific to every budding music teacher.

Your personal brand is everything about you – your values, attitudes, integrity, initiative, work ethic, skills, and personality traits.
Remember, a career in public/private school education is based on very conservative values. Be cognizant of what you say, how you look and act, and the overall image you portray. “Everything you say and do (or have ever said or done) may be used against you…”
In this profession, there’s no place for too much levity or a lack of respect for conformity, longstanding traditions, and the orthodox. At my first job interview, I carelessly made a crack about signing an outdated “loyalty” oath (“I promise I am not a communist and will not try to overthrow the government…”), the result of which the superintendent gave me a major tongue-lashing and a 20-minute lecture on patriotism (but, somehow I still got the job!).
Clean up your social media sites (Facebook, etc.). A photo of you and your college buddies drinking “adult beverages” in bathing suits at a beach may be misinterpreted. Google your name to see what comes up. How would you define the content you see of yourself online?
Create a personal website to warehouse the elements of your “professional brand,” including your philosophy of music education, mission, goals, and a digital resume of your education, experience, and accomplishments. If your college/university does not set you up with a free online site, explore “doing-it-yourself” with WordPress, Wix, or Weebly.com.
The only social medium I can recommend without reservation is LinkedIn. Create and optimize your professional identity on LinkedIn, everything from getting an excellent photo of yourself to providing copious samples of your references, writing, hands-on teaching experiences, etc.
If you have personal essays on your educational philosophy and vision, share your priorities as they relate to music curriculum, lesson targets, concert programming, assertive discipline, collaborative projects, and professional development, and always be ready for the most commonly asked interview questions (beat them to the punch by posting in writing your thoughts): Why is music essential to a child’s education? Why did you choose to become a music educator? Who had the greatest influence on you and why? What are your greatest strengths and weaknesses in this field?
If you have time, design a personal logo, a symbol of you wherever you go on websites, e-mail footer, digital and printed portfolios, business cards, etc. Although I retired in 2013, I created the illustration at the above right. It implies that I am “a happy fox” (my last name), involved in music, and especially love a certain Beethoven symphony, reinforcing that I am an orchestral musician.
Better than providing quick one or two-sentence answers to the interviewers’ questions, try to assemble a collection of personal anecdotes that dramatically illustrate your musical and teaching skills, critical thinking and problem solving, personality traits like patience, compassion, self-control, and thoughtfulness, and past successes. (For more information on developing story-telling skills, go to https://paulkfoxusc.wordpress.com/2015/08/02/when-it-comes-to-getting-a-job-s-is-for-successful-storytelling/).
Whenever possible, archive your student teaching and other field experiences. “A picture says a thousands words!” Post short online video, audio, and photo examples of your positive interactions in music and with students in all kinds of settings.

One final thought. The best advice I have learned about branding is that it is all about “work in progress.” According to Adii Pienaar in “How to Build Your Personal Brand: The Next Step to Anything” (http://thenextweb.com/entrepreneur/2013/08/18/your-personal-brand-the-next-step-to-anything/), “Your brand is a living organism just like you are as a human and it needs to mirror the same kind of progression, evolution and maturation that you experience in your own life. Whilst legacy is important (as it gives context to your brand), continuous improvement and change should be part of how you shape your brand over time.”

He adds, “Your brand should make mistakes and you should have the opportunity to learn from them.” Just like a model college-entrance essay relating how you have persevered and adapted to life’s challenges and solved problems, your online presence should reveal your dedication to and steps towards self-improvement.

Finally, I echo Pienaar’s conclusion that there is no time like the present to get to work on personal branding: “Start today and brand shamelessly.”

PKF

Planning the “Perfect” Professional Portfolio

November 15, 2015May 5, 2020 paulkfox1 Comment

Prospective Music Teachers: Here’s How to Create an Online Employment Profile/Dossier

“In short, creating a portfolio involves reflection, collection, selection, and connection.”

Read more at: http://langwitches.org/blog/2009/07/17/digital-teaching-portfolios/

To quote Cheryl Frazes Hill in “A Portfolio Model for Music Educators” in Music Educators Journal, Vol. 95, No. 1 (September 2008), pp. 61-72, “The portfolio used in education is an organized collection of artifacts (examples of works) documenting a person’s skill and growth in an educational program and a career.”

First, you need to do your homework – a comprehensive collection of “all the good stuff!” To support this, number 7 in the MajorMusic.com blog of “Seven Things Music Education Majors Can Do to Make Themselves More Employable” is “Keep an updated list of your skills, relevant experiences, and training.” (Peruse the whole article at http://majoringinmusic.com/7-things-music-education-majors-can-do-make-themselves-more-employable-2/).

I have always suggested to my college-bound students that they reserve a spot on their computer’s desktop, a file (appropriately) named “ME,” and place in it a bulleted document with chronological descriptions and dates of special achievements, awards, and appointments. From time to time, more updates of “good news” should be added. In addition, archive (drag into the folder) accompanying scans/pictures of all music programs, congratulatory letters, certificates of achievements, newspaper clippings, etc. In college, this should be expanded to include documentation and anecdotes/stories/reflections about music and music education field experiences, accomplishments, and especially any problems identified and problems solved. All of this is perfect fodder for future interviews… Do you have “what it takes” to be a professional music teacher?” In your opinion, what makes you qualified (“a good fit”) to be hired for a position in our institution?”

