Becoming a School Music Educator

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

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

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

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

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

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Student Teaching

First stop: Tips on Student Teaching.

Also check out these past issues of PMEA Collegiate Communique:

 

“Secrets” for that First Year

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

 

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Everything… Including the Kitchen Sink

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

 

Job Seekers

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

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

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 Collegiates, welcome to the profession!

“Break a leg” at your employment interviews!

PKF

 

Photo credits in order from Pixabay.com:

 

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© 2019 Paul K. Fox

Tips on Student Teaching

Digest of Resources for Pre-Service Music Teachers

Acknowledgments: Special thanks for the contributions of Blair Chadwick and  Johnathan Vest, who gave me permission to share information verbatim from their PowerPoint presentation, and to John Seybert (formerly of Seton Hill University), Ann C. Clements, Robert Gardner, Steven Hankle, Darrin Thornton, Linda Thornton, and Sarah Watt (Penn State University), Dr. Rachel Whitcomb (Duquesne University), and Robert Dell (Carnegie-Mellon University).

Photo credits: David Dockan, my former student, graduate of West Virginia University, now Choir Director / Music Teacher at JEJ Moore Middle School in Prince George, VA.

 

a field guide to student teaching in musicIf you are not fortunate enough to own a copy of A Field Guide to Student Teaching in Music by Ann. C. Clements and Rita Klinger (which I heartily recommend you go out and buy, beg, borrow, or steal), this blog provides a practical overview of field experiences in music education, recommendations for the preparation of all music education majors, and a bibliographic summary of additional resources. Representing that most critical application of in-depth collegiate study of music education methods, conducting, score preparation, ear-training, and personal musicianship and understanding of pedagogy on voice, piano, guitar, and band and string instruments, the student teaching experience provides the culminating everyday “nuts and bolts” of effective music education practice in PreK-12 classrooms.

Possibly the best definition of “a master music teacher” and the process for “hands-on” field training comes from the Penn State University handbook, Partnership for Music Teacher Excellence: A Guide for Cooperating Teachers, Student Teachers, and University Supervisors.

“The goal of the Penn State Music Teacher Education Program is to prepare exemplary music teachers for K-12 music programs. Such individuals can provide outstanding personal and musical models for children and youth and have a firm foundation in pedagogy on which to build music teaching skills. Penn State B.M.E. graduates exhibit excellence in music teaching as defined below.”

“As PERSONAL MODELS for children and youth, music teachers are caring, sensitive individuals who are willing and able to empathize with widely diverse student populations. They exhibit a high sense of personal integrity and demonstrate a concern for improving the quality of life in their immediate as well as global environments. They establish and maintain positive relations with people both like and unlike themselves and demonstrate the ability to provide positive and constructive leadership. They are in good mental, physipenn state university logocal, and social health. They demonstrate the ability to establish and achieve personal goals. They have a positive outlook on life.”

“As MUSICAL MODELS, they provide musical leadership in a manner that enables others to experience music from a wide variety of cultures and genres with ever-­‐‑increasing depth and sensitivity. They demonstrate technical accuracy, fluency, and musical understanding in their roles as performers, conductors, composers, arrangers, improvisers, and analyzers of music.”

“As emerging PEDAGOGUES, they are aware of patterns of human development, especially those of children and youth, and are knowledgeable about basic principles of music learning and learning theory. They are able to develop music curricula, select appropriate repertoire, plan instruction, and assess music learning of students that fosters appropriate interaction between learners and music that results in efficient learning.” — Penn State University School of Music

Making a smooth transition from “music student” to “music teacher” requires a focus on four goals:

  1. Preparation to your placement in music education field assignments
  2. Understanding of the relationships between your cooperating teacher(s) and the university supervisor (and you!) and promotion of positive communications
  3. Adjusting to new environments
  4. Development of professional responsibilities

As mentioned before, details of these should be reviewed in a reading of the introduction to A Field Guide to Student Teaching in Music by Ann. C. Clements and Rita Klinger.

Not to “toot my own horn,” but you are invited to peruse my past blogs on this subject:

 

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Observations

“Take baby steps,” they say?  Before your college music education professors release you to direct a middle school band, teach a general music class, or rehearse the high school choir, you will be asked to observe as many music programs as possible.

My advice to all pre-service teachers is, regardless of your formal assignments by your music education coordinator, try to find time to observe a multitude of different locations, levels, and socioeconomic examples of music classes. Do not limit yourself to those types of jobs you “think” you eventually will seek or be employed:

  • Urban, rural, and suburb settings in poor, middle, and upper-middle socioeconomic areas
  • Large and small school populations
  • Both private and public school entities
  • Elementary, middle, and high school grades
  • General music, tech/keyboard, guitar, jazz, band, choral, and string classes
  • Assignments as different from your own experiences in music-making

Ann Clement and Rita Klinger make the distinction between simply observing and analyzing what you see:

“Observation is a scientific term that means to be or become aware of a phenomenon through careful and directed attention. To observe is to watch attentively with specific goals in mind. Inference is the act of deriving logical conclusions from premises known or assumed to be true. Inference is the act of reason upon an observation. A good observation will begin with pure observation devoid of inference. After an observation of the phenomenon being studied has been completed, it is appropriate to infer meaning to what has been observed. Adding inference after an observation completes the observation cycle — making it a meaningful observation.”A Field Guide to Student Teaching in Music

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Some tips (from Student Teaching in Music: Tips for a Successful Experience by Blair Chadwick and Dr. Johnathan Vest):

  1. Have a specific goal for the observation in mind before you begin
  2. Make copious notes, but don’t write down everything.
  3. Write down techniques, quotes, musical directions or teacher behaviors that seem important.
  4. Don’t be overly critical of your master or cooperating teacher during the observation process.  Remember, they are the expert, you are the novice.  Your perspective changes when you are in front of the class.
  5. Hand-write your notes. An electronic device, although convenient, is louder and can provide distraction for the teacher and students, and you. Write neatly so you can transcribe the notes later.
  6. An small audio recorder can be very useful in case you want to go back and hear something again.

