The Importance of Music Education

One Teacher’s Views on the Advocacy of Music in the Schools

Here are partial transcripts, excerpts, and commentary about this blogger’s perspectives on the value and benefits of music education, paraphrased from the program The Edge, produced by the Peters Township High School On-Air Talent class: Episode No. 45, “The Importance of Music Education,”https://archive.org/details/The_Edge_-_Episode_45_-_The_Importance_of_Music_Education

 

The Edge Episode 45

 

music-1781579_1280_GDJOver the years, I have been a strong advocate of equal-access to music and the arts as an essential part the education of all children. This blog will give me an opportunity to put a lot of my thoughts in one place. I am aware that there are many people “out there” who offer the premise that studying music makes you successful in other areas, and you will see that this assumption is well-supported. However, I am not a brain scientist. I cannot confirm research that seems to point to a direct correlation that “the music itself makes us smarter.” It could be that students who are attracted to and become proficient in the arts are somehow uniquely “wired,” have a greater work ethic, or are better intellectually “equipped” to become successful engineers, doctors, lawyers, educators, scientists – you name the career – and enjoy life-long happiness and self-realization. So many of those music-in-our-schools-month fliers say “music is basic,” “music is math,” “music is reading,” “music is science,” etc. and they are right! So, it’s not wrong to bring it up. But we should be fully aware that the primary goal of an education in the arts is for the development of creative self-expression.

In short: music for music’s sake.

When revising our Fine and Performing Arts mission and goals of music education for Middle States accreditation, the music and art teachers in my district centered on several primary goals. Probably the most important one was “to promote the skills of creative self-expression by using music, art, dance, and/or drama as vehicles for defining the students’ self-identity, learning concepts, communicating thoughts and feelings, and exploring mankind’s musical heritage in order to gain a broad cultural and historical perspective.” This statement was written many years ago… prior to the advent of Internet and social media, but perhaps it is even more relevant today!

However, there’s plenty of room here to provide you a wide spectrum of rationale and research from multiple vantage points.

It was my joy to be interviewed by host Sam D’Addieco, a junior percussion player in my South Hills Junior Orchestra. This link takes you to a 30-minute Vimeo recorded in the Peters Township Community Television studio on May 6, 2019. Although this was his assignment for a media class, it really prompted me to do some additional introspection about “what I think I think.” These were some of the issues we discussed… by no means verbatim, but, after all, this is my website. Now I can say what I really meant…

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Initial Questions and Responses