According to The EDU Edge at http://www.theeduedge.com/top-five-must-haves-top-five-could-haves-your-teacher-interview-portfolio/, the following “must-haves” and “should-haves” (paraphrased) should be incorporated into your portfolio:

Educational philosophy
Résumé or Curriculum Vitae
Letters of recommendation
Artifacts of student work
Classroom observation documents/evaluations
Statement about class management theory (discipline) and the steps that you would take inside your classroom to create a safe and orderly environment
Letters from parents commending the work you did with their children
Pictures (A direct quote The EDU Edge: “We cannot emphasize the power of pictures enough when it comes to portfolios. During interviews, committee members are trying to get to know you and trying to envision you teaching. Don’t trust their imaginations to do so, give them pictures. Pictures bring it together for committee members and verify the reality that you are meant to work with children. For this reason we recommend photos or newspaper articles of you: teaching students in the classroom, with students on field trips, learning excursions or outside class activities, with children while you are serving in adviser roles, with your students at musical or athletic events, coaching or working with children in a coaching capacity, as a leader and role model.”)

To this list, I would add a copy of college transcripts, Praxis® exam results, teaching certificate(s), samples of student assessments/rubrics, and excerpts (short videos) of you performing on your major instrument/voice, solo and chamber recitals, piano accompanying, playing in college ensembles, and especially teaching in as many settings as possible: small and large group instrumental (band and strings), choral ensembles, elementary classroom lessons, extracurricular activities like marching band and musical, private lessons, etc.

An excellent overview on this subject is from “our number one professional music teachers’ association” – the National Association for Music Education (NAfME): http://www.nafme.org/do-i-need-a-digital-teaching-portfolio/.

Carol Francis offers “Sixty Clean and Simple Examples of Portfolio Design” for WordPress users at http://www.onextrapixel.com/2013/01/23/60-clean-and-simple-examples-of-portfolio-design/.

It is worth downloading “ePortfolios in Music Teacher Education” by Vicki Lind from Innovate: Journal of Online Education at http://nsuworks.nova.edu/innovate/vol3/iss3/4/.

Numerous college and universities across the country have their own requirements and recommendations in the development of online credentials. Take a look at the Penn State University School of Music site “Undergraduate e-Portfolios” at http://music.psu.edu/musiced/e-portfolio.html. Another excellent outline is provided by the University of Texas at San Antonio at http://music.utsa.edu/docs/DevelopingPortfolio.pdf. Finally, Vanderbilt University’s Center for Teaching site offers good models and information on “Teaching Portfolios” at https://cft.vanderbilt.edu/guides-sub-pages/teaching-portfolios/.

In conclusion, take some time to examine the sample teaching portfolios (below) for more insights on design, style, and content. I also recommend you read my blogs on other subjects of “marketing professionalism” (click on the category link to the right of this article).

Good luck! PKF

“Imitation is the sincerest form of flattery” – Charles Caleb Colton

The Do’s and Don’ts of Interviewing

October 11, 2015May 5, 2020 paulkfoxLeave a comment

Final Tips to Land Your First Music Teacher Job

“I hate interviews – but you have to do them.” – Jackie Chan

You just received that blessed, long-awaited phone call… “XYZ School District has reviewed your application and résumé, and would like to call you in for an interview.” Hooray!

Okay, but now what?

There is no perfect formula for “acing” a particular interview or clinching employment opportunities. Like music auditions, there are a lot of variables and factors even outside the control of the job seeker. One might say there’s a lot of “luck” involved in the inspiring a warm and productive chemistry/atmosphere at the interview, and “clicking” with members on the HR review panel. There is no magic “pill” or perfect process to communicate your strengths and experiences to the interviewer and matching them with the needs of the position.

When I ventured out the first time into the public school music teacher job market (1978), there were many more potential candidates than openings. The competition was very high. I had to be aware that selling myself as a “total music education professional” was essential, not allowing myself to be branded (and eliminated from the running) as a much more limited “music specialist” (string teacher, vocalist, band director, etc.). I had to “prove competency” and provide evidence (portfolio of my personal philosophy of music education, stories/anecdotes about my experiences, certifications, sample lesson plans, music programs, recommendations, and other documentation) that would support my mastery of the institution’s teaching standards, positive personality traits, and overall suitability for the job. I’ve said it before! This is everything about “getting noticed,” “making connections” with the interviewers, and demonstrating that you have “what it takes” and would be a “good fit” for their school district.

So, how do you get a job during hard times? Embrace and model the “five P’s” to employment success: Persistence, Professionalism, PR savviness, a “Powerful” organizational system, and (of course) Patience!

Hope these recommendations help! Feel free to share your thoughts. Let’s here from YOU!

DO THE PREP: A Thorough Sequence for Planning and Practice

“Rarely does an interviewer ask questions you did not expect. I have given a lot of interviews, and I have concluded that the questions always look alike. I could always give the same answers.” – Italo Calvino

Practice makes perfect, they say, and preparation is the name of the game.

