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)

What I Have Learned from My Dogs… in Retirement

September 22, 2015November 21, 2020 paulkfox4 Comments

It was one of the first things I did when I retired from more-than-full-time music teaching and serving as the Performing Arts Curriculum Leader of my excellent school system (Upper St. Clair School District/Western Pennsylvania). Start looking for a dog.

The incredibly hectic non-stop schedule of a husband and wife, both string teachers with a variety of responsibilities, music class assignments, after-school rehearsals, and concerts across numerous buildings, serving as spring musical directors, active music festival and conference participants in our professional groups (PMEA/ASTA), and co-director (wife) or assistant (me) of the marching band – totally precluded having a dog. I think it would have been considered animal abuse. We were never home, except to crawl into bed to fall sleep. That’s the “calling” of a devoted music educator, especially if he/she is passionate about and focused on inspiring and bringing creative self-expression to the students, willingly committing him/herself to countless hours of extra-curricular activities. We are proud of those opportunities that affected so many lives! (Do you remember the theme of that final scene in the movie “Mr. Holland’s Opus?”)

It was quite by accident that we “found” our two puppies. (Actually, as most dog owners would attest, they chose us!) We visited the area pet stores, just to peruse all of the animal habitats, beds, toys, treats, and the like… and did not know that one chain store in our area actually sold dogs! Gracie, a pure-bred bichon frise selected my wife, and a yorky-poo we named Brewster picked me! The rest is history… at a high cost (the premium price for the dogs plus two of everything, including duplicate crates, dishes, bags of food, treats, and even toothbrushes). With lots of surprises in store for us, we rescued them from Petland!

After 35 years of having to run in and out of the house to travel and fulfill appointments, errands, practices, and performances, all at once I had a reason to stay home and share the unconditional love of owning not one but two “good dogs.”

New retiree “pet chores” were doled out. My wife was in charge of feeding and grooming. I did the lion-share of walks. We both attended “owner training” (they called it “dog training,” but we were the ones who needed to learn how to control our dogs).

For me, walking the dogs has become the most amazingly peaceful and reflective activity. It has improved my disposition, calmed my nerves, sharpened my senses, increased my capacity for patience and tolerance, and lowered my blood pressure! Yes, between volunteer escorting patients at our local hospital several days a week and exercising the dogs at least four times daily, we add up a lot of mileage… an average of 15,000 steps or 5-7 miles a day!

Something I would never have predicted before my retirement: I am now getting up as early as 5:30 most mornings… which is before the alarm would go off when I was employed! Of course, this is every day, every week, every season, rain or shine, with few exceptions. Who needs sleep anyway?

You really ought to try taking two warm bundles of fur to bed with you to hug and cuddle. Gracie and Brewster only have temporary residence on the top of our blankets and bedspread, and must later go back to their playpens in the game-room (our former music studio) once we decide to go to sleep. (My dogs are small… I don’t want to “squash them” when I roll over!)

So, who’s the teacher now? The following are a few of the “life’s lessons” I have learned from close observation of my dogs. Consider this a helpful guide for all retired people.

Live enthusiastically in the “here and now.”
Forgive unequivocally and immediately.
Life is all about taking a long walk, smelling the roses (and everything else), bamboozling another treat from “daddy,” and getting my ears scratched or belly rubbed.
Whenever possible, fearlessly explore the fringe (almost beyond the reach of the leash).
Relax and snuggle with someone you love as often as possible.

California attorney Mike Vaughn posted several additional “bits of wisdom,” a map for happy and healthy retired living, on his Maritime Law Center website: http://maritimelawcenter.com/html/things_i_learned_from_my_dog.html

When loved ones come home, always run to greet them.
If what you want lies buried, dig until you find it.
Never pretend to be something you are not.
No matter how often you are scolded, don’t buy into the guilt thing and pout… run right back and make friends.

Tara Mullarkey summed up a few more of the important ones on her blog “7 Life Lessons I’ve Learned from My Dog” (http://www.mindbodygreen.com/0-7561/7-life-lessons-ive-learned-from-my-dog.htm):

We need to play (every day).
Love is all there isl

Attention all recently retired persons: If you do not already own a dog or other pet, I strongly encourage you to consider the option of adopting or rescuing a dog! It may be one of the best decisions of your life!

PKF

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

52 Creative Tips to “Supercharge” the School Musical

August 18, 2015May 5, 2020 paulkfox1 Comment

Building Student and Community Support and Appreciation of Theater

Several “Tricks of the Trade” that Have Worked for the Upper St. Clair High School Spring Musical in Pittsburgh, PA. Adaptation of my 1992 article published in PMEA News, the state journal of the Pennsylvania Music Educators Association.

GOALS OF THE BLOG: Food for Thought!

Brainstorm “tried and true” techniques that build support for the school musical.
Share shortcuts for adding pizzazz to your PR – better ways to market your show.
Generate discussion and collaborate on ideas… everything from student recruitment to ticket sales.

INTRODUCTION: Let’s examine “WHO and WHY” before “HOW and WHAT”

Multiple-choice question (choose your best guess):

Primarily, for what group of people do you sponsor a musical production?