It is appropriate to mention something here about archiving your notes and professional contacts. It is essential that you organize and compile all of the data as you go along… catalog the information in your “C” files (don’t just stuff papers in a drawer somewhere):

  1. Contacts (cooperating/master teachers and administrators’ phone/email addresses)
  2. Course work outlines and class observation journals
  3. Concerts (your own solo and ensemble literature and school repertoire)
  4. Conferences (session handouts, programs)

Why is this important? Don’t be surprised if/when you are asked to teach in a specialty or grade level outside your “major emphasis,” and you want to find that perfect teaching technique or musical selection previously observed that would be a help in your lesson.

 

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Student Teaching

The success of the student teaching experience depends on all its parts working together. They include:

  • The Student Teacher
  • The Cooperating Teacher
  • The University Supervisor
  • The Students
  • The Administration and other teachers and personnel in the building

First, check out your university’s guidelines (of course), but here are “The Basics.”

  • Punctuality (Early = on time; On time = late; Late = FIRED)
  • Dress and Appearance: Be comfortable yet professional.  Be aware of a dress code if one exists, as well as restrictions on tattoos, piercings, and long hair length (gentlemen.)
  • Parking/Checking-In: Know this information BEFORE your first day
  • Materials and Paperwork: Contact your Cooperating Teacher  BEFORE the first day. Know what you need and bring it with you on the first day.

Teacher Hub in “A Student Teaching Survival Guide” spelled out a few more recommendations:

  1. teachhub.comDress for success (professionally)
  2. Always be prepared (checklists, planner, to-do’s)
  3. Be confident and have a positive attitude (if needed, “fake” self-confidence)
  4. Participate in all school activities (everything you can fit into your schedule: staff meetings, extra-curricular activities assigned to the cooperating teacher, and even chaperone duties for a school dance, etc.)
  5. Stay clear of drama (no gossip!)
  6. Don’t take it personally (embracing constructive feedback and criticism)
  7. Ask for help (that’s why you and mentor teachers are there)
  8. Edit your social media accounts (privacy settings and no school student contacts)
  9. Approach student teaching as a long interview (always, throughout the student teaching assignment: “best foot forward” and showcase of all of your qualities)
  10. Stay healthy (handling stress, good sleep, and other positive health habits)

Common questions that may be asked by the student teacher (Chadwick and Vest):

  • Will my cooperating teacher (CT) and school be a good fit for me?
  • Will I “crash and burn” my first time in front of the class?
  • What if  my CT won’t let me teach?
  • What if my CT “throws me to the wolves” on the first day?
  • Will the students respect me?
  • How will I be graded?
  • Will I pass the Praxis??

 

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Planning

Chapter 2 “Curriculum and Lesson Planning” in A Field Guide to Student Teaching in Music provides 12 pages covering scenarios, discussions, and worksheets on all aspects of instructional planning, including the topics of philosophy of music teaching, teaching with and without a plan, long-term planning, and assessment and grading.

If you are unfamiliar with the terms “formative,” “summative,” “diagnostic” and “authentic” assessment, or other educational jargon, or are not fully aware of your state’s arts and humanities standards and the National Core Arts Standards, don’t panic. (Many of us “veteran” music teachers were in the same boat at the beginning of student teaching, regardless of how much material was introduced in our education methods courses.) Do some “catch-up” by visiting  the corresponding websites. For example, in pmeaPennsylvania, you should be a member of PCMEA and take advantage of the research of the PMEA Interactive Model Curriculum Framework. Some educational “buzz words” and acronyms were explored in a previous blog here. It should be noted that, although you won’t be expected to know the full PreK-12 music curriculum while student teaching, when you are hired as “the music specialist,” you would likely be the professional who will be assigned to write and update that same curriculum… so get to know it ASAP. (On my second day in my first job, my JSHS principal came to me and said a course of study for 8th grade music appreciation was due on his desk by the last week of the semester! No, like you, I was not trained in writing curriculum in college!)

From the Penn State University Partnership for Music Teacher Excellence: A Guide for Cooperating Teachers, Student Teachers, and University Supervisors, the following criteria are recommended to be used by the cooperating teacher and the student teacher to assess the effectiveness of a long-term course of study. (Sample plans are provided here.)

  1. Stated learning principles are related to specific learner or student teacher
    activities.
  2. The importance of the course of study is explained in terms learners would likely
    accept and understand.
  3. Each goal is supported by specific objectives.
  4. The sequence of the objectives is appropriate.
  5. The goals and objectives are realistic for this group of learners.
  6. The objectives consider individual differences among learners.
  7. The content presentation indicates complete and sequential conceptual
    understanding.
  8. The presentation is detailed enough that any teacher in the same field could
    teach this unit.
  9. The amount of content is appropriate for the length of time available.
  10. A variety of teaching strategies are included in the daily activities.
  11. The teaching strategies indicate awareness of individual differences.
  12. The daily plans include a variety of materials and resources.
  13. The objectives, teaching strategies, and evaluations are consistent.
  14. A variety of evaluative techniques is employed.
  15. Provisions are made for communicating evaluative criteria to learners.
  16. The materials are neatly presented.