  1. Why did you choose to become a music educator? Music teaching is the greatest job in the world. Every day you deal with the inspirational subject matter of music, and then share it with students who want to be in your class! What could be any better? We guide students towards finding their personal identities, innate artistic and expressive potentials, and successes in making music.
  2. What inspired you to become a music educator in the first place? Were you always going to be a music teacher? I was one of those “goobers” who wanted to “live” in the music room… if I could, participating in band and orchestra eight periods a day! But, up to my Freshman year, I was going to be a doctor or surgeon, thinking that the field of medicine, “saving people’s lives” would be the most exalted career. That is until my Special Biology teacher gave each of us a needle, alcohol swipe, and blood type testing strip, and I found out I was too squeamish to poke myself. What did I really want to do with my life? Share my love of music!
  3. How did you get started in music? Before grade school, my mother signed me up for piano lessons, and I practiced on our Howard baby grand (Baldwin brand) at home reveling in it big, beautiful tone. At school in California, I started out on the snare drum. My piano teacher also introduced me to the violin in the summer between fifth and sixth grade. After that, every new band director I had when I moved to different school districts in Western Pennsylvania switched me to a “what was needed for the band” instrument (baritone then tuba), and my private string teacher moved me to the viola, probably due to the length of my fingers, which eventually became my “major” in college.
  4. Did you have any mentors that helped you along the way? I was blessed with many outstanding music educators, school directors, conductors of local community orchestras, and private instructors. Probablymusic-students-246844_1920_musikschule the one who had the greatest influence on my going into a career of music teaching was Eugene Reichenfeld, who I saw the last period of every day in Orchestra at Penn Hills HS, at least once a week in a private lesson and rehearsals of the Wilkinsburg Civic Symphony on Thursday nights, and over the three summers at the Kennerdell Music and Arts Festival in Venango County. What a role model! Partially blind and losing his hearing, Mr. Reichenfeld played violin, cello, and guitar, and taught uninterrupted until three weeks before he died at the ripe old age of 103!
  5. Any regrets? Absolutely not! My classmates in college dubbed me “mister music ed.” But some of my well-meaning supporters saw other skills in me and tried to talk me into other pursuits. From my senior year in high school to four of five years enrolled in Carnegie-Mellon University, my string professor George Grossman prepared me for employment as a professional musician, even to consider auditioning for the Pittsburgh Symphony Orchestra. I said, I want to teach students! My CMU music department chair Robert Page and Fine Arts Dean Akram Midani in 1977 urged me to look into enrolling in Harvard summer arts management courses. Again: I want to teach students! Believe-it-or-not, even my own dad encouraged me to rethink my plans. After attending my first Edgewood Elementary 4th grade musical production (1979), he marveled about how much time I devoted  to making music… 6-7 days a week including evenings! He asked me what were my earnings. We compared my first-year salary of $8200 vs. his position as manager in the nuclear division of Westinghouse Company (move the decimal point to the right – nearly $82,000 annual compensation). He suggested a partnership. “Why don’t you join with me, form a company together, and become entrepreneurs, and with a little luck and your obvious work ethic, we could both make a million dollars in a few years.”
  6. conductor-4189841_1280_GordonJohnsonDid your father ever realize why you chose music? Finally, in December 1986, Dad came to my choral/orchestra department production of Scrooge, involving over 250 students at my second career assignment, Upper St. Clair High School. After the closing curtain, he came up to me and asked, “Did you do all of this by yourself? I answered, “Well, I had a lot of help. I did prepare the students on the dialogue parts in the script, the leads’ solos, chorus harmonies, and orchestra accompaniment, but I needed a drama coach and a choreographer for the dances. And yes, I am also the show’s producer, responsible for the printing of the program and tickets, finding people to assist in sewing the costumes, building the sets, running the stage tech, and applying the make-up.” After a short pause, he said something I will never forget: “Wow! This was incredible! You really made a difference in so many of your students’ lives.” He was proud of me, and finally expressed it! (It was a good thing too… he died suddenly of a heart attack exactly two years later when I was in the middle of staging Joseph and the Amazing Technicolor Dreamcoat.)

 

Statistics in Support of Music Education

What is the purpose of music in schools? Why is it important to take a creative arts elective throughout your middle to high school education?

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Okay, we can start with the huge body of research published just about everywhere that indicates “music makes you smarter.” Here are just a few examples and sample supportive documentation. (Please take the time to peruse these links!)

Other skills:

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More attitudes:

Several more general links, additional literature that supports the inclusion of music in the school curriculum:

 

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Learning Styles and “Intelligences”

Ever felt like you were a square peg trying to fit in a round hole? Now, lets dive into the concept that “music is a means to learning.”

Intelligence is often defined as our intellectual potential; something we are born with, something that can be measured, and a capacity that is difficult to change. In recent years, however, other views of intelligence have emerged. Also, more research has been applied to learning styles and preferences… all to promote better success in education.

“Many of us are familiar with three general categories in which people learn: visual learners, auditory learners, and kinesthetic learners. Beyond these three general categories, many theories of and approaches toward human potential have been developed.”

— North Illinois University: https://www.niu.edu/facdev/_pdf/guide/learning/howard_gardner_theory_multiple_intelligences.pdf

In 1983, the theory of “multiple intelligences” was formed by Dr. Howard Gardner, Professor Education at Harvard University, and widely read in his initial book offering Frames of Mind: The Theory of Multiple Intelligences.