A) Music students already enrolled in the choral and instrumental classes (and if you have them, drama/dance courses), who are more qualified and deserve the musical as a “reward” for their hard work and loyalty to the Fine Arts program.

B) A small core of the most talented students from the music program, probably those who have studied voice, drama, instruments and/or movement privately outside the school, participated in Pittsburgh Civic Light Opera (CLO) Mini Stars, CLO Academy, or other local professional-caliber performing arts school, amateur theater, dance studios, etc. – the “cream of the crop” – many of whom will continue in theater or music as a career, but will achieve a higher degree of professionalism in performance, and thereby help the musical gain prestige and respect – not a “typical high school show!”

C) The general student body of non-music majors, e.g. a “class play,” which may help to draw some of them into the music program in the future (recruitment), while placing no emphasis on it for the students currently enrolled in music classes since they already have public venues for their self-expression.

D) Members of the community (parents, past drama alumni, amateur performers) alongside the students to share their more advanced skills and provide a higher level of performance and “taste” of realism, while filling the more difficult parts on stage, in the pit, and backstage – in short, building a support base community members by direct participation

E) All of the above with some limitation in using adults as actors

PHILOSOPHY: Sharing a Few Ground Rules for Improving Your Productions

Nonlinear problem solving – There are no “right” answers in this business, only ideas.
“One size does not fit all!”
No one uses “all of this” at one time.
Focus on your needs and prioritize.
Take slow “baby-steps” towards trying a few new things every year, and discard any that do not work!
Maintain (and share) YOUR secrets.

Two approaches that drive Upper St. Clair musicals: “bigger is better” and “throw out the rule book!”

SUPER TIPS: Creativity, Marketing, and Professionalism

The following 52 ideas are submitted for your consideration (and adaptation), under the categories of:

Encouragement of Larger Numbers of Student Participants (#1-11)
Student Leadership and Enrichment Activities (#12-20)
Involvement of the Parents and Community (#21-28)
Professionalism and Quality Productions (#29-34)
Real Promotion of the Show (#35-52)