It is important sit side-by-side with your cooperating teacher and discuss some of these “essential questions” of instructional planning and assessment of student teaching:

  • What is the purpose of the learning situation?
  • What provision have you made for individual differences in learner needs, interests, and abilities?
  • Are your plans flexible and yet focused on the subject?
  • Have you provided alternative plans in case your initial planning was not adequate for the period (e.g. too short, too long, too easy, too hard)?
  • Can you maintain your poise and sense of direction even if your plans do not go as you anticipated?
  • Can you determine where in your plans you have succeeded or failed?
  • On the basis of yesterday’s experiences, what should be covered today?
  • Have you provided for the introduction of new material and the review of old material?
  • Have you provided for the development of musical understanding and attitude as well as performance skills?

 

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Getting Your Feet Wet… Becoming an “Educator”

[Source: Chadwick and Vest]

Be attentive to the needs of the students and your cooperating teacher. If you see a need that arises that the CT cannot or is not addressing, then take action. Don’t always wait to be told what to do. These situations may include:

  • Singing or playing with students who are struggling
  • Work with a section or small group of students
  • Helping a student with seat/written work
  • Attending to a a non-musical problem (such as student behavior)

Your supervising teacher or music education coordinator will probably instruct you on how much and when to teach, but each school and CT is different. In general, you should start teaching a class full-time by week 3 and have at least two weeks of full-load teaching per placement. (This is not always possible.)

Remember that any experience is good experience, so be grateful if you are asked to teach early-on in your experience.

What the supervising and/or cooperating teachers are looking for during an observation:

  1. The Lesson Plan
    • Lesson organization (components, logical flow, pacing, time efficiency)
    • Required components included
    • National and State Standards Included—and these have/are changing!!!!
    • Objectives stated in observable terms and tied directly to your assessment(s)
    • What the US/CT is looking for during an observation
  2. Teaching Methods
    • Questioning techniques (stimulate thought, higher order, open-ended, wait time)
    • Appropriate terminology use
    • Student activities that are instructionally effective
    • Teacher monitoring of student activities, assisting, giving feedback
    • Opportunities for higher order thinking
    • Teacher energy/enthusiasm
  3. Classroom Management
    • Media and materials are appropriate, interesting, organized and related to the unit of study.
    • Teacher “with-it-ness”
    • Student behavior management (consistency, classroom procedures in place, students understand expectations)
  4. Student Involvement/Interest/Participation in the Lesson
    • Student verbal participation
    • Balance of teacher talk/student talk
    • Lots of  “musicing” (singing, playing, listening, moving)
    • Student motivation
    • Student understanding of what to do and how to do it
  5. Classroom Atmosphere
    • Positive, “can-do” atmosphere
    • Student questions, teacher response
    • Helpful feedback
    • Verbal and non-verbal evidence that all students are accepted and feel that they belong

Student teaching is the opportunity of a lifetime. This is when you get to practice your pedagogical skills, make invaluable professional connections,  and learn lifelong lessons. Sure, it will take a lot of hard work and dedication. As TeacherHub concluded, “Use this time to learn and grow and make a great impression. Stay positive and remember student teaching isn’t forever – if you play your cards right, you will have a classroom of your own very soon.”

PKF

 

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Bibliography

A Field Guide to Student Teaching in Music, Ann C. Clements and Rita Klinger

A Guide to Student Teaching in Band, Dennis Fisher, Lissa Fleming May, and Erik Johnson, GIA 2019

Handbook for the Beginning Music Teacher, Colleen Conway and Tom Hodgman, 2006

Including Everyone: Creating Music Classrooms Where All Children Learn, Judith A. Jellison, 2015

Intelligent Music Teaching, Robert Duke

Music in Special Education, Mary S. Adamek and Alice Ann Darrow, 2010

Partnership for Music Teacher Excellence: A Guide for Cooperating Teachers,
Student Teachers, and University Supervisors,
Penn State University Music Education Faculty Ann Clements, Robert Gardner, Steven Hankle, Darrin Thornton, Linda Thornton, Sarah Watts  https://music.psu.edu/sites/music.psu.edu/files/music_education/pmte-student_teaching_handbook.pdf

Remixing the Classroom: Toward an Open Philosophy of Music Education, Randall Everett Allsup, 2016

A Student Teaching Survival Guide, Janelle Cox https://www.teachhub.com/student-teaching-survival-guide

Student Teaching in Music: Tips for a Successful Experience, Blair Chadwick and Dr. Johnathan Vest https://www.utm.edu/departments/musiced/_docs/NAfME%20%20Student%20Teaching%20in%20Music.pptx

Teaching Music in the Urban Classroom, Carol Frierson-Campbell, ed.

Teaching with Vitality: Pathways to Health and Wellness for Teachers and Schools, Peggy D. Bennett, 2017

 

© 2019 Paul K. Fox

A Collection of Collegiate “Treasures”

3 by 3: Essential Books + Websites for Music Ed Majors

By now, at least several weeks after the holiday/winter break, most of you have probably returned to school and are “back at it” fulfilling your studies in music and education methods. Welcome to the New Year (2019) and good luck on meeting your goals!

