Creativity in Schools Revisited

December 10, 2015December 14, 2015 paulkfoxLeave a comment

“The best use of imagination is creativity. The worst use of imagination is anxiety.” – Deepak Chopra

My Perspective and a Little Rehash on Creativity

Since June 2013 when I retired, I have looked back fondly to an exciting 35-year career in public school teaching, examining the purpose and impact of teaching music education to literally thousands of students. Being assigned to band/choral/orchestra ensembles, music theory and general music classes, as well as directing extracurricular chamber groups, plays, and musicals, I willingly embraced that hectic 24/7 schedule to have access to (and hopefully “inspire” creative self-expression in) my kids before, during and after school hours. Yes, we had musicians, singers, actors, and dancers who chose for themselves a career in the arts, and even more who entered into the noble quest of “giving back” by seeking employment as music educators. However, the largest majority of those students who studied with me went on to non-musical careers.

So, in reflection, was all of this worth it?

Sure it was, but not just to master the course content or complete so many concerts, theater productions, or music lessons. At this point, I have come to peace knowing that the main purpose of my job was to somehow motivate, engage, encourage, guide, and facilitate my students to realize their own success in creativity and self-expression… hopefully to last a lifetime.

Remember, in education, it is the “process” that truly matters, not solely the “product.”

“Creativity is as important as literacy”- Ken Robinson

Two years ago, I wrote a three-part series on the critical need, rationale of, and techniques for developing skills in teaching creativity as well as teaching more creatively. I based my compilations on the February 2013 issue “Creativity Now!” of the ASCD Educational Leadership magazine, and passed on the research and insight of creativity experts, self-expression advocates, and/or self-proclaimed ”right-brain” educational gurus Ronald Beghetto, Dr. Curtis Bonk, Eric Booth, Susan Brookhart, Roger von Oech, Daniel Pink, Sir Ken Robinson, and Robert and Michele Root-Bernstein.

With 2016 about to make its grand entrance, where are we now with creativity in the public schools? In Pennsylvania, the writing of meaningful and extensive “scope and sequence” creativity curriculum, and its implementation of essential questions, lesson targets, and pedagogy, still take a backseat to the highly politicized Common (and much more limited) Core subjects and standardized achievement tests, which the latter, in my opinion, measures very little of an individual’s potential for success. To this day, a focus on “Whole Child” and “customized learning” priorities remains to be lacking throughout the country. We need to “take action,” mandate further research, and propose teaching creativity as an art and a science, all along bringing the necessary courage and vision to make significant changes in our educational systems.

Thinking “Outside the Box”

The continued fixation on “error-free” convergent thinking, a priority of the one-answer-only mentality, baffles me. 1+1+1 does not always equal three. I can give you at least two alternative answers: 11 or 1 (the sum in a binary system for the former and the result of drawing the Roman numeral “I” with one vertical line and two horizontal lines for the latter). This is an example of divergent thinking (“process or method used to generate creative ideas by exploring many possible solutions”), and sits at the top of the charts for higher order of thinking skills (HOTS) and depth of knowledge (DOK). Use of divergent thinking is much more valued in higher education circles, future employment, and especially research and development in a host of careers from medicine to engineering to technology innovation to consumer markets… probably the foundation of future success in our whole economy.

Review the Literature on Creativity in Education

Are you interested in joining the bandwagon of creativity education advocates? First, review my other three articles and absorb the thoughts of some of our greatest educational innovators. Go to the following links:

Inspiration from… Who Else? Adobe!

Next, take look at the recent research of Adobe, Inc., posted on the company website: http://www.adobe.com/education/creativity-in-education.html. Gathering data by polling educated professionals (2012), educators and parents (2013), and hiring managers (2014), the crucial role of creativity in education was illustrated.

Based on a survey taken in early 2013, Adobe published the following findings:

Parents and educators are strongly aligned in their concerns and desires for the educational system.
The education system is stifling creativity; a transformative change is needed.
The demand for creativity and creative thinking is increasing and will fuel economies in the future, yet students are less prepared to become innovative thinkers of tomorrow.

According to Adobe, the top two reasons educators struggle to incorporate creativity into the classroom in the United States are lack of resources (56% of the survey responses) and the current education system doesn’t value creativity (54%).

In addition, Adobe reported that the top 3 most important steps to promote and foster creativity in education (in the U.S.) are the following:

Provide tools and training that enable educators to teach creativity.
Make creativity something that is integral to the curriculum.
Reduce mandates that hinder creativity.