Supported by Thomas Armstrong (books such as Multiple Intelligences in the Classroom), “the traditional notion of intelligence, based on I.Q. testing, is far too limited.” Instead, Dr. Gardner proposed nine different intelligences to account for a broader range of human potential in children and adults (the first one is my favorite):

  • choral-3871734_1280_gustavorezendeMusical (sound smart)
  • Naturalist (nature smart)
  • Logical-mathematical (number/reasoning smart)
  • Existential (life smart)
  • Interpersonal (people smart)
  • Bodily-kinesthetic (body smart)
  • Linguistic (word smart)
  • Intra-personal (self smart)
  • Spatial (picture smart)

“Dr. Gardner says that our schools and culture focus most of their attention on linguistic and logical-mathematical intelligence. We esteem the highly articulate or logical people of our culture. However, Dr. Gardner says that we should also place equal attention on individuals who show gifts in the other intelligences: the artists, architects, musicians, naturalists, designers, dancers, therapists, entrepreneurs, and others who enrich the world in which we live. Unfortunately, many children who have these gifts don’t receive much reinforcement for them in school. Many of these kids, in fact, end up being labeled “learning disabled,” “ADD (attention deficit disorder,” or simply underachievers, when their unique ways of thinking and learning aren’t addressed by a heavily linguistic or logical-mathematical classroom.”

— American Institute for Learning and Human Development: http://www.institute4learning.com/resources/articles/multiple-intelligences/

saxophone-3246650_1920_congerdesignTransforming the way schools should be run, the multiple intelligences theory suggests that teachers be trained to present their lessons in a wide variety of ways using music, cooperative learning, art activities, role play, multimedia, field trips, inner reflection, and much more. This approach truly “customizes the learning” and provides eight or more potential pathways to learning.

“If a teacher is having difficulty reaching a student in the more traditional linguistic or logical ways of instruction, the theory of multiple intelligences suggests several other ways in which the material might be presented to facilitate effective learning.”

— Thomas Armstrong: http://www.institute4learning.com/resources/articles/multiple-intelligences/

“While a person might be particularly strong in a specific area, such as musical intelligence, he or she most likely possesses a range of abilities. For example, an individual might be strong in verbal, musical, and naturalistic intelligence.”

— Kendra Cherry: https://www.verywellmind.com/gardners-theory-of-multiple-intelligences-2795161

The bottom line? We need music in the schools for a variety of reasons, not the least to systemically and intentionally provide avenues of learning for “music smart” kids as well as to share resources that all teachers across the disciplines may use to enrich their lessons and “reach” their students.

 

Ever Heard of the Four C’s?

How about defending the rationale that “music makes connections, within us and from the world around us?” Easy!

Music and art courses offer great rigor in developing 21st Century learning skills:

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Released by the Partnership for 21st Century Skills (2010), the best resource I found when this movement made the headlines was this P21 Arts Skills Map. It was developed to “illustrate the intersection between 21st Century Skills and the Arts. The maps will enable educators, administrators and policymakers to gain concrete examples of how 21st Century Skills can be integrated into core subjects.” With so much more detail, this document provides skill definitions, core subject interactions, outcomes and examples:

  • Critical Thinking and Problem Solving
  • Communication
  • Collaboration
  • Creativity
  • stones-451329_1920_dweedon1Innovation
  • Information Literacy
  • Media Literacy
  • Information, Communication, and Technology Literacy
  • Flexibility and Adaptability
  • Initiative and Self-Direction
  • Social and Cross-Cultural Skills
  • Productivity and Accountability
  • Leadership and Responsibility
  • Interdisciplinary Themes

“The music classroom is a perfect place to teach critical thinking and problem solving,” says MENC [now NAfME] member Donna Zawatski. Instead of giving students the answers, she asks questions that will clarify the process and lead to better solutions from the students. “Students will define the problem, come up with solutions based on their previous experience, create, and then reflect on what they’ve created,” she says.

— Donna Zawatski, “4C + 1C = 1TGMT,” Illinois Music Educator, Volume 71, No. 3.

 

Creativity is Number One!

One of my favorite educational gurus, probably an expert on creativity in the schools, is Sir Ken Robinson. His most viewed Ted-Talk “Do Schools Kill Creativity?” (18 million+) should be required of all pre-service teachers. A great story-teller with a wonderfully dry English sense of humor, Robinson tells a narrative about a child who was not “behaving” very well in school… “coloring outside the lines” and fidgeting in class. According to the primary teacher, she was distracting the other students, and was hard to “contain” and keep her sitting in her seat.