Select a show that allows for large numbers in the cast (e.g. Music Man, Fiddler on the Roof, etc.). Many schools select a maximum of 30-40 cast members, which can severely limit the size and scope of the production as well as the audience. In a few scenes, try to stage bigger groups (up to 100-150).
Larger casts place greater demands on the staging director. Be creative in your blocking. Use the middle and side aisles, and build multi-level sets. (A two story set can support upwards of 150 singers for the “Iowa Stubborn” selection in Music Man! A second floor loft would be perfect for Oklahoma!)
Bring the dramatic action on stage closer to the audience by constructing runways, pit ramps or other stage extensions. This also allows for staging a larger cast.
A simpler solution to open up the space and add levels might be to construct a dozen large crates or benches. A low budget production could camouflage band risers.
Adapt several of the song lyrics in the show for adding large choruses. (“Eloquence” from Hello Dolly, for example, can be expanded to have the entire cast enter and interact with the leads.)
For even more color, choreograph these “encores” with a small ensemble of skilled dancers.
Feel free to have the chorus sing several of the leads’ solo selections during the curtain calls.
Be daring! Display your school’s (full size) marching band parading down the aisles for one scene in Music Man! Or use students in the 6th-8th Grade Chorus to sing “Food Glorious Food” in the opening scene of Oliver!
Actively recruit students to try-out for the musical. Secure help from other school staff. For example, ask the football coach to mention the auditions to his players. Nothing will be more flashy (as well as hysterical) than a chorus line of football stars on the front thrust in Hello Dolly!
Do not place limitations on student participation in the spring musical. Some school programs require the prerequisite of enrollment in choral or instrumental classes. The best recruitment of “outside” students to the Music Department may be their involvement and brief “taste” of a musical.
Offer pre-audition rehearsals on the required music, and/or simplify the try-out procedure as much as possible as to not “scare away” less confident students. Since the musical is geared for the entire student body (some of whom do not sing or act on a regular basis), make the try-outs a positive experience for all! Give the students a choice of songs and/or readings, as well as specifics on how to take an audition.
Adopt an active and expanded Student Staff. The goal of quality education is to encourage students towards self-realization. In other words, the show should be “student run” – although selected, taught, and guided by adults. For example, once the scene changes have been rehearsed, the Student Stage Manager should actually call the cues.
Persuade students who plan to major in communications, TV/radio, or theatre to join the student staff. Also, “get the word out” to other students who are not singers or instrumentalists that you have openings for carpenters (set construction), artists (painting), writers (publicity), seamstresses (costumes), etc.
Develop comprehensive job descriptions for each student leadership position: Student Director, Producer, Rehearsal Assistant, Stage Manager, Crew Head, etc. Assign an adult sponsor for overall supervision of each area.
Hold weekly student staff meetings, with student department reports, idea brainstorming, problem solving, and discussions on group morale. Get the students actively involved in the day-to-day operations of publicity, ticket sales, production schedules, etc.
At all practices, Rehearsal Assistants should be placed at every exit (stage left, stage right, pit left, pit right, etc.), and should maintain script cues and warnings in order to call the actors and direct placement of props and sets.
Present a leadership or motivational workshop for the entire company or the student staff alone. Two to three hour sessions are available on time management, teamwork, communications, personal initiative and leadership. Excellent clinicians in this area include Bill Galvin, Michael Kumer, Tim Lautzenheiser, etc.
Announce a weekly S.M.I.L.E. award (“students most interested in leading effectively”) or other special recognition to spotlight extra achievement of individuals in the musical company. Display the winners (photograph and biographical information) on a public bulletin board.
Reward the student cast and crews by sponsoring an all-night (“lock-in”) company party at the school or local restaurant after the final performance. This could turn out to be real incentive for future participation in the shows – a dance, late-night banquet, awards ceremony, swim party, bowling tournament, or a combination of all of these activities. Parents also appreciate a well chaperoned final celebration, instead of (in some cases) totally unsupervised house-to-house parties sponsored by individual students.
Provide other perks for students. Plan field-trips around the community. Advertise the show by singing several selections at a local Women’s Club meeting or Rotary Club breakfast. Take the leads to the local TV/radio talk show, providing an audience for that thirty second “plug” of your show on the airwaves. Or sponsor an in-school theater production clinic (e.g. a make-up application session, underwritten by a local cosmetic firm).
Try to fill your adult staff positions with school staff: shop, art, and English teachers, etc. Who is more knowledgeable and supportive of the students? You can encourage the integration of drama subjects in their curricula: scenery painting (art), costume design (home economics), set construction (wood shop), publicity (journalism/English), etc.
Establish a parent volunteer group—theatre angels—to support the students in working on the production crews (costumes, painting, set construction, etc.). Grant the Angels special privileges (early ticket pre-sale) and “Honorary Thespian” status.
Have the Angels man your box office to offer the public regular and varied hours for ticket sales.
Utilize parents to set-up and supervise study halls for those long staging rehearsals. Set aside one room for absolute quiet and a separate waiting area for group study and socialization.
Because of the large cast size, post hall monitors (parents) to assist during the night performances of the show (first aid, distribution of props, overall supervision, etc.).
Hold sign-ups for the Angels during Open House or work through local PTA.
On Saturdays, sponsor staff “cover dish” luncheons to give everyone the chance to interact socially.
Invite a popular school administrator, public official, local actor, or other celebrity to narrate or assist in the show (e.g. the voice in How To Succeed in Business Without Really Trying).
Set out to achieve the illusion of realism in the scenery. Utilize a large student and adult crew of carpenters and build substantial backdrops, wagons, and book pieces to support your larger cast.
Rent professional set drawings from theatrical houses (e.g. New Wilmington, PA firm Sceno Graphics).
Ask for help from local professional theater companies (hand-me-down sets, props, or just advice).
Always seek professionalism from the students on the stage. Are all of the actors consistently in character? Adolescents have short attention spans, and as a large chorus, must be coached in displaying real enthusiasm, self-discipline, and accurate characterizations one hundred percent of the time! Nothing is worse than an inanimate or lackluster chorus, talking on or backstage, or other noises that detract from the dramatic action portrayed by the leads.
Be imaginative with special effects! Melt a witch (Wizard of Oz) using a trap door and smoke effects. Exaggerate their sizes—a ten foot Fruma Sarah in Fiddler on the Roof can be created by putting your lightest girl on the shoulders of an athletic boy; use a ladder on wheels to present a 14 foot giant (Ghost of Xmas Present) in Scrooge—all hidden by the costume.
Set a fast pace for the show. Avoid those periods of inertia, especially the Act II “doldrums!” Always execute smooth set changes and transitions. Never give the audience time to talk or lose their concentration.
Use theater P.R. firms (e.g. Pioneer Drama Service) to buy official logos, posters, buttons and publicity packets.
Design an official show t-shirt and button. Announce musical t-shirt days and give out random cash prizes to students who remember to wear their t-shirt and serve as a walking billboard!
Sponsor a musical trivia contest. Create a crossword puzzle and publish it in the PTA newsletter.
Type-set and distribute a special musical issue of the school newspaper (e.g. an “Anatevka Times” for Fiddler on the Roof) in order to devote space on the background of the play, local historical “splash-backs” in the time period of the musical, and a picture album of the cast and crews.
Insert a theater flyer in the school district or PTA newsletter mailed home to residents. Print informative articles about the play (Hammerstein anecdotes for South Pacific or Oklahoma, etc.)
Sponsor an elementary school art contest (e.g. draw your Little Orphan Annie).
Develop a partnership with your local merchants. Print pizza box advertisements, restaurant place mats, etc. Place messages on mall marquees, store magnetic signs, and in employee newsletters. In exchange for local business help in promoting your show, sponsor a special “employee discount” on tickets.
Make clever P.A. announcements using the leads and adaptations of the script.
Plan a pre-sale ticket lottery to determine the order students in the cast and crews can go to the box office to purchase their reserve seat admissions. This generates excitement and actually helps to sell additional tickets!
Sponsor a school staff appreciation breakfast (donuts and coffee) thanking everyone for their support of the musical. At the breakfast, pass out ticket vouchers (two complimentary tickets) to the teachers.
Help formulate creative school cafeteria menus using musical themes (e.g. “Wicked Witch” stew, “Jiggerbug Juice,” and “Toto’s Favorite Burgers”).
Schedule an in-school theatre education assembly for younger students. Give a short synopsis of the musical and demonstrate several scene changes, technical effects and lighting, application of character make-up, and several dances or songs from the current show (make sure you retain the rights to do a segment of the musical!).
After the final dress rehearsal, sponsor a picture taking session for the parents. Actors can pose in costume and in front of the finished sets. The taking of photographs or audio/visual recording during the show is illegal!
Construct an attractive hall display of cast and crew photographs, “Music In Our Schools Month” materials, etc. Always include a photographic history of the evolution of sets in construction, and the student names in the company.
Designate one performance as children’s night. Offer it one hour earlier (on a school night), and provide a special discount for children ages 12 and under, as well as backstage tours of the scenery, spotlights, soundboard, costume room, autographs from the leads, etc.
Dedicate each performance of the show to a special adult contributor to the school music and theatre program. Invite the honored guest to the pre-show cast meeting, and send him/her several free tickets. Announce the dedication on the P.A. before the Overture, and post it on the hall display in the auditorium lobby.
Find a P.R. “hook” – something that might interest the media – such as sponsoring Annie “dog auditions” or twins casted in dual roles. Send a new press release to the media every two weeks.
Print the musical performance dates on the computerized student report cards and school district payroll checks. Use inter-office mail to send personal invitations to all of the teachers. Be sure to list the names of the cast – teachers will be interested in coming up to see their former students.