In another study sponsored by Adobe (2012), several key headlines were released:

57% of college-educated professionals believe creativity is a learned skill that can be learned in their career, while 65% believe it is a personality trait that is innate.
88% agree creativity should be built into education curriculums and 72% agree they were more focused on subject matter than creative thinking in school.
85% agree creative thinking is critical for problem solving in their career, but nearly one-third (32%) do not feel comfortable thinking creatively at work.

Finally, from July through August 2014, Adobe sampled HR administrators’ attitudes and beliefs about the skills required for success in the workplace of tomorrow. In its report “Seeking Creative Candidates: Hiring for the Future,” Adobe summarized with the following:

75% of hiring managers believe creativity is required for economic growth and valuable to society (85%), but only 51% think businesses grasp the importance of creativity.
Problem solving (51%) and creativity (47%) have gained the most value in driving salary increases in the last five years.
75% of hiring managers agree the job market will change significantly in the next five years. Tech-savvy (88%), the ability to communicate through digital and visual media (82%), and creativity (76%) are cited as becoming essential skills.
Hiring managers indicate that problem solving skills and critical thinking (58%) and creativity innovation (41%) will be among the most “in-demand” skills over the next 12 months, along with technical/specialist skills (42%).
94% agree creativity is key when evaluating candidates and prefer those with creative skills over conventional skills by more than five to one.

My next blog on the subject of creativity in education will explore additional resources, including new websites and books on the subjects of innovation, ingenuity, originality, and self-expression released over the last several years.

Please feel free to comment. More to follow…

“The uncreative mind can spot wrong answers, but it takes a very creative mind to spot wrong questions.” – Anthony Jay

PKF

Tips for Retirees on Managing Stress During the Coming Winter Celebrations

November 29, 2015December 24, 2015 paulkfox1 Comment

Sometimes the most important thing in a whole day is the rest we take between two deep breaths. – Etty Hillesum http://www.huffingtonpost.com/2010/12/05/holiday-stress-quotes-the-11-best_n_791925.html

It used to be that the coming winter recess of seven or more days off from full-time public school music teaching mostly meant catching up on much-needed sleep, tackling a few of those deferred household chores, performing or conducting a couple holiday concerts, visiting family and friends, and “pigging out” at a few gigantic holiday feasts.

Now that we are retired, one could argue that “every day is a vacation” and our lives are always “a bed of roses.”

However, holiday stress is a real problem for full-time workers and pensioners alike. No matter the setting or stage of your life, it is something that needs to be addressed!

According to Alexandra Ossola (Popular Science) at http://www.popsci.com/why-are-families-particularly-stressful-during-holidays, “It may have more to do with your expectations than the annual meltdown over the turkey.” She comments, “For most people, family gatherings during the holidays are rarely stress-free… Sometimes these situations are small, unpleasant blips in otherwise enjoyable celebrations. But for some, the feelings go deeper—many people dread the holidays, becoming stressed or anxious in the weeks leading up to a family get-together.”

She concludes with research from Terri Orbuch, a relationship expert and sociology professor at Oakland University. “We think this should be a perfect time, the food will be perfect, and our conversations will be respectful. But when our realities don’t match that, we get frustrated,”

So, here is some timely advice to bring down your anxiety levels and cope with the changing season.

First up, the American Heart Association advocates being “heart-healthy” in all dealings with holiday stress at http://www.heart.org/HEARTORG/GettingHealthy/StressManagement/FightStressWithHealthyHabits/Holiday-Stress-Try-These-5-Tips-for-a-Heart-Healthy-Holiday-Season_UCM_433252_Article.jsp#.

Think ahead and carefully outline a consistent “30 minutes of physical activity per day.”
Avoid the perils of party foods (overeating of high-fat, sugary, or salty treats).
Stay active… but not too active (enjoy the added exercise, but don’t overbook yourself).
Layout a plan for January and beyond.

Several ideas for handling your Christmas, Hanukkah, Kwanzaa, and/or New Year galas come from WebMD at http://www.webmd.com/balance/stress-management/tc/quick-tips-reducing-holiday-stress-get-started.

Know your spending limit (set a budget and stick to it).
Retirement usually means being on a fixed income. Share gifts that are meaningful and personal, but not necessarily extravagant or expensive.
Organize your appointments and to-do lists.
Share the responsibility (you don’t have to do everything yourself).
Learn to say “no!”
Be realistic. “Try not to put pressure on yourself to create the perfect holiday for your family. Focus instead on the traditions that make holidays special for you.”