Trying to analyze and provide insight in developing the skill sets necessary for positive employment interviewing and “personal branding,” I have written several other blogs about marketing professionalism, formation of a unified philosophy of music education, current trends and “buzz words” in education, learning storytelling skills, the attributes of a “model” music educator and assessment of prospective candidates, and sample interview questions. At the bottom of this blog, please click on the links. (It is suggested to read the entire sequence in order for the best effect!)

DO THE GROUNDWORK: Research, Lead Time and Advance Leg Work

“Failing to prepare for your job interview is, in our experience, the most common reason why people fail at interviews. In fact, recent research found that 95% of job interviewers believe 90% of interviewees come to job interviews ill-prepared. You want to be in the 10% of interviewees who do prepare. Right?” – Catherine Jones, Recruitment Expert, at http://www.job-application-and-interview-advice.com/preparing-for-an-interview.html.

Research information about the school site, job posting, other music positions, and the academic (and arts) programs. If possible, find someone who works in the district, and get some background about…

The job opening and responsibilities;
Previous employees in this position;
General information about the music program;
School district’s mission statement and administrative support of the arts;
Work climate;
Community support.

Discover in advance and/or ask a few of these questions at the interview:

What do you know about this school district?
What music classes and extra-curricular activities are offered?
How many periods (not counting lunch) are scheduled daily?
Are any specialties emphasized e.g. Kodaly, Orff, Dalcroze?
What is the average make-up of the community (education and socioeconomics)?
What educational, cultural, and sport/leisure activities are available in and around the community?
What position(s) is(are) open and what duties are required?
What avenues of professional development exist?
What percentage of students are in the music program?
What percentage of the students own instruments, take lessons, seek outside ensembles, etc.?
What indicators of cooperative parental and community support exist (concert attendance, private teachers, booster groups, community arts organizations, etc.)?
What resources are budgeted (sheet music, music technology, field trips, piano tuning, instruments and instrumental repair, teacher in-service, festivals, etc.)
How often is curriculum updated?
What is the school district grading scale and music grading policy/practice?

Their website is an excellent resource to find out information. If the district has “teacher pages” or sections that the faculty may post information, review all submissions by the music staff and administration. Make sure you are aware of the mission and vision statements of the district and have a workable knowledge of the strategic plan, goals, and recent curricular/program innovations… almost always available as a public record.

Plan ahead! Learn the name, title, and level of responsibility of the administrator(s) and/or interviewer(s). Make a trial run to visit the site of the interview, observing first-hand any potential traffic or construction issues that could affect your arrival time. Arrive early, at least fifteen minutes prior to the appointment. (Punctuality is absolutely essential!) Dress to project an image of confidence and success. (Yes, this means wear a suit! If you are a guy, wear a tie!) Bring additional materials, such as transcript, portfolio, updated résumé, etc.

DO THE POSITIVE: Self-Confidence and a Self-Assured Mindset

“Emphasize your strengths on your résumé, in your cover letters and in your interviews. It may sound obvious, but you’d be surprised how many people simply list everything they’ve ever done. Convey your passion and link your strengths to measurable results. Employers and interviewers love concrete data.” – Marcus Buckingham

“One of the most common mistakes for an entry-level job interview is to take the position: ‘What is this job going to do for me?’ You should be saying ‘Here’s what I can do and here’s what I want to do to help you.’ ” – Norah O’Donnell

Many say that first impressions are critical during the interview. According to Business Insider at http://www.businessinsider.com/only-7-seconds-to-make-first-impression-2013-4, “you only have seven seconds to make a strong first impression.” I have also heard that after four minutes, it’s all over!

The research also suggests that during the interview, the evaluation of your “merit” is based 7% on what you say, 38% on your voice or how you say it, and 55% on our facial expressions and non-verbal cues.

Do your best to relax and promote a calm, positive, and cheerful attitude. Share a warm greeting and firm handshake. Build rapport and demonstrate an attitude of openness and sensitivity to the interviewer’s style. Show a feeling of mutual responsibility for creating a comfortable atmosphere and establishing common ground.

Treat the interview process as an exchange of information between two (or more) individuals. Bring your questions! It is important you show you are motivated to learn about the details about the program and the position.

Be yourself, and demonstrate relaxed speech, posture, and body language. Angle your position so as not to sit directly in front of the interviewer. If possible, select the chair beside not across the desk, avoiding the creation of so-called “invisible barriers.”

Use the person’s name when talking. It is the best way to get/keep his/her attention.

A few more positive nonverbal cues to adopt include the following:

Respond to the interviewer with an occasional affirmative nodding of the head.
Sit erect in the chair with hands, feet, and arms unfolded, leaning forward slightly.
Offer good eye contact and smile appropriately.
Maintain a pleasant facial expression.
Look interested in and listen to the interviewer.

Provide thoughtful, professional, and firm answers to the interviewer’s questions:

Back up statements with specific examples.
Share the outcome or solution to a specific problem.
Summarize to emphasize your strengths.