SUMMARY: Concepts to Consider—BUILD is the Operative Word!

Involvement of greater numbers of students and parents will build audiences and community support.
Presentation of a quality production with student leadership and supplemental activities will build student enthusiasm and appreciation of the inherent “value” of theatre in school.
Finding the confidence to take risks and build on your own creativity—go ahead and adapt the score, script, set designs and staging to utilize your schools’ resources.
The allocation of ample time to publicity and promotional activities will build community awareness, attendance and EXCITEMENT in support of the show!

SAMPLE RESOURCES: Companies, Books, Sites

Dramatic Publishing: http://www.dramaticpublishing.com
Dramatist Play Service: http://www.dramatists.com
Music Theater International: http://www.mtishows.com
Pioneer Drama Service: http://www.pioneerdrama.com/default.asp
Rodgers and Hammerstein Library: http://www.rnh.com
Samuel French: http://www.samuelfrench.com
Sceno Graphics: http://scenographics.com/
Tams-Witmark Music Library: https://www.concordtheatricals.com/
Broadway Musical Home: http://broadwaymusicalhome.com
Guide to Broadway Musical Theatre by Tom Tumbusch
Richard Rosen Press, Inc., New York, NY 10010
A Practical Handbook for Musical Theatre by Larry Mitchell
Copyright 1984 by Larry Mitchell (now in its fourth edition)
Let’s Put on a Musical – How to Choose the Right Show by Peter Filichia (Amazon)
The Cyber Encyclopedia of Musical Theatre, TV and Film by John Kenrick: http://www.musicals101.com/
Producing Musicals – A Practical Guide by John Gardyne (Amazon)
Technical Theater for Nontechnical People by Drew Campbell (Amazon)
High School Theater Ideas http://www.ehow.com/how_2335679_teach-high-school-theater.html
How to Build Sets for Plays http://www.ehow.com/how_2139989_build-sets-plays.html
Publicity for HS Theater: https://www.musicals101.com/puton10.htm
Promoting Your School Play on a Shoestring Budget: https://theatrenerds.com/how-to-promote-your-show-on-shoestring-budget/
Costumes and Make-up (HS Musicals) by Doretta Lau (Amazon)
The Drama Teacher’s Survival Guide by Margaret Johnson (Amazon)
Let’s Put on a Show: Theatre Production for Novices by Stewart Lane (Amazon)

PKF

Retirement = Reflection + Renewal + Altruism

August 14, 2015August 19, 2015 paulkfoxLeave a comment

“We make a living by what we get, but we make a life by what we give.” – Winston Churchill

Attention all wordsmiths! Here’s a new word to add to your vocabulary: eleemosynary, an adjective that means generous, benevolent, charitable, gratuitous, or philanthropic.

Also, according to dictionary.com, the first definition of reflection is “the act of reflecting, as in casting back a light or heat, mirroring, or giving back or showing an image; the state of being reflected in this way.”

Assimilating both of these concepts, simply put, retirement is a time for both reflection and giving back.

Do you remember as a kid lying down on your grass and looking up to the clouds imagining that you see animals or faces or Medieval dragons? Did you relax and let your thoughts wander to make up stories or scenarios to “play” in your mind? What new ideas or visions came to mind? This process of daydreaming or brainstorming can be the perfect vehicle for a little self-reflection, a calm moment to refresh your outlook, reconcile your feelings, review and revise personal goals, and basically re-energize your passions!

For once in your life, you don’t have to accept the demanding “hustle and bustle” of a very stressful workday schedule. Now you have more of life’s most precious commodity – TIME!

This new freedom gives you the chance to spend some time with your family, friends, acquaintances, even former coworkers when they have breaks. I hate to admit it that, as a full-time music teacher, I could not give you the names of my neighbors on my street, and now that I walk dogs daily, I have become much more “neighborly” and make every effort getting to know them.