To avoid the predictable “serious conversation alert” or a downturn of the mood at any family gathering, Talya Stone urges the infusion of humor to lessen your holiday stress at http://stress.lovetoknow.com/Humor_for_Holiday_Stress.

Tell jokes, like “Why do reindeer stop for coffee on their Christmas run? Because they’re Santa’s star bucks.” A whole collection of quick one-liners are available at her website, which she says are guaranteed to add humor to your holiday and de-stress awkward episodes.
Avoid becoming Scrooge. Don’t take yourself so seriously! Laugh at your own foibles and boo-boos!
Create happy memories and find laughter in every day
Watch humorous movies of “side-splitting moments fueled by mistakes, failures, and blunders, allowing you to laugh in the face of any holiday stress.” Suggestions by Stone include A Christmas Story, National Lampoon’s Christmas Vacation, Elf, The Santa Clause, Jingle All the Way, Bad Santa, and my personal favorite Home Alone.
Organize a harmless holiday prank to help diffuse some of the stress that comes with being so preoccupied during the holiday season. How many times can you gift-wrap a small present in progressively larger boxes? Stone gives other examples.
Don’t forget to bring the games! Several inter-generational ideas for entertainment are Christmas Bingo, Pin the Nose on Rudolph, and Snowball Toss, but almost anything can increase the “festiveness” of every festivity.

If your stress is made worse mostly due to the transition of a recent retirement, there are numerous resources to help you through this “significant life passage.” First of all, you should know it is not unusual to feel this way. In his book, The Retiring Mind, Dr. Robert P. Delamontagne estimates that “50% of retirees will suffer some form of acute emotional distress.” Now all we have to do is learn how to deal with this change… sounds easy?

Dr. Amit Sood, author of The Mayo Clinic Guide to Stress-Free Living, writes “This a time of enormous change. You are leaving your job and friendships with colleagues and finding new things to do.” Sood recommends many stress-reduction strategies: “Realize that your brain’s reward center likes variety, so give yourself a variety of experiences.”

He adds, “Let your best friends not be the TV, refrigerator or couch. Let your best friends be real people, books and sports shoes.”

“Treat your first year in retirement as if you are ‘interning’ to give yourself time to readjust and set new expectations,” he concludes. “Find meaning in new passions, including possibly using your work skills in a new job or volunteer work.”

For retired music teachers on this subject, I have written other blogs (see the link “Retirement Resources” at the right), and there are additional materials at the PMEA website: http://www.pmea.net/retired-members/. Please explore these numerous links/books/articles.

Finally, always prolific, The Huffington Post offers a couple dozen articles on the subject of “Holiday Stress Management,” everything from financial advice to mediation to dealing with a difficult person at family visit or party. Go to http://www.huffingtonpost.com/news/holiday-stress-management/.

From my family to yours – best wishes for the attainment of all of the “R’s” during the coming season – a refreshing, restful, reawakening, reviewing, recreating, reviving, rejuvenating, replenishing, and re-invigorating New Year!

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

It’s Time to “Dust Off Your Chops!”

November 2, 2015November 17, 2015 paulkfoxLeave a comment

Music Teacher Retirees: Participate in a Community Band or Orchestra!

(Reprinted from the Fall 2015 PMEA News, the state journal of the Pennsylvania Music Educators Association)

“Music lasts a lifetime!”

“Music makes me ____!”

“Make time for music!”

“Music touches lives!”

“Music is basic!”

More than titles of PMEA/NAfME/MENC conferences or past themes of Music in Our Schools’ month, these concepts bring us back to the roots of why we became musicians and music teachers in the first place.

When a music educator retires, among the many joys and fruits of his/her career-long investment in labor is a sudden life-style change – the glorious transformation of being set free from those things you no longer want nor need to do (routine day-to-day drudgery, paperwork, etc.) and embarking on new journeys to explore and embrace revised personal goals – hopefully including a renewed refocus on making your own music!

Besides being personally fulfilling and simply “fun,” regular sessions of making music are good for you! Citing numerous sources in her Association for Concert Bands (ACB) President’s Message “Enriching Lives Through Music” in The Journal of the Association of Concert Bands (Vol. 31 No. 2 June 2012 – see http://www.acbands.org/shellenberger-letters), PMEA Retired Member and ACB Past President Judy Shellenberger spotlights the importance of singing or playing music at any age, and its effect on “our brain’s system of neural pathways that improve our general measure of intelligence and longevity.” According to the Society for Neuroscience, one example of this is that “learning to play a musical instrument refines the entire neurological system. It demands precise movement of muscle groups and combinations of physical processes such as breathing, fingerings and articulations all at the same time.”