If you don’t know the answer to a particular question, be honest and admit it. Inexperience is not a crime! And, be sure to say what you mean! If you end up getting the job, you may be “stuck” with your own words!

Finally, it’s all about feeling and projecting self-assuredness – and remembering “the three C’s of interviewing” – be Calm, Concise, and Congenial. No matter how you feel inside, you need to show you are a confident and competent candidate worthy of their consideration.

Check out additional advice at “Acing the Interview” – http://www.myfuture.com/careers/articles-advice/acing-the-interview.

DON’T DO THESE BOO-BOOs: Bloopers, Blunders, and Bad Habits to Avoid

“I picked up an issue of Cosmopolitan the other day that had tips for job interviews, because I was like, ‘I need to get better at interviews.’ The article was basically about how to get someone not to hate you in 20 minutes. Every single thing they told you not to do, I was like, ‘I do that every day.’ ” – Jennifer Lawrence

Here are a few of the obvious no-no’s! Avoid these nervous habits, almost guaranteed to lower your rating at the interview.

Repeated verbal pauses, or exclamations of “Umm” or “Ahhh” or “Like…”
Unsubstantiated or unsupported statements
Use of “weak words” that suggest a lack of conviction (“kind of” or “sort of” or “I feel like”)
Failure to look directly at the interviewer(s)
Verbal clutter (too many long run-on statements)
Any form of fidgeting (tapping your foot, spinning a pen between your fingers, wiggling in your seat, etc.)
Fast talking or dropping the ends of your words
Answers that are too casual, personal, or informal, or “flip” conversation
“Bird walking,” changing of the subject, irrelevant or unclear responses to a question
Touching of your hair, clothes, nose, mouth, or anywhere else on your body
Responses that go overboard and/or volunteer too much
Forceful, dominating, one-sided, opinionated views or arrogant attitudes
Nonverbal cues that reflect nerves, insecurity or lack of confidence (slouching or poor posture, looking down, failure to smile, clenching or keeping hands in lap)
Hollow, insincere, or disingenuous conversation

DO THE ANALYSIS: The Post Interview “Postmortem”

“I sometimes find that in interviews you learn more about yourself than the person learned about you.” – William Shattner

“I can count on one hand the number of people who wrote me a thank you letter after having an interview, and I gave almost all of them a job.” – Kate Reardon

After the interview, debrief yourself! (Do this on the same day – don’t wait for the memories to fade!) Write down everything you felt you handled right and wrong. Critique your “performance,” and document the details (including all names) for future reference. Learn from your mistakes. Look up the terminology or jargon on which you “stumbled” or with which you felt unfamiliar… so you will be ready for the next interview!

If you did well at the first job screening, you may be asked to come back for a second interview or “demonstration lesson.” In most cases, a member from the first panel or a music staff member may contact you and tell you what they want to see taught… perhaps leading a general music class on a specified concept, conducting a small ensemble, or teaching beginning instrumental music or jazz. Get ready! Look at your notes. Practice and drill (again) on those lists of interview questions, paying particular attention to possible content-area queries. If you did the research on the school district’s curriculum and focus areas of the music program, it will help you to prepare for the demonstration lesson.

Note information you need to include in future correspondence and follow-ups. This is where the “power organizer” in you should come out. Every communication you have “from” and “to” the school district should be recorded in a journal, and include the name/e-mail/extension of the secretary/interviewer/administrator involved and date of receipt and your response.

Write a personalized thank-you letter to the individuals on the interview committee. (Set yourself apart from the other applicants!) In your letter, you could offer to send them a(nother) copy of your digital portfolio or DVD video files of student teaching and/or other samples of your interaction with students (leading a church choir, conducting a small instrumental ensemble, coaching a marching band sectional, providing a private lesson, playing a piano accompaniment, etc.).

Follow-up your visit by making phone calls, fulfilling additional paperwork as requested, mailing materials (e.g. official transcripts) if asked, validating completion of coursework and clearances, confirming availability, etc. However, be careful not to become a “nag” or nuisance by making repeated calls and e-mails.

Break a leg! We are counting on every excellent music educator to become successful in marketing themselves and landing a position! Frankly, regardless of the current job market and status of arts education in the schools, we need more dedicated and inspiring music teachers to “get out there” and facilitate the spread of creative self-expression!

PKF

Additional Paulkfoxusc Blogs on Interview Preparation

Marketing Professionalism (getting a music teacher job)

Blueprint for Success – Preparing for the Job Interview

September 1, 2015May 5, 2020 paulkfoxLeave a comment

“It is the supreme art of the teacher to awaken joy in creative expression and knowledge.” – Albert Einstein

New or Prospective Music Teachers – Reviewing the Situation

By now, I hope you have had the opportunity to revisit and reflect on my past blogs about marketing professionalism, pre-interview preparation, tips and techniques on interviewing, development of storytelling skills, and the criteria for selection of the “ideal” school teacher candidate. Please peruse these articles at https://paulkfoxusc.wordpress.com/category/marketing-professionalism/. I recommend starting “at the bottom” of the page with the oldest blog (July 1, 2015) and progressing towards the present.