Of course, one of the most important directions you can go is to revisit your “creativity roots,” the reason you got involved in music and music education in the first place. One of your first priorities when you retire from full-time employment in music education should be to pull that instrument out of the closet, brush it off, warm up on it a little, and begin restarting your regime of training those chops (or vocal skills) once more. Go out and join a community band, orchestra, or choir (subject of a future blog).

Seize the day (as they say) and embrace opportunities for volunteering, possibly going back to the school and offering your professional services on a “very” part-time basis. Perhaps a local music program could use your expertise in setting up new technology, playing the piano, helping conduct large ensembles or coaching sectionals or chamber groups, organizing or chaperoning music trips, repairing instruments, composing or arranging music for the ensembles, or assisting on the rehearsals or designing the field show for the marching band, dance team, or drum line.

In addition, the “passage to retirement” allows a re-examination of ourselves and discovery of new interests, conceivably some non-music volunteer activities. Select a project or two that will help satisfy your need to help others and “nurture your soul.” My personal favorite (besides retaining my “conductor chops” by directing a youth orchestra on Saturdays) is to serve as a volunteer escort at our local hospital. In addition to walking dogs several times a day, pushing wheelchairs several days a week is good physical exercise, but more importantly, it is a big help to the efficient and economical operation of any mid- to large-sized medical facility.

What’s that inspiring quote? “I thought I was poor because I had no shoes, until I met a man who had no feet.” My wife and I get a lot of personal satisfaction helping people who are less fortunate than we are, especially those who are much more senior to us, and by now (after two years plus of retirement), I believe we are now nearly expert “wheelchair jockeys.” At the hospital, you meet many wonderful people, the majority of whom are undergoing a (hopefully temporary) life challenge… surgery, treatment, observation, rehabilitation, etc. It has to be said that we have found that “patients are the most patient,” and individuals with the most serious conditions are usually the most appreciative and display the sweetest dispositions. Of course, our favorite wheelchair trip is to the family birth center, where the majority of the time, we get to escort a mother with her new baby to the car.

Other volunteer activities? Lists of needy programs are numerous (here are a few examples):

Walk dogs or care for pets at the local animal shelter
Serve in charitable fund-raising projects (man phones, etc.)
Offer to translate/interpret foreign languages
Assist food banks and meals-on-wheels agencies
Enlist as a “court appointed special advocate” for abused or neglected children
Work as a hospice volunteer
Join Elder Helpers or other organizations to help needy seniors
Run a school club or activity (share your unique hobby)
Help maintain parks, trails, nature habitats, or recreation centers
Collate/file/sort/catalog libraries of sheet music or books
Host an international student
Become a youth director, mentor, or scout leader
Register new citizens to vote at citizenship ceremonies
Clean-up vacant lots, cemeteries, playgrounds, etc.
Apply office management and clerical skills to benefit nonprofit associations
Teach summer school or Fine/Performing Arts classes
Give guided tours or lectures as a “docent” at a local museum

Check it out! Today, 3,281 volunteer opportunities in or near Pennsylvania were posted at: http://www.volunteermatch.org/search/?l=pennsylvania

Volunteer some of this new-found time that you have on your hands, and I promise, you will never regret it!

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

Happy Trails, Retirees! PMEA Retired Members Rock-On!

July 25, 2015July 27, 2015 paulkfoxLeave a comment

Have You Heard These?

Old composers never die, they just decompose.
Old performers never die, they just go out of tune.
Old musicians never die, they just go from bar to bar.
Old musical producers never die, they just make a big production out of it.
Old band nerds never die, they just leave after halftime.
Old music teachers never die, they just lose their class.
Old rockers never die, they just shake, rattle, and roll.
Old lighting directors (or sound engineers) never die, they just fade away.
Old singers never die, they just perform another encore.
Old conductors never die, they just lose their place.
Old string players never die, they just get strung out.
Old jazz artists never die, they just play on and on.

“The trouble with retirement is that you never get a day off.” – Abe Lemons

Filling Up and Fulfilling Bucket Lists

Retirement is a journey, offering another roadway towards self-realization. You would expect to see any retired person enjoying the fruits of his/her career-long labor by “taking a break” – exploring travel, sightseeing, fitness training, sports, gardening, home improvements, reading, babysitting grandchildren, rescuing a pet, volunteering, attending concerts/musicals/movies, discovering and developing new hobbies/skills/talents, hanging out with former coworkers – you name it! Retired music educators are no different! However, one advantage of being in the profession of teaching creative self-expression is that it was never “just a job.”

And the music goes on and on…

Many Pennsylvania Music Educators Association (PMEA) retired members remain active after they leave their full-time public/private school teaching positions. Numerous opportunities inspire retirees to continue making significant contributions to music and education. If you can actually catch-up with a former music teacher (they are usually very busy), he or she might be in the middle of participating in any number of Performing Arts or educational activities:

PMEA state or local leadership position such as council representative or elected office.
Full or part-time higher education instructor in music education methods, or supervisor of student teaching.
Assistant director, guest conductor, or section coach for marching or concert bands, orchestras, choirs, chamber groups, jazz ensembles, dance or drama productions.
Soloist, accompanist, and/or performer in community instrumental or choral ensembles at local community events, businesses, senior centers, and other venues.
Music judge, clinician and/or director of PMEA adjudications, PMEA performance festivals, or commercial contests or competitions.
Representative for local music store assisting on rentals and repairs of band and orchestra instruments.
Private or class instructor of voice, instrument, or dance.
Composer, accompanist, or music arranger for school music ensembles and concerts.
Workshop presenter, clinician, presiding chair, sergeants-of-arm, registration aide, or volunteer at state and local music conferences.
Writer of articles for local and state music publications, blogs, or other media.
Advocate for arts education and the importance of creative self-expression, contacting local decision-makers and state legislators.
Informal adviser and consultant assisting other music educators in the field, facilitated by joining the PMEA Retiree Resource Registry.