Additional quotes from Shellenberger’s letter include a contribution from Dr. Katrina McFerran, Melbourne Conservatory of Music, reminding us of the value of creative expression and ensemble participation in our lives. “Making music allows you to put your real self out there and be heard. Group music making is truly empowering and should be an essential part of the human experience,” she said. “For those performing in community bands, making music has a stronger relationship to health than listening does, and performing enables us to make stronger social connections.”

Shellenberger goes on to say, “In order to function optimally, we need to nourish our brains with nutritious food.” In his book, Use Your Brain to Change Your Age: Secrets to Look, Feel, and Think Younger Every Day, Dr. Daniel Amen states, “We must exercise and challenge our brains. Doing crossword puzzles are great but not enough, we need to stimulate our memories.” Shellenberger concludes with the essential justification that “new music challenges our brains. Every time we learn a new rhythm pattern, we challenge our brain and when we memorize the passage, it increases our brain circuitry to a higher level.”

The late June Hinckley, former MENC President, lamented the tragedy when people fail to make music a vital component of life beyond the school years. In her April 2000 article “Music for a Lifetime” in MENC Teaching Music, Ms. Hinckley affirmed her view that music is a life-skill worth nurturing. She said, “I believe we need to be as concerned about community music programs as we are about school music, and to work with leaders to help them understand the vital role each plays in the cultural, social, and aesthetic fabric of our towns and cities as well as in our preschools and K-12 institutions. If music is basic, then it is basic to life’s many ages and stages, before, during, and after school for toddlers, school-age youngsters, and adults.” And retired members!

So, which pretext do you use to “put off” joining a community instrumental ensemble? The top ten “lame” excuses for not participating in a community band or orchestra may be:

I haven’t played for years.
My spouse’s “honey-do” list is too long.
I can’t find my instrument.
I turned my clarinet into a lamp.
My dog howls at me when I play.
I’m too busy! My calendar is full.
I have arthritis, or the pressure is changing, so my shoulder, wrist, leg, arm (or whatever) hurts.
I need new reeds… strings… drum sticks… some valve oil.
I haven’t practiced all week (or month).
There are no opportunities to perform in my area.

Retirees, hopefully a few of these are not nostalgic – bringing back memories of the justifications for not practicing you may have heard from your own music students!

For some of us, the biggest obstacles of re-awakening our love of music and seeking hands-on experience playing in a band and orchestra are overcoming a little inertia, avoiding the blind acceptance of (bad) habits, and not being resigned to the myth that “our busy days and nights won’t allow us enough time” or that “we just have not played lately and feel very rusty!”

What is it about amateur music making that seems to be so intimating? Why do so some people think they have to be a virtuoso or “perfectly prepared” before participating in an ensemble? A few groups like the Community Band South (based in Upper St. Clair, Pittsburgh) generally have a “no student instrumentalists” membership policy. (With their hours of in-school rehearsals every week, most high school players have “major chops” and can usually play circles around “the seniors!”) Did you know there is a group in PA called RTO, which literally means “Really Terrible Orchestra?” (But, before you jump to any conclusions, better ask the members how they sound today.) Finally, does anyone remember Portsmouth Sinfonia, the “spoof” ensemble whose members earned recognition performing (badly) on non-major instruments?

The first big step about getting involved in a community band or orchestra is simply going out and doing it. Dive in! Remember how much FUN it was to surround yourself with like-minded and motivated musicians, all “making connections,” “coming together” and collaborating in an “ensemble,” exploring and interpreting new music and the classic band and orchestra masterworks, and regularly learning new skills of technique and expression on an instrument?

To facilitate finding an ensemble in Pennsylvania, please go to the PMEA website, click on “focus areas” and “retired members.” See http://www.pmea.net/retired-members/. This directory of PA community bands and orchestras will be updated (new groups added) from time to time. (Please send any corrections or additions to paulkfox.usc@gmail.com.) Another excellent resource (especially for contact information) is a link posted on the Association for Concert Bands website: http://www.community-music.info/.

Happy trails, retired members, and enjoy the resurgence of your renewed personal music making!

PKF

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.

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