It has been my pleasure to present numerous workshops and conference sessions for pre-service, in-service, and retired music educators on a variety of topics: interviewing for a job, marketing professionalism, ethics, transitioning to retirement, supercharging the musical, etc., and have been asked on occasion, “Where do you find all of the information, research, and resources for your blog-posts and talks?

Well.. I’m glad you asked!

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It would be hard to credit one or a few sources on reliable data, insights, and recommendations for career development. The following “gems” – a few ideas from someone who has taught music for more than 40 years – are just my New Year’s “gifts” to you… hopefully useful in your undergraduate or advance degree studies. Please enjoy!

This is probably the wrong time to suggest making a few “buys” for the sake of educational enrichment. College students are bombarded with many required readings of their (often expensive) textbooks and handouts from their comprehensive higher education courses of study. It is somewhat daunting to “cover all the bases,” especially when you may want specific advice and “answers” as a result of being recently thrown into “the real world” of field observations and student teaching. What else would a prospective music teacher need or have time to read? How can we better prepare you for the challenges of our profession?

Since you have to order books (or borrow them from a library), we’ll start with the printed publications. Here are my “top three” for your immediate consideration.

 

My Many Hats

My Many HatsIn the category of “things I wishes someone would have told me before I was hired to be a school music educator,” the inspirational book, My Many Hats: Juggling the Diverse Demands of a Music Teacher by Richard Weymuth, is a recommended “first stop” and easy “quick-read.” Published by Heritage Music Press (2005), the 130-page paperback serves as an excellent summary of the attributes (or “hats”) of a “master music teacher.” Based on the photos in his work (great “props”), I would have loved to have seen Weymuth’s conference presentations in person as he donned each hat symbolizing the necessary skill-set for a successful educator.

A quote from the author in his Introduction:

“I want my hats to put a smile on your face as you read this book, just as they do for the airport security guards as they go through my bags at the airport. They ask, “Are you a magician? A clown? An entertainer?” My answer is, “Yes, I am a teacher.”

His Table of Contents tells it all:

  1. The Hat of a Ringmaster: Managing your classroom and your time
  2. The Hat of a Leader: Setting the direction and tone of your classroom
  3. The Hat of a Scholar: Learning when “just the facts” are just fine, and when they aren’t
  4. The Hat of a Disciplinarian: The Three C’s: Caring, Consistency, and Control
  5. The Hat of an Eagle: Mastering your eagle eye
  6. The Hat of a Crab: Attitude is everything; what’s yours?
  7. The Hat of a Juggler: Balancing a complicated and demanding class schedule
  8. The Hat of a Banker: Fund raising and budgeting
  9. The Hat of an Artistic Director: Uniforms and musicals and bulletin boards, oh my!
  10. The Hat of a Lobster: Establishing the proper decorum with your students
  11. The Hat of a Pirate: Finding a job you will treasure
  12. The Hat of a Bear: Learning to “grin and bear it” in difficult situations
  13. The Hat of a Peacock: Having and creating pride in your program
  14. The Hat of Applause: Rewarding and recognizing yourself
  15. The Hat of a Flamingo: Sticking out your neck and flapping your wings

Here are a couple sections that should be emphasized if you are currently a junior or senior music education major.

All student or first-year teachers should focus on his/her three C’s of class discipline in Chapter 4: “Caring, Consistency, and Control.” In order to resolve problems and seek advice from local mentors (especially help from second and third-year teachers who may have just gone through similar conflicts), he poses these questions:

  • What is the specific discipline problem that is currently bothering you?
  • Who could you interview in your educational community to help with this problem?
  • How did they handle the problem?
  • What discipline solutions worked and what didn’t work?

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Those getting ready for the job search and interviewing process this year must turn to Chapter 11 immediately! “Just like a pirate, you are searching for your treasure, or at least a job you will treasure.” Suggesting that first-year teachers should stay in their assignment for a minimum of three years (to show “you are a stable teacher and are dedicated to the district”), Weymuth offers guidance in these areas:

  • The Application Process
    • Cover Letter
    • Résumé
  • The Interview
    • Make a Good Impression
    • The First-Class Interview
    • Frequently Asked Questions
  • The Second Interview

The book is worth the $17.95 price alone for the interview questions on pages 85-88.

Once you “land a job” and are assigned extra-curricular duties like directing after-school ensembles, plays, and perhaps fund-raising for trips, shows, uniforms, or instruments, come back to Chapter 8 for “The Hat of a Banker” and Chapter 9 for “The Hat of an Artistic Director.” His guidelines for moneymaking and record-keeping include insightful sub-sections on:

  • Planning and Administering a Fund-Raising Activity
  • Possible Fund-Raisers
  • Motivating Students to Sell, Sell, Sell (Set Goals, Prizes, and Tracking)
  • Budgeting

Having previously posted a blog on “Supercharging the School Musical,”  I was impressed with his pages 65-69 on “Show and Concert Choir Dress” and The Musical,” and especially the “Appendix – Resources Books for Producing a Musical” in the back of the book.

 

Case Studies in Music Education

Case Studies in Music EducationNext, I would like to direct pre-service and new music teachers to Case Studies in Music Education by Frank Abrahams and Paul D. Head. This would be an invaluable aid to “facilitate dialogue, problem posing, and problem solving” from college students (in methods classes?) and “rookie” teachers to veteran educators.

Using the format of Introduction, Exposition, Development, Improvisation, and Recapitulation known by all music professionals, each chapter presents a scenario with a moral dilemma that many music educators face in the daily execution of their teaching responsibilities.