Pay particular attention to the outline posted on July 8: https://paulkfoxusc.wordpress.com/2015/07/08/overview-strategies-for-landing-a-music-teacher-job/. In summary, it is important for you to complete the following steps:

Complete a thorough self-assessment.
Assemble artifacts of your professional activities.
Formulate a philosophy of music education.
Familiarize yourself with current educational jargon.
Compile a set of detailed professional anecdotes based on your positive attributes.
Create/revise your résumé, interview handouts, electronic portfolio, and employment website.
Research the school district, music program, job opening, and unique local curricular innovations.
Develop appropriate and insightful questions to ask the interviewer.

Next, the purpose of this blog is to provide the “nitty-gritty” for you to practice and drill answering common interview questions. This material is suitable for individual prepping or group mock interview sessions, and to assist in the formation of meaningful stories/anecdotes that would support a specific candidate’s mastery of each “core teacher standard.”

Music educators have experience in “music performance.” All aspects of excellent delivery of responses to these sample questions should be explored… good vocal tone, clear diction, clarity and organization of thoughts, a calm but engaging attitude, poise, professionalism, and self-confidence in front of an audience, and demonstrations of competency, critical thinking and problem solving towards a smooth, well-practiced interview – the most important “performance” of your career.

What to Expect – Types of Interview Questions

According to Alison Doyle at http://jobsearch.about.com/od/interviewsnetworking/tp/types-of-interview-questions.htm, “You’ll be asked about your employment history, your ability to work on a team, your leadership skills, your motivation, as well as other interview questions related to your skills and abilities.”

As a music teacher, expect inquiries from these general categories:

Music and music education content and methods
General education terminology and concepts (go back and read “The Alphabet Soup of Educational Acronyms”)
Past experience and education (avoid an emphasis on a specialty) and personal philosophy and goals (go back and read “Marketing Yourself and Your K-12 Music Certification”)
Personality traits, social skills, and habits of “professionalism” (go back and read “The Meaning of PRO” and “Criteria for Selection of the ‘Ideal’ Teacher Candidate”)

Special Interviews and Screening Procedures

NAfME published an online article “Music Education Interviews” and shared the following. Click here for an excerpt of the 2014 article (no longer available on their website): NAfME – Music Education – Interviews

Some schools are utilizing special techniques to pre-screen applicants. For example, the Gallup Teacher Insight Assessment is an online interview subscription tool for school districts. It uses a combination of question types that includes multiple choice scales (strongly agree, strongly disagree, etc.) and open-ended essays. A computer scores the essays by looking for “keywords” and then compares the scores on all questions to the scores of outstanding teachers, before sending the results to the school. Sample questions include:

How would you plan a lesson to reach both auditory and visual learners?
How would you incorporate different cultures in your classroom?
Why did you want to become a teacher?
After school, you come across a student whom you know who is crying. He’s 16 years old. You ask him what is the matter, and he says he was caught cheating. What would you do?
One member of a team working on a curriculum project isn’t pulling his or her weight. What would you do?
How would your co-workers describe you?

Other similar tools are available for administrators to use to determine various aspects of your personality and philosophy of teaching. These tools, similar to the Gallup Assessment, look for keywords in your responses and provide the administrator with a “pass” or “fail” rating scale for each question….

In rare cases, savvy administrators may ask you to “audition” for a position. This could include having you teach a sample class, conducting an ensemble, sight-reading a musical selection on an instrument, or playing the piano. You may also find yourself being interviewed by a committee of music students and parents. Be prepared.

One Evaluative Rubric

From the Assessment Criteria for Teacher Candidates (developed by Upper St. Clair School District Superintendent Dr. William Pope, Human Resource Director Ms. Jean Toner, and other staff), specific skills/behaviors/”core teaching standards” may be assessed at an interview, soliciting ratings of “Unsatisfactory,” “Satisfactory,” “Good,” or “Superior.” To see a sample of the rubric, click here: 7000.1 Professional Rating Form

Instructional

A. Educational Philosophy
B. Knowledge/Experience
C. Classroom Management
D. Technology
E. Oral Expression
F. Written Communications

Professional

G. Leadership
H. Teamwork
I. Judgment
J. Problem Solving
K. Planning & Organizing
L. Innovation

Personal

M. Initiative
N. Dependability
O. Adaptability
P. Self-Insight and Development
Q Energy and Enthusiasm
R. Appearance

Sample Music Teacher Employment Questions

(for study and practice, listed by core teaching standard, above USC criteria A through Q or “most popular”)

Most Popular

1. Who had the greatest influence on you to become a music teacher and why?
2. What are the most important qualities of an outstanding educator?
3. What is your personal philosophy of student discipline?
4. How would you assess the learning in your classroom/rehearsal?
5. What purpose does music education serve in the public schools?
6. What is the importance of professional development and how will you apply it to your career?
7. What are your personal goals? Where do you see yourself in ten years?
8. How do you recruit students to “grow” a music program?

A – Educational Philosophy

A1. Concerning music education, what is your philosophy and mission?
A2. What is your view of the teacher’s role in the classroom?
A3. What is most important to you (and why): music content, outcome, or process?