PMEA Retiree Resource Registry

Unveiled in February 2015 and based on PMEA Retired Members’ online survey responses, the Retiree Resource Registry (R³) and R³Help Index archive a comprehensive record of music teacher retirees’ present and past job assignments, history of career achievements and awards, current professional music and music education activities, and special talents and interests. The registry serves as a “who’s who” directory of past leaders in PA music programs, as it documents the amazing contributions of some of the still most active albeit retired PMEA members. The R³shares this vast wealth of the PMEA Retired Member experiences and expertise in order to offer the entire PMEA membership access to a list of very willing and capable informal advisers or consultants if anyone needs “free” (but priceless) help on a specific topic.

R³Volunteer Areas

Help categories on survey (see R³ Help Index): accompanist, adjudications, arts advocacy, assessments, auditions, band, booster groups, chamber music, chaperoning, choral, choreography/dance, coaching, community ensembles, composing/arranging, core arts standards, curriculum writing, Dalcroze/eurhythmics, early childhood/pre-school, festival preparation, fund-raising, general music, guest conducting, guest lecturing, higher education, hosting a festival, instrument repair, instrument sales, jazz, Kodaly, leadership training, marching band, music appreciation, music theory, musicals, Orff, panel discussions, PCMEA/teacher training/mentoring, professional development, research, strings, technology, traveling/tours, voice, webinars, world drumming, and writing for PMEA News.

R³Statistics

As of April 20, 2105, the R³ has the following statistics:

Number of Retired Members in Registry = 101
Expertise/interest in vocal music = 40%
Expertise/interest in instrumental music = 75%
Expertise/interest in classroom music = 46%
Expertise/interest at elementary level = 69%
Expertise/interest at middle school level = 76%
Expertise/interest at high school level = 78%
Expertise/interest at higher education level = 31%

Making Use of the Registry

To take advantage of this service, go to the retired member section of the PMEA state website and download the current R³ and R³Help Index, both documents being updated periodically to reflect new/changed data received: http://www.pmea.net/retired-members/. Start with the R³Help Index to peruse possible candidates. To help match your needs with potential retired “go‐to people,” the index is sorted by volunteer subject areas. Look up these names in the alphabetical main registry to find the retirees’ specific details, contact information, personal focus and specialties, and subjects they would be willing to provide assistance.

PMEA Retired Members: If you have retired from full‐time teaching, are willing to stay involved in PMEA, and want to join this prestigious list, please go to the PMEA website or this direct link: https://pmea.wufoo.com/forms/pmea-retiree-resource-survey/.

Freedom! It’s Doesn’t Get Much Better Than This!

The skies are the limit! Retirement provides the time for retirees to pursue their passions! Examine your “expressive roots!” What inspired you to choose a career in music? Refocus on some aspect of the creative realm, such as singing or playing your major instrument, or something new! What are you waiting for? Go out and realize your dreams!

PKF

Arts Advocacy – Everyone’s Job!

July 20, 2015May 5, 2020 paulkfoxLeave a comment

“If it is to be, it is up to me.” – William H. Johnsen

Can you imagine if there was only enough money in the education budget for one subject to be taught in school? What would it be?

The education of the “whole child” to acquire 21^st Century learning skills, with an emphasis on the “Four C’s” – Creativity, Critical thinking, Communications, and Collaboration – is essential to the success of every child, and paramount for the future continuation of arts and creative self-expression throughout the world. This mandates equal-access to quality learning of rigorous curricula, offered to all students enrolled in courses of Fine and Performing Arts, English, Math, Science, World Language, Social Studies, and Physical Education.

(For an interesting set of articles detailing the above Venn diagram on the four C’s of 21st Century learning skills, see Margo Tripsa’s “Techie Teachers’ Tricks,” beginning with http://techieteacherstricks.com/2013/06/30/the-4-cs-critical-thinking/.)

Why the Arts?

An education in the arts benefits society because students of music, art, dance, and drama gain powerful tools for:

Understanding human experiences, both past and present;
Teamwork and collaboration;
Making decisions creatively when no prescribed answers exist;
Learning to adapt to and respect others’ (diverse) ways of thinking, working, and expressing themselves;
Learning problem recognition and problem solving, involving expressive, analytical, and developmental tools to every human situation (that is why we speak, for example, of the “art” of teaching or the “art” of politics);
Understanding the influence of the arts and their power to create and reflect cultures, the impact of design on our daily life, and in the interdependence of work in the arts with the broader worlds of ideas and action;
Developing the essential senses of sight, hearing, smell, taste, touch, and kinesthetics as intellectual, emotional, physical, creative, and expressive acts;
Analyzing nonverbal communication and making informed judgments about cultural products and issues;
Communicating effectively.