At the insistence of school staff, the parents took the little girl to a psychiatrist. He did a battery of tests on her to find out why she was so “antsy” and… The counselor’s analysis? He said to her parents: “Your child is not sick. She is a dancer. She likes to express herself in movement. Take her to a school that emphasizes dancing.”

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A “quick-from-the-hip” diagnosis might have resulted in prescribing drugs in order to “calm her down” and make her “fit in” better with the traditional school setting.

The rest of the story? The incident he was talking about described the childhood of the super-successful multi-millionaire English ballerina and choreographer of Cats and Phantom of the Opera on Broadway, the late Gillian Lynne.

Creativity is probably the single most essential learning skill… and I have devoted a whole section of my website on the subject, starting with “Creativity in Education” to numerous blogs here.

 

Flexible Thinking, Adaptability, and Problem Solving

In the interview, I asked the question, “What is 1 + 1 + 1?” What I meant to elicit was, “Besides the obvious response of 3, how many different answers can you find to solve this math problem?”

  • 111
  • 11 (in binary)
  • 1 (draw it in the air, one vertical line and two horizontal lines making the Roman numeral I)

Living in the real world (as well as learning the arts), there are very few “one-right answers!” Unlike other subject areas and pursuits, music fosters abstract decision-making in situations where there are no standard answers, analysis of and response to nonverbal communication, and adaptations and respect of divergent styles and methods for personal expression and thinking.

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The arts foster divergent thinking (the ability to consciously generate new ideas that branch out to many possible solutions for a given problem) as well as convergent thinking (the ability to correctly hone in to a single correct solution to a problem).  According to Professor Curtis Bonk on his insightful “Best of Bob” – Instructional Strategies for Thinking, Collaboration, and Motivation” website, “In creativity, convergent thinking often requires taking a novel approach to the problem, seeing the problem from a different perspective, or making a unique association  between parts of the problem.”

“Knowledge is only a rumor until it lives in the muscle.”

— Proverb quoted by Brené Brown, author of Daring Greatly

 

Are You of the “Right Mind?”

First, take the Left-Brain/Right-Brain test at the “Best of Bob” website above.

RThe 60s work of Nobel Peace Prize scientist Dr. Roger Sperry pointed to different sections of the brain being used for unique functions of the mind. Accordingly, the left brain is supposed to be more verbal, analytical, and orderly than the right brain. It’s sometimes called the digital brain. It’s better at things like reading, writing, and computations. In contrast, the right brain is purported to be more visual and intuitive. It’s sometimes referred to as the analog brain. It has a more creative and less organized way of thinking.

However, portions of his research, especially about brain hemisphere dominance have been disputed.

“Magnetic resonance imaging of 1,000 people revealed that the human brain doesn’t actually favor one side over the other. The networks on one side aren’t generally stronger than the networks on the other side.”

“The two hemispheres are tied together by bundles of nerve fibers, creating an information highway. Although the two sides function differently, they work together and complement each other. You don’t use only one side of your brain at a time.”

“Whether you’re performing a logical or creative function, you’re receiving input from both sides of your brain. For example, the left brain is credited with language, but the right brain helps you understand context and tone. The left brain handles mathematical equations, but right brain helps out with comparisons and rough estimates.”

Healthline: https://www.healthline.com/health/left-brain-vs-right-brain

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Here is what I believe. Parts of what we do in music, like interpretation, expressiveness, phrasing, aesthetic sensitivity, and perception of man’s creations around us, etc. involve imagination and intuition, and are more holistic, intuitive – I will call it “right” brained.

In his book A Whole New Mind – Why Right-Brainers Will Rule the World, Daniel Pink, formerly a lawyer and the speechwriter to Vice President Al Gore, forecast that most future careers throughout the world will involve the learning skills normally attributed to the right side of the brain – innovation, invention, ingenuity, adaptability, critical thinking and problem-solving, etc., not jobs that are dominated by predetermined or routine actions, instructions, scripting (e.g. tasks that can be done by robots, Legal Zoom for simple wills, or 1-800 tech help hotlines).