 

“How should a music teacher balance learning and performing? What is the best way to handle an angry parent? What are the consequences of the grades teachers assign? What are the best ways to discipline students? How should teachers relate to the administrators and to other teachers? The emphasis here is not on the solution, but on the process. There are many viable approaches to nearly every obstacle, but before any meaningful long-term solutions can be made, teachers must identify their own personal philosophy of music education and recognize those traits that are admirable in another’s style.”

―Excerpt from back cover of Case Studies in Music Education, Second Edition, by Frank Abrahams and Paul D. Head

Case Studies in Music Education provides a frank discussion about the critical real-world issues music teachers face but are rarely addressed in college courses:

  • Balancing the goals of learning and performing music
  • Communications and relationships with parents, administrators, and other staff
  • “Fair use” and other copyright laws

If you are seeking more reflection and peer review of ethical issues in the music education profession, good for you! Few music teachers ever talk about the “e” word. What’s important is not only becoming aware of your state’s/district’s statues on the “teacher’s code of conduct” and dress/behavior expectations, but developing your own ethical “compass” for all professional decision-making. A good companion to the Abrahams and Head book is to peruse my previous blogs on ETHICS (posted in reverse chronological order).

 

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Enhancing the Professional Practice of Music Teachers

“Book number three” is probably the most expensive, and I could only wish you were already exposed to it in one of your music education courses. If you have not seen it, go ahead and “bite the bullet” in the purchase of Enhancing the Professional Practice of Music Teachers: 101 Tips that Principals Want Music Teachers to Know and Do by Paul G. Young, published by Rowman & Littlefield in 2009. [Note: Be sure to give them your NAfME membership number for a 25% discount!]

“If you want to improve your professional performance and set yourself apart from your colleagues—in any discipline—these tips are for you. If you desire anything less than achieving the very best, you won’t want this book. Rather than addressing research and theory about music education or the “how-to’s” of teaching, Enhancing the Professional Practice of Music Teachers focuses on common-sense qualities and standards of performance that are essential for success-everywhere. Whether you’re considering a career in music education, entering your first year of teaching, or nearing the end of a distinguished tenure, this advice applies to musicians in any setting. Affirming quality performance for experienced teachers and guiding, nurturing, and supporting the novice, Young outlines what great music teachers do. Easy to read and straightforward, read it from beginning to end or focus on tips of interest. Come back time and again for encouragement, ideas, and affirmation of your choice to teach music.”

– https://nafme.org/reading-list-music-educators/

ENhancing the Professional Practice of Music TeachersHis chapters are organized into six tips:

  • Tips That Establish Effective Practice with Students
  • Tips That Support Recruitment
  • Tips That Enhance Instruction
  • Tips That Enhance the Profession
  • Tips for Personal Growth
  • Tips for Professional Growth

Paul Young is a musician and band director who later became an elementary school principal. His book is derived from his experience as a music student, music teacher, and educational leader. The intent of the publication is to guide both new and experienced teachers in continued personal and professional growth. He uses his experience as an administrator to point out to music teachers the traits he has seen in individuals who have become successful in the profession.

Now that you ordered at least one of these for personal research and growth, I should point out other sources of book recommendations for the budding music educator, courtesy of NAfME:

 

Online Resources

Okay, now comes the “easy-peasy” part, and even more importantly, it’s mostly FREE!

NAfME blogThe first thing I want you to do (and you don’t even have to be a member of NAfME yet, although you should be!) is to take at least a half-hour, scroll down, and read through numerous NAfME “Music in a Minuet” blog-posts, bookmarking any you want to return to at a later date. Go to https://nafme.org/category/news/music-in-a-minuet/. Get ready to be totally immersed into the music education profession in a way no college professor can do, with articles like the following (just a recent sampling):

 

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Hopefully you did receive a little cash in your Christmas stocking… or something from grandma! Now is time to “belly up to the bar” and pay your dues. Every professional school music educator should be a member of their “national association…” NAfME!

Once you do this, get ready to reap countless benefits! First, besides offering a discounted rate for all collegiate members, you will be eligible for a significant price break for full active membership renewal during your first-year of teaching! Then, the doors will open wide to you for all of the many NAfME member services such as classroom resources, professional development, news and publications, special offers for members, etc.

Amplify

Once you are a NAfME member, open up your browser, and go immediately to the NAfME AMPLIFY community discussion platform, instructions posted here. Getting started on AMPLIFY is easy:

  • Go to community.nafme.org.
  • Edit your profile using your NAfME.org member username and personal password.
  • Control what information is visible on your profile.
  • Join/subscribe to communities of your choice – you will automatically be enrolled in Music Educator Central, our general community for all NAfME Members.
  • Control the frequency and format of email notifications from Amplify.

If you prefer, they have created a video or quick-start guide here to set-up your account’s profile, demonstrate the features, and provide some help navigating through the AMPLIFY menus.

Once you familiarize yourself with the forum, find the “Music Educator Central” and “Collegiate” discussion groups… and start reading. If you have a question, post it. AMPLIFY connects you with as many as 60,000 other NAfME members… a powerful resource for networking and finding out “tried and true” techniques, possible solutions to scenarios or problems in the varied settings of school music assignments, and the sharing of news, trends, perspectives, and more!

Try it… you’ll like it! When you feel comfortable with the platform, contribute your own posts, thoughtful responses to comments from the reflections of your “colleagues,” teaching anecdotes, personal pet-peeves, and ???  – you name it! The sky is the limit!