B – Knowledge/Education

B1. Describe a successful lesson plan you have developed.
B2. What units would you plan for __^th grade general music?
B3. List a few selections you might program on a choral (or band or string) concert.
B4. What steps would you take to teach someone how to improvise?
B5. How do you get a child to match pitch?

C – Classroom Management

C1. What rules and expectations would you establish in your classroom?
C2. How will you control behavior in large ensembles?
C3. How would you deal with a difficult student who has gotten off-task?

D – Technology

D1. How will you incorporate the use of technology in your classroom?
D2. How have you utilized technology to assist in instructional preparation?
D3. Summarize a list of software programs and other technology you have mastered.

E – Oral Expression

E1. Describe your strengths in oral communications and public relations.
E2. How would you disseminate information to the students in support of your daily lesson targets?
E3. Provide sample announcements you could make at an a) open house or b) public performance?

F – Written Expression

F1. Discuss your strengths in writing and/or written communications.
F2. What role does the Common Core have in general music (or music ensembles)?
F3. Describe your last or favorite college essay or article on music or curriculum.

G – Leadership

G1. Describe your leadership style.
G2. What actions would you take to get a group of peers refocused on the task at hand?
G3. Illustrate your role in a group project or collaborative assignment.

H – Teamwork

H1. How would you involve students in the decision-making or planning of your classes/ensembles?
H2. How would you involve parents in your music program?

I – Judgment

I1. How would your musical peers describe you?
I2. How do you typically model professionalism and judgment dealing with conflict?

J – Problem Solving

J1. How do you differentiate and teach to diverse levels of achievement in your music classes?
J2. Describe a difficult decision you had to make and how you arrived at your decision.
J3. How will you accommodate students who want to participate in both music and sports?

K – Planning and Organization

K1. How do you insure that long-term plans and music objectives are met?
K2. Illustrate a typical musical (or marching band or ensemble) production schedule.

L – Innovation

L1. How would you structure a general music (or ensemble rehearsal) classroom of the future?
L2. Share an anecdote about a new or innovative teaching technique you have used in music.

M – Initiative

M1. Describe a project you initiated (or would initiate) in your teaching or extra-curricular activity.
M2. What motivates you to try new things?
M3. How much time outside the school day should a music teacher be expected to work?

N – Dependability

N1. How would you define professional commitment in terms of music education?
N2. What after-school activities do you plan to become involved?

O – Adaptability

O1. How do you cope with stress?
O2. How do you manage shifting priorities or changing deadlines?

P – Self-Insight/Development

P1. Why did you choose to become a music teacher?
P2. In your own music-making or teaching, of which are you most proud (and why)?
P3. If you could write a book, what would the title be?

Q – Energy/Enthusiasm

Q1. What hobbies or special skills do you have which may influence your future activities?
Q2. In what extra-curricular activities did you participate at the HS and college level?

Now, it’s up to you. How do you improve your interviewing skills? How do you better your chances of getting a job? Practice, practice, practice!

PKF

Criteria for Selection of the “Ideal” Teacher Candidate

August 9, 2015April 26, 2022 paulkfoxLeave a comment

“A good teacher can inspire hope, ignite the imagination, and instill a love of learning.” – Brad Henry

Standards and Benchmarks of Top-Rated Educators in Music and Other Academic Subjects

The best way to prepare for a job interview is to become aware of how you will be judged in comparison with your peers. What are the standards (or behaviors or criteria) of outstanding teachers? For what are administrators looking to fill the vacancies and build/maintain a quality staff?

Interviews will sort out (and rank) the competencies, certifications, education levels, and overall experience of the candidates. Obviously, mastery of subject content and teaching methods will be evaluated. However, you may be surprised that significant focus will be placed on personality traits, social skills, and evidence of personal drive, reliability, versatility, vision, and habits of professionalism.

In short, you may be the best musician this side of the Mississippi, the “model lesson planner,” and can conduct Orff’s Carmina Burana or Shostakovich‘s Festive Overture blindfolded, but if you cannot inspire students, work with coworkers, and communicate effectively, your interview and chances for being hired are doomed from the start.

Adapted from David Berliner and William Tikunoff, “The California BTES: Overview of the Ethnographic Study,” effective teachers score high on…

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

Effective teachers score low on…

Abruptness
Belittling
Student defiance
Counting hours or “clock punching”
Illogical statements
Mood swings
Oneness (treats whole group as “one”)
Recognition-seeking

In previous blogs (e.g. https://paulkfoxusc.wordpress.com/2015/07/01/the-meaning-of-pro/), I have defined the qualities of a “professional.” How many of these traits do you model?

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

It is worth reading “Weigh In: What Makes a Great Teacher” by Jacqueline Heinze in the Winter 2011 issue of Administr@tor Magazine (see http://www.scholastic.com/browse/article.jsp?id=3755567). Among the numerous responses were these notable quotes:

“A great teacher must be resilient.”
“Great teachers are instructional leaders and curriculum designers.”
“Great teachers love what they do and perceive teaching as their calling.”
“Great teachers are empathetic and engaged.”