The “Whole Child” Approach to Education

All of us should already be on board promoting the concepts of “whole child” education in the public schools:

“The demands of the 21st century require a new approach to education to fully prepare students for college, career, and citizenship. Research, practice, and common sense confirm that a whole child approach to education will develop and prepare students for the challenges and opportunities of today and tomorrow by addressing students’ comprehensive needs through the shared responsibility of students, families, schools, and communities.” – ASCD Whole Child Education Initiative http://www.wholechildeducation.org/about/

Launched in 2007, ASCD’s Whole Child Initiative was an effort to “change the conversation about education from a focus on narrowly defined academic achievement to one that promotes the long term development and success of children.”

My favorite tenets of “whole child” education are the following principles:

Each student has access to personalized learning…
Each student is actively engaged in learning and is connected to the school and broader community.
Each student is challenged academically…

Sounds a lot like the need for an education in the arts, right?

Need More Rationale?

The Partnership for 21st Century (P21) movement (see www.apple.com/education/docs/Apple-P21Framework.pdf) affirmed what prospective employees are seeking from graduates and others entering the work force – 21st Century learning skills, as well as an authentic work experience and achievement in and appreciation of the values of focus/attention, goal setting, perseverance, self-discipline, and cooperation. Would it surprise you that at every job interview in my life, I was never asked for the results of my SAT scores? For blue-collar and professional jobs alike, credentials/certification and past work/school history are important, but more than anything else, managers and “the big boss” want to know a job applicant’s record of absenteeism and tardiness, and if the candidate can take instruction, solve problems, innovate, communicate, and work well with others.

Where else but in the arts can students receive this exposure to and opportunities to explore and practice the work-related skills of communications and collaboration, and the thinking skills of critical thinking, problem solving, and creativity? You owe it to yourself to check out this more detailed layout: P21 Arts Map.

If you have not viewed Sir Ken Robinson’s presentation of creativity in education, stop everything right now and go to one of these links:

Read my main page (above) for additional resources on Creativity in Education – Are We Ready for a New Paradigm Shift?

Also, it is worth perusing these sites:

How can you argue with all of this research?

Get Involved!

I find it amusing (albeit appropriate) that on my iPhone, Siri first translated “arts advocacy” as “arts have a good seat.”

There is a great need for arts advocates, and that means absolutely everybody… retired educators, current teachers, future/prospective employees of schools, students, parents, relatives of children attending school, and taxpayers who don’t have anyone enrolled in the public, private, or charter schools.

Politics is a numbers game. Your state legislators need to know that you care about education and the arts as priorities – justifying and finding more revenue and resources for music and art education. In addition, with all of the focus on high-stakes standardized tests and the Common Core (and very limiting) subjects, now more than ever, we all need to reach out to our elected officials and make our voices heard (above all of the din!). Yes, the arts do make a difference, but no one will know that unless you tell the decision-makers!

Now, here’s something you can do right now! If you reside in Pennsylvania, go to the advocacy section of the Pennsylvania Music Educators Association website: http://www.pmea.net/specialty-areas/advocacy/. If you need to find your particular legislator to send the letter/e-mail, first visit this website: http://www.legis.state.pa.us/cfdocs/legis/home/findyourlegislator/. If you feel strongly about the importance of arts education, your letter (the sample posted or something like it) should urge our elected officials to:

Increase the basic education subsidy.
Enact a fair funding formula.
Restore the Pennsylvania Department of Education Arts Education Liaison for the curricular areas of music, visual art, theater, dance, and media arts.

(This process can be duplicated in a similar manner for every state in the union. Music and art programs are being cut daily!)

Don’t put this off! When was the last time you devoted a little time to express your opinion directly to your state representative? Didn’t we elect and charge them with the responsibility to do what is right for our educational programs and children? Music and art education needs your help NOW!

PKF

The “Alphabet Soup” of Educational Acronyms

July 18, 2015May 5, 2020 paulkfox2 Comments

“Learning never exhausts the mind.” – Leonardo da Vinci

Article submitted for future publication in PMEA News – the state journal of the Pennsylvania Music Educators Association

Preparing for an employment interview? Looking for that first job or interested in transferring to a new school district?

How well do you know current trends, key “buzz words,” and jargon in education? Even though no music teacher would have trouble identifying the meaning of our own abbreviations like D.C. al Coda or GM (G Major or General Music), administrators would expect that you know relevant and evolving general education terms, such as the following:

The Common Core
Customization and Differentiation of Instruction
The Four Cs – Creativity, Collaboration, Communication and Critical Thinking (21^st Century Learning Skills)
Flipped Classrooms and Blended Schools
HOTS – Higher Order Thinking Skills and DOK – Depth of Knowledge
Assessments – Diagnostic, Formative, Summative, Authentic
PDE (Pennsylvania Department of Education) SAS (Standards Aligned Systems) Portal
UBD (Understanding By Design) Curriculum Development with EU (Enduring Understandings) and EQ (Essential Questions)

Keeping up with the formation of new acronyms is quite a challenge… something you will have to do throughout your entire career. Get started by looking up any of these with which you feel unfamiliar. You can never predict when one of these will pop-up at a job interview!