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Tooting My Own Horn… the “Paulkfoxusc” Website (now paulfox.blog)

Finally, if you have indeed “blown the budget” over family holiday purchases, I can suggest one freebie website that archives a comprehensive listings of blog-posts, links, and books. Under the category of “marketing professionalism,” you can search through blogs placed online in reverse chronological order at https://paulkfoxusc.wordpress.com/category/marketing-professionalism/ or you can “take everything in” from one super-site entitled “Becoming a Music Educator” at https://paulkfoxusc.wordpress.com/becoming-a-music-educator/.

Of course, I have a few “favorite” articles which may provide you a great start to your journey of self-fulfillment:

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Best wishes on you continuing your advancement and personal enrichment towards the realization of a wonderful career in music education!

PKF

© 2019 Paul K. Fox

 

Photo credits in order from Pixabay.com: “student” by geralt, “book” by PourquoiPas, “girl” by nastya_gepp, “fatigued” by sasint, “learn” by geralt, “brass” by emkanicepic, and “iPad” by fancycrave1

 

 

Stress, Burnout, & Stage Fright in College

Resources for Music and Music Education Majors

Increasingly,  in some parts of the country there are new shortages of qualified, experienced, skilled, and engaging public and private school teachers, even in the fields of Performing Arts. (For examples, see https://www.washingtonpost.com/news/answer-sheet/wp/2017/08/28/teacher-shortages-affecting-every-state-as-2017-18-school-year-begins/?utm_term=.c599b1d39405.)

At the same time, although it may not seem to be hustle-and-bustle-1738072_1920_geraltdocumented to a great extent, stress, burnout, and stage fright have become real concerns for music education majors completing their coursework, juries/recitals/concerts, methods exams, student teaching, and other field experiences. This may be affecting statistics on college enrollments, graduation rates, and job placements!

It would seem we should be recruiting more music educators (not losing them as “failed” music/music education majors). Where should we look for answers to this problem?

“Burnout is fatigue and diminished interest caused by long-term stress. It is characterized by emotional exhaustion, depersonalization, and lack of personal accomplishment. In the university music atmosphere, stress and burnout are prevalent accepted as part of the culture. Symptoms and causes of general stress and burnout have been well researched, but much less has been presented on college musicians’ burnout, let alone how to deal with it.” — Helen Orzel

 

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The purpose of this blog-post is to share studies, surveys, and articles of research on the causes for stress and “drop-outs” of music and music educator majors, along with proposals of remedies for reducing college student anxiety and recommendations for alleviating the problem of attrition.

An overview of collegiate performance anxiety elucidates numerous emotional triggers:

  1. anxiety-2019928_1920_WokandapixCollege funding
  2. Academic pressures: acquiring new knowledge, understandings, skills, etc.
  3. Competition (both in self-perception of achievement and in relation to peers)
  4. Trends in seeking perfectionism
  5. Coping with being away from home
  6. Sleep deprivation
  7. Challenges with personal relationships
  8. Development of new strategies and systems of personal organization and time management

If you find additional sources or statistics, please pass them on. Click on the above comment link so we can add them to this discussion.

 

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College Student Stress

The best summary I have found on this subject is from the recently released Fall 2018 issue of the state journal of the Pennsylvania Music Educators Association (PMEA) – PMEA News. (For full access, become a member of PMEA.) Read the article on page 52, “Music Major Anxiety – Causes and Coping” by Kevin Shorner-Johnson, National Association for Music Education (NAfME) Society for nafme_society_research_music_edMusic Teacher  Education (SMTE) PA State Chair and Director of Music Education at Elizabethtown College. He talks about anxiety as “the leading mental health issue among adolescents and college students,” and examines the stressors of academic expectations, time management, “perfectionism,” and amygdala and cortex-rooted stress disorders, as well as cultivating practices of self-care and coping skills.

Shorner-Johnson recommends the book, Rewire Your Anxious Brain: How to Use the Neuroscience of Fear to End Anxiety, Panic, and Worry by Catherine Pittman and Elizabeth Karle (2015).

“Pittman and Karle provide beautiful guides and checklists that may assist students in building coping skills such as deep breathing, progressive muscle relaxation, meditation, prayer, yoga, exercise, and chanting. Coping strategies can allow us to enter into tension, getting to know origins and triggers, and transforming anxieties into new forms of centered awareness. Like music, coping strategies are skills that can only be cultivated through practice. When we practice self-care, we rewire associated connections and empower new responses.”  — Kevin Shorner-Johnson

 

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For a comprehensive survey on the stressors of music majors, peruse the illuminating thesis of H.J. Orzel (2010) “Undergraduate Music Student Stress and Burnout.” She states that her study has a two-fold purpose:

  • Examine sources of stress and burnout for undergraduate music students, and
  • Examine existing methods of controlling stress and burnout.
  • This information can also be a tool for college music students needing
    help with stress and burnout.