Also check out these websites for additional insight on the characteristics of a exemplary educator:

Since the process of teacher selection in the public schools involves recruitment, screening, hiring, placement, induction, and evaluation, it is advisable for prospects to know the assessment practices already in place. According to the Pennsylvania Department of Education, Pennsylvania has adopted The Framework for Teaching as the overarching vision for effective instruction in the Commonwealth.

The Framework for Teaching is written by Charlotte Danielson, an internationally-recognized expert in the area of teacher effectiveness specializing in the design of teacher evaluation systems that, while ensuring teacher quality, also promote professional learning.

The introduction to The Framework of Instruction Evaluation Instrument 2013 states its purpose:

“The Framework for Teaching identifies those aspects of a teacher’s responsibilities that have been documented through empirical studies and theoretical research as promoting improved student learning. While the Framework is not the only possible description of practice, these responsibilities seek to define what teachers should know and be able to do in the exercise of their profession.” – Charlotte Danielson

The model focuses the complex activity of teaching by defining four domains of teaching responsibility:

Planning and Preparation
Classroom Environment
Instruction
Professional Responsibilities

The domains can be further broken down into…

Domain 1: Planning and Preparation

1a Demonstrating Knowledge of Content & Pedagogy
1b Demonstrating Knowledge of Students
1c Setting Instructional Objectives
1d Demonstrating Knowledge of Resources
1e Designing Coherent Instruction
1f Designing Student Assessments

Domain 2: Classroom Environment

2a Creating an Environment of Respect and Rapport
2b Establishing a Culture for Learning
2c Managing Classroom Procedures
2d Managing Student Behavior
2e Organizing Physical Space

Domain 3: Instruction

3a Communicating with Students
3b Using Questioning and Discussion Techniques
3c Engaging Students in Learning
3d Using Assessment in Instruction
3e Demonstrating Flexibility and Responsiveness

Domain 4: Professional Responsibilities

4a Reflecting on Teaching
4b Maintaining Accurate Records
4c Communicating with Families
4d Participating in a Professional Community
4e Growing and Developing Professionally
4f Showing Professionalism

Many Pennsylvania districts assess their professional staff and verify their teacher’s professional growth via rubrics or other evaluative tools, as well as the collection of artifacts that support these domains. Archives of these “best practices” would be assembled in portfolios for the principal’s year-end review (samples printed in blue below are possible artifacts for music educators in particular):

Domain 1: Planning

Assessment Tools
Lesson Plans
New Curriculum Innovations
Personal/Professional Goals
Music Repertoire/Program Lists
Subject Outlines

Domain 2: Classroom Environment

Audio-Visual Resources Including Recordings
Formal Observations
Informal Observations
PowerPoint Presentations
Sample Classroom Displays/Bulletin Boards

Domain 3: Instruction

Arrangements (Teacher Composed)
Conferences with Colleagues/PLCs/Teams
Meetings with Mentors/Curriculum Leaders/Principals
Printed Concert, Musical, Drama, or Recital Programs
Sample Homework and Worksheets
Student Composed Music/Lyrics/Exercises
Warmup Drills and Style/History Handouts

Domain 4: Professionalism

Act 48 Clinics and Workshops
Congratulatory Notes from Parents/Staff
Grade Books and Attendance Records
Letters/Newsletters Sent Home
Minutes of Department Meetings
Professional Development Programs
Student Recommendations
Student Records

Individual school districts define their own “vision of a model teacher,” aligning the selection criteria with the goals of the school system and the needs of the individual schools. For example, Upper St. Clair School District (an Allegheny County public school system located in southwestern Pennsylvania, and where I worked 33 years as music educator and seven years as Performing Arts Curriculum Leader) adopted the following Assessment Criteria for Teacher Candidates (developed by Superintendent Dr. William Pope, Human Resource Director Ms. Jean Toner, and other staff). “In a nutshell,” these are what USC calls “core behaviors” or standards of personality traits, skills, and knowledge, and serve as categories for assessment of all job applicants during the interview process:

Instructional

Educational Philosophy
Knowledge/Experience
Classroom Management
Technology
Oral Expression
Written Communications

Professional

Leadership
Teamwork
Judgment
Problem Solving
Planning & Organizing
Innovation

Personal

Initiative
Dependability
Adaptability
Self-Insight and Development
Energy and Enthusiasm
Appearance

My next blog on this subject will provide examples of music teacher interview questions for each of the above criteria… suitable for individual practice or group mock interview sessions, and to assist in the formulation of stories/anecdotes that would support a candidate’s mastery of each standard. The importance of this preparation is explored in a previous blog: https://paulkfoxusc.wordpress.com/2015/08/02/when-it-comes-to-getting-a-job-s-is-for-successful-storytelling/.

PKF

This post is featured by Twinkl in their ‘Teaching Writing’ blog.

When It Comes to Getting a Job, “S” is for Successful Storytelling!

August 2, 2015May 5, 2020 paulkfox1 Comment

Thoughts on Marketing Yourself and Sharing Personal Anecdotes at Employment Interviews for PCMEA and Prospective Music Teachers

This article was submitted for publication in PMEA News – the state journal of the Pennsylvania Music Educators Association.