Just for the fun and the challenge of it, try taking this crossword puzzle. For a printable copy of this article, full-size puzzle grid, clues, the answers and definitions, click on the link at the bottom of the page. Enjoy! PKF

Across

1. A multi-tier approach to the early identification, intervention, and support of students with learning and behavioral needs.

3. Statements summarizing important ideas and core processes that are central to a discipline and have lasting value beyond the classroom – what students should understand – not just know or do.

4. A web-based resource for districts/schools to communicate performance results to various constituencies and assist districts and schools in aligning and focusing resources for continuous improvement.

7. A psychiatric disorder in which there are significant problems of attention hyperactivity or acting impulsively that are not age-appropriate.

8. Standards-based, criterion-referenced assessment used to measure a student’s attainment of the academic standards in reading, writing, math, and science.

10. Staff or programs to facilitate the acquisition of English language skills of students whose native or first language is not English.

11. Framework of study in science, technology, engineering, arts, in mathematics, bridging the gap between business and educational goals, and blending of science, the arts, and creativity in school.

13. A comprehensive, researched-based resource identifying six elements for improvement of student achievement developed by the Pennsylvania Department of Education.

15. Developed by Norman L. Webb, the complexity or depth of understanding required to answer or explain an assessment-related item.

Down

2. A customized statement of a child’s present level of performance, annual educational goals, modifications, accommodations, and special education supports and services to meet these goals.

5. A statistical analysis of Pennsylvania state assessments of growth and achievement data, allowing educators to make data-informed instructional decisions to promote student progress.

6. Using a backwards-design focus on the outcomes in order to design curriculum units, a tool utilize for educational planning in “Teaching for Understanding,” advocated by Jay McTighe and Grant Wiggins.

8. An extended learning opportunity such as a grade-level teaching team or a school committee form to foster collaborative learning among colleagues in order to improve student achievement.

9. Statewide nonprofit organization of over 4500 members, dedicated to promoting the musical development of all Pennsylvania residents, your number one professional development resource.

12. Inquiries focusing on the key concepts in the curriculum, the big ideas and core content, provoking deep thought, lively discussion, and new understanding as well as more questions.

14. A process to document a measure of educator effectiveness based on student achievement of content standards developed for Pennsylvania’s new Educator Effectiveness System.

Click here: Alphabet Soup Educational Acronyms puzzle with answers

Terms used in alphabetical order

ADHD…………. Attention Deficit Hyperactivity Disorder: A psychiatric disorder in which there are significant problems of attention, hyperactivity, or acting impulsively that are not age-appropriate.

DOK……………. Depth of Knowledge: Developed by Norman L. Webb, the complexity or depth of understanding required to answer or explain an assessment related item.

EQ………………. Essential Questions (UBD): Inquiries focusing on the key concepts in the curriculum, the big ideas and core content, provoking deep thought, lively discussion, and new understanding as well as more questions.

ESL……………… English as a Second Language: Staff or programs to facilitate the acquisition of English language skills of students whose native or first language is not English.

EU………………. Enduring Understandings (UBD): Statements summarizing important ideas and core processes that are central to a discipline and have lasting value beyond the classroom—what students should understand—not just know or do.

IEP………………. Individualized Education Program: A customized statement of a child’s present level of performance, annual educational goals, modifications, accommodations, and special education supports and services to meet these goals.

PLC…………….. Professional Learning Communities: An extended learning opportunity such as a grade-level teaching team or a school committee formed to foster collaborative learning among colleagues in order to improve student achievement.

PMEA………….. Pennsylvania Music Educators Association: Statewide nonprofit organization of over 4,500 members, dedicated to promoting the musical development of all PA residents – your number one professional development resource.

PSSA…………… Pennsylvania System of School Assessment: Standards-based, criterion-referenced assessment used to measure a student’s attainment of the academic standards while also determining the degree to which school programs enable students to attain proficiency.

PVAAS………… Pennsylvania Value Added Assessment System: A statistical analysis of PA state assessments of growth and achievement data, allowing educators to make data-informed instructional decisions to promote student progress.

RTI……………… Response to Intervention: A multi-tier approach to the early identification, intervention, and support of students with learning and behavioral needs.

SAS…………….. Standards Aligned Systems: A comprehensive, researched-based resource identifying six elements for improvement of student achievement developed by the Pennsylvania Department of Education.

SLO…………….. Student Learning Objectives: A process to document a measure of educator effectiveness based on student achievement of content standards developed for Pennsylvania’s new Educator Effectiveness System.

SPP……………… School Performance Profile: A web-based resource for districts/schools to communicate performance results to various constituencies and assist districts and schools in aligning and focusing resources for continuous improvement.

STEAM……….. Science, Technology, Engineering, Arts, Mathematics: Framework of study in science, technology, engineering, arts, and mathematics, bridging the gap between business and educational goals, and blending of science, the arts, and creativity in school.

UBD Understanding By Design: Using a backwards-design focus on the outcomes in order to design curriculum units, a tool utilized for educational planning in “teaching for understanding” advocated by Jay McTighe and Grant Wiggins.

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