“A college musician’s environment can significantly influence stress levels. Environmental stressors include overworked professors unable to provide support,
competitive peers, lack of resources such as practice space or counseling services,
overburdened schedules, and high standards and expectations set by institutions…
Developing and maintaining a healthy lifestyle can help reduce the effects of environmental stress, promoting resilience.” — Helen Orzel

In her conclusion, she mentions these possible strategies to alleviate stress:

  1. stress-391657_1920_geraltLearning to “manage your burdens,” class schedules, assignments, calendar, etc.
  2. Improvement of personal time management towards greater work/life balance
  3. Development of coping skills for new environments
  4. Exploration of new practice venues and study routines
  5. Allocation of more time with supportive peers
  6. Learning to make manageable choices, setting of limitations and reasonable expectations for making future commitments
  7. Practice of relaxation, slow breathing, and meditation exercises
  8. Strategies for reduction of performance anxiety and “stage fright”
  9. Reflection on and rehash of personal mission, goals, and motivations, and “what first inspired them to pursue music”

 

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H. Christian Bernard II from the State University of New York at Fredonia offers his research-based article Contemplative Practices in Music Teacher Education, describing efforts to incorporate contemplative studies within a music curriculum (Sarath 2006), mindfulness instruction on the music listening experiences (Diaz 2013), mindfulness-based stress reduction intervention instruction (Shapiro, Schwartz, and Bonner 1998), short-term meditation practices on attention and self-regulation (Tang lonely-1510265_1920_PoseMuse2009), “deep listening” as “a way of hearing in which we are fully present with what is happening in the moment” (Barbezat and Bush 2014), contemplative movement activities including methodologies of Orff, Kodaly, Dalcroze, and Gordon adapted for other music teaching contexts (Benedict, 2010), walking meditation, tai chi ch’uan, yoga, and labyrinth walking (Center for Contemplative Mind in Society, 2016), contemplative reading, writing, and other self-help practices.

“Contemplation is not the opposite of thinking but its complement. It is not the emptying of the mind of thoughts but the cultivation of awareness of thoughts within the mind. Through contemplation, the mind is open to itself.”                                               — D.P. Barbezat and M. Bush.

“Utilizing contemplative practices including meditation, reading and writing, movement, and listening can offer students and teachers opportunities for meaningful experiences while simultaneously reducing levels of stress and anxiety. While mindfulness is a prerequisite for all contemplative practices, this secular and academic application goes beyond deepening of awareness and compassion to also include deepening of thinking and learning. Care should be used when selecting resources and activities, as the use of contemplative practices should always serve as an aid to, not a replacement for, effective music teaching and learning.”   — H. Christian Bernard II

Bernard also provides an excellent bibliography for further study, and has also written many other related articles:

 

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Burnout

An outstanding series of YouTube video presentations dives into what “five different research studies have to say about burnout and the undergraduate music education major, and the implications these studies have for students, professors, and administrators when it comes to managing the stress often associated with this degree.” As a requirement for her graduate music psychology class, Meghan Johnson presented “Burnout and the Undergraduate Music Education Major: Surviving the Stress” in 2010:

Additional resources regarding pre- and in-service music teacher burnout:

 

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Performance Anxiety

Dr. Natalie Ozeas, formerly Professor and Head of Music Education at Carnegie-Mellon University (CMU), shares a new local initiative for addressing the problem of stage fright by Anne Jackovic Moskal, a member of the Pittsburgh Benedum Orchestra and solfege teacher at the CMU School of Music.

“The text that I use for my class is Musician’s Yoga by Mia Olson. We work a lot with meditation, especially focused towards the music we are currently working on. We practice by either listening to recordings or simply thinking of the whole work in their mind and how to continuously breath through it. The thought is that they will be able to move past anxious moments in performances and feel the constant breath instead. Additionally, we take meditation walks and practice the same method. Some of these methods are addressed in this book. We also have a physical practice to reinforce breathing through challenges. However, a significant part is to stretch, repair, restore, and strengthen our bodies from the damage of long practice sessions.”                            — Anne Jackovic Moskal

There are a myriad of sources on the web geared to performers for lessening stage fright, including blogposts like “A Few Things Every Musician Should Know About Stage Fright” by Noa K Kageyama from BulletproofMusician.

 

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NAfME members have free access to numerous articles on performance anxiety. Several articles published in the Music Educators Journal (MEJ) include “Stress in the Lives of Music Students” by David J. Sternbach (January 2008), “The Other Side of Stage Fright” by Donald L. Hamann (April 1985), and “Stage Fright – Its Cause and Cure” by Rowland W. Dunham (1953).

“To help your students reduce stress, address the ways they critique their practice and prepare for performance… Excessive self-criticism in practicing can be a predisposing factor for performance anxiety.” — David J. Sternbach

nafme“When musicians think about performing, they eventually think about performance anxiety — ‘stage fright.’ Performance anxiety can be defined as a physical and mental deviation from a ‘normal state’ and is perhaps one of the most misunderstood areas of performance practice… A reduction in anxiety levels especially with musicians with extensive formal training may actually diminish performance quality. For musicians with low mastery skills, the prudent approach would seem to be to undertake more formal training.” — Donald L. Hamann

“Here is the cure for stage fright. If you have strength of mind and a conscientious determination, you can walk onto the stage for a solo with almost the same certainty you have in practicing. There is the added and thrilling incentive now of an audience. By ignoring what you may fancy to be their opinion of you — which does not matter anyway — you have a new angle: giving emotional joy, spiritual nobility, or dramatic stimulation.With an honest artistic outlook, stage fright goes out the window. In its place you have the pleasure of adding something to he lives of your listeners.”               — Rowland W. Dunham

 

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Additional resources on stage fright and other anxiety issues:

 

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Finally, even though there is so much more to cover, a good “coda” on the subject of stress in music school might be to look at the article “Reality 101” by Gary C. Mortenson in the December 1991 issue of Music Educators Journal. Citing the University of Massachusetts student Erin Martin’s column “Real World 101: A Needed Course” in the October 1990 issue of U. — The National College Newspaper, college students could use help in areas not traditionally included in undergraduate curriculum:

  1. hurry-2119711_1920_TeroVesalainenJob placement
  2. Financial planning
  3. Raising a family
  4. Stress management

Mortenson creates several excellent “mock scenarios” fostering critical thinking and problem solving of teacher-student relationships, teacher-parent relationships, and criticism and stress that are issues in every teaching career.