Many schools are implementing behavior-based interviews as the preferred method for screening and evaluating applicants. This approach seeks to highlight past performance, experiences, behaviors, knowledge, skills, and abilities that are job-related. Throughout this process, the concept of marketing oneself for employment consideration is based on two principal skill sets: branding yourself and storytelling. It is not about “bragging” or false modesty, although you cannot come on too strong or too weak at the interviews. However, it is everything about “getting noticed,” “making connections” with the interviewers, and demonstrating that you have “what it takes” and would be a “good fit” for their school district.

Not everybody is a good storyteller, but music educators are generally good performers. In preparation of their craft, musicians routinely model their knowledge of music making – poise, professionalism, and self-confidence in front of an audience, critical thinking, problem solving and repetitive drill towards a smooth, well-organized, and well-practiced performance, and all of those essential concepts of form and analysis, rhythms, articulations, tempos, phrasing (breathing!), dynamic contrasts, interpretation, and expressiveness… many skills inherently needed in the storytelling.

According to Antigone Orfanos in “Interviewing Techniques: The Art of Storytelling” (http://therapycareers.about.com/od/JobHuntSkillsStrategies/a/Job-Interview-Techniques.htm), knowing the questions an interviewer may ask is much less important than mastering your storytelling skills. “Think of all of your past accomplishments. Try to create a list of the most important successes you have had in your career and personal life. These are the stories that you want to highlight when your employer meets with you. The most important successes are the ones that are most likely to make the biggest impression on a potential employer. Then, use metaphors, analogies, and humorous anecdotes to capture an employer’s attention.”

It turns out that stories are a very powerful tool, as validated by Lily Zhang in “The Interview Technique You Should Be Using” (see https://www.themuse.com/advice/the-interview-technique-you-should-be-using#). Jennifer Aaker, professor of marketing at the Stanford Graduate School of Business, explains that “stories are up to 22 times more memorable than facts alone” and “we are wired to remember stories much more than data, facts, and figures.” Zhang expands on this. “Our brains are just more active when we’re listening to a story. In fact, if you can tell a good story, you can actually synchronize your listener’s brain with your own. You can literally share the experience with someone else. Talk about making a connection!”

Worth reading in depth, Zhang details in her article the steps towards better storytelling at interviews:

Tell the punch line early.
Give some context.
Introduce the situation or challenge.
Describe your specific actions.

In “Interview Story Telling – Personal Branding Blog – Stand Out in Your Career” (http://www.personalbrandingblog.com/interview-story-telling/), Kevin Monahan predicts that you will be asked to “Share a time when…” or “Provide an example where…” which provides the perfect opportunity to tell a story. He recommends that stories need to have a beginning that sets the stage (provide the setting), action items (what did you do?), and final outcome (how did you achieve the goal or influence an outcome?). He shares, “During one interview session, I was asked what my first job was. I could have told them in five seconds that my first job was a paper route when I was ten years old. Instead, I told a story.” He narrated a more detailed explanation on getting to know his customers, learning their individual preferences, and developing a connection with each of them… leading to better service and greater business generated.

Monahan concludes, “The key… is to connect the story to a desired skill set needed for the position. By relating the stories and examples back to the core competencies of the job, I communicated an image instead of just providing answers to questions.”

An available self-assessment of your storytelling performance skills is available at http://www.storyarts.org/classroom/usestories/storyrubric.html. Using Heather Forest’s rubrics on her website “Storytelling in the Classroom,” you could make and then evaluate a video recording of a “mock interview,” asking yourself in front of a camera common questions like the following:

What are your greatest personal strengths (and weaknesses)?
What techniques would you use to motivate (or discipline) students?
Describe your educational philosophy.
How would you assess the learning in your classroom?
Who had the greatest influence on you becoming a teacher and why?
What are your career objectives?

During the panel discussion “Ready to Hire: Interview Strategies for Music Educators” at the 2013 PMEA Annual In-Service Conference in Erie, PA, colleagues Susan Basalik, J. Howard Baxter, Susan Metelsky, and moderator Scott Sheenan were generous in providing supplemental materials, including sample questions and other tips for excellent interview (and story) preparation. These handouts are still available online at http://www.uscsd.k12.pa.us/Page/6361.

One final thought comes from Beth Kuhel in “The Secret to a Successful Interview: Great Storytelling” in the April 17, 2014 online article of U.S. News and World Report. In a TED Talk, “Toy Story” movie co-writer Andrew Stanton says that “a great story comes from using what you know, capturing a truth from experiencing it, and from expressing values you feel deeply.” He suggests, “You allow the listener to make his own deductions about you from the story. That is, don’t come out and say you’re collaborative, adaptable or anything – you tell a story that convinces your listener you possess these traits.” Stanton concludes that a well-told tale grips, excites, and engrosses.

In summary, it is important to apply your skill in storytelling to employment interviews. Provide thoughtful, professional, and firm answers in response to the interviewer’s questions. Back up your statements with specific examples. Share the outcome or solution to a specific problem. Summarize to emphasize your strengths. Make yourself “stand out” as you tell stories about the challenges and triumphs you faced in life. Interconnect and relate these anecdotes proving your skills and experiences to the needs, goals, and values of the institution, employer, and position for which you are applying.

PKF

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