“Life would be much easier if we could learn to handle real-world problems before we have to face them on our own.” — Erin Martin

“Teaching requires the ability to manage a variety of challenging situations. It is as complex and changeable as the society we live in. In college, future teachers assimilate a great deal of information that prepares them to share knowledge with their students. No one, however, can teach all of the skills needed to make complex decisions on all possible future real-life circumstances. These must ultimately be arrived at on an individual basis according to one’s own instincts and conscience. By giving more thought to how the problems and issues that confront students, parents, and colleagues will affect us, however, we can better equip ourselves to respond in an intelligent way to these challenges.” — Gary C. Mortenson

 

UPDATE (January 3, 2019):

Just after the release of this blog-post, the timely article “The Mindful Music Educator – Strategies for Reducing Stress and Increasing Well-being” by Dana Arbaugh Varona came out in the NAfME Music Educators Journal, Volume 5 Issue 2, 2018. (See https://journals.sagepub.com/doi/full/10.1177/0027432118804035.) You must be a member of NAfME to read the December 2018 issue in its entirety.

PKF

© 2018 and 2019 Paul K. Fox

 

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Photo credits in order from Pixabay.com: “stress” by TheDigitalArtist, “hustle and bustle” by geralt, “people” by tweetyspics, “anxiety” by Wokandapix, “woman” by Comfreak, “stress-2883638” by geralt, “stress-391657” by geralt, “woman” by Pexels, “lonely” by PoseMuse, “stress-22670” by geralt, “cello” by enbuscadelosdragones0, “trumpeter” by klimkin, “marching-band” by skeeze, “hug” by markzfilter, “hurry” by TeroVesalainen, and “laptop” by JESHOOTScom.

Transitioning from Collegiate to Professional – Part I

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

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

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

music-3090204_1920_brendageisseBefore long, you will shed the label and function of a “college student” (although still remaining a life-long learner… and never stop the quest for new knowledge and self-improvement!). The focus will shift from YOU to YOUR STUDENTS. The prerequisites for a career in education are unique and do not resemble the same challenges as success in business, manufacturing, retail, service industry, or becoming an entrepreneur, blue-collar worker, or even a composer or professional musician. The sooner you realize these are world’s apart, the better, and now is the time to finish your major and life-changing transformation to… a professional music educator.

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

 

profession

Professionalism

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

  • Succeeded in and continues to embrace “higher education”
  • idea-3082824_1920Updates self with “constant education” and retooling
  • Seeks change and finding better ways of doing something
  • Like lawyers/doctors, “practices” the job; uses different techniques for different situations
  • Accepts criticism (tries to self-improve)
  • Proposes new and better things “for the good of the order”
  • Can seemingly work unlimited hours (24 hours a day, 7 days per week?)
  • Is salaried (does not think in terms of hourly compensation, nor expects pay for everything)
  • Is responsible for self and many others
  • Allows others to reap the benefits and receive credit for something he/she does
  • Has obligations for communications, attending meetings, and fulfilling deadlines
  • Values accountability, teamwork, compromise, group goals, vision, support, creativity, perseverance, honesty/integrity, fairness, and timeliness/promptness
  • Accepts and models a very high standard of behavior, etiquette, appearance, language, and ethics.

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

  • Accepting
  • Adult involvement
  • Attending
  • Consistency of message
  • Conviviality
  • woman-3061656_1920_RobinHigginsCooperation
  • Engagement of students
  • Knowledge of subject
  • Monitoring learning
  • Optimism
  • Pacing
  • Promoting self-sufficiency
  • Spontaneity
  • Structuring

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

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

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

 

ethics

 

Ethics

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

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

No excuses! Better go look this stuff up. If you reside in Pennsylvania and plan to become employed there, go immediately to http://www.pspc.education.pa.gov/Pages/default.aspx. If your state does not have a code of ethics or state-specific conduct standards, download and consume this excellent reference: http://www.nasdtec.net/?page=MCEE_Doc. The young-3061652_1920_RobinHiggins2National Association of State Directors of Teacher Education and Certification proposes these principles:

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

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

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

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

 

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

singer-84874_1920_BEPAlthough teachers seem to be the only one of these who DO NOT have formal pre- or in-service ethics training, and our “charges” represent a “captive audience,” our duty is clear: to act as a fiduciary for our students’ best interest, and to create and maintain a safe environment for them at all times.

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

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

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

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

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

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Philosophy

Have you written your personal philosophy of music education?

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

  • music-2323517_1920_davorkrajinovicWhat do you believe about teaching?
  • What do you believe about learning? Why?
  • How is that played out in your studio/class?
  • How does student identity and background make a difference in how you teach?
  • What do you still struggle with in terms of teaching and student learning?

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

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

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

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

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

isolated-3061649_1920Take time to peruse these and others. Most of these sites also offer excellent examples of personal branding and marketing of the prospective job hunters’ experiences, skills, and achievements… material for our next blog on this topic.

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

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

 

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PKF

© 2018 Paul K. Fox

 

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