I recommend looking into Pink’s books and his “Discussion Guide for Educators.”

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Finally, with so many memories swimming around in my mind, I was asked by Sam what I thought was the greatest achievement of my career (or perhaps he meant what single student did I “inspire” to greatness?).  I replied that there were far too many to count, those blessed “AH HA” moments when a musician, singer, actor, or dancer goes for his dream and realizes his potential… “I made it!” Sometimes they don’t believe in themselves, are afraid to try, and the teacher has to nudge or encourage them. But, once it happens, you can see the sparkle in their eyes! And, even in retirement, they never let you forget their accomplishment(s) and the difference you made in their lives!

Finally, I agree wholeheartedly with the following statements regarding music’s role in everything from self-esteem development to building “symphonic” relationships and connections between seemingly unrelated or dissociated items or events – “putting the pieces of the puzzle together!”

“To be able to play a musical instrument (increasingly well), to be able to express oneself musically, to become friends with others making the same accomplishments, to reach musical goals and achievements — these things help people feel good about themselves. That has lasting value as it relates to nearly all other things in their lives, according to the music educators.”

The Herald Paladium, September 10, 2000

Music also boosts creativity and the ability to see the relationships between seemingly unrelated things—enhancing all learning. Children who have studied music develop faster socially, mentally, and even physically.

Woodwind Brasswind: “How Music Study Relates to Nearly Every School Discipline”

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Simply put, making music in school and life-long learning as adults is FUN! It nurtures our inner voice, feelings, and self-worth. We enjoy the social interactions of participation in an ensemble. Literally, we explore our artistic “souls” and embrace the beauty within and around us. A career of 40+ years of directing orchestras, both in formalized classes and community/youth groups, has been the most inspirational and life-satisfying of pursuits… something I hope I can do for many more years until I reach Moses’ age!

PKF

 

Photo credits in order from Pixabay.com:

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© 2019 Paul K. Fox

WHEN Should You Retire?

The Skills and Models of a Happy Retirement

[Portions reprinted from the state journal of the Pennsylvania Music Educators Association, PMEA News, Spring 2019 issue – All rights reserved.]

 

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Is It TIME to Retire?

This is a personal question that no one but YOU can answer… not even your PMEA Retired Member Coordinator! By the time you read this article in the Spring edition of PMEA News, this choice may be uppermost in your mind, especially if you are within a couple years of that so-called “retirement age.” Most school districts require advance notification of an employee’s plan to retire in order to retain full benefits and exit bonuses, and to allow planning for the job replacement search and screening process. (Check your teacher’s contract!)

In music educator conference sessions, director meetings at festivals, and printed in PMEA News and the online e-publication Retired Member Network eNEWS, much has pmeabeen discussed about the “what,” “how,” and most recently, “where” of retirement, even issues of “privacy” regarding your decision. For a review of these areas and a bibliography of resources, please visit:

The “why” of retirement is also relevant. There may be a lot of influences for someone to consider leaving their full-time career:

  1. Boredom or lack of stimulation in the current job
  2. Changing employment status or responsibilities
  3. Health problems (yours or other members of your family)
  4. Spouse retiring
  5. Your or family member’s desire to relocate
  6. Needs for caregiving (grandchildren, parents, or elderly family members)
  7. Travel opportunities
  8. Acceptance of a new position or the start or expansion of an “encore career” (higher education, music industry, travel/tour planning, or another field)

Other involuntary or more negative motivations may “encourage” you to resign your position:

  • Music and/or staff are eliminated from the curriculum or building in which you teach.
  • You are experiencing a decline in music program enrollment or participation.
  • You feel unappreciated, unsupported, devalued, or ignored as a professional.
  • You conclude you must retire early to avoid losing existing contractual benefits.

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However, the most important reflection on WHEN to retire should begin with the question, “Are you ready for retirement?” and…

Do You Have What It Takes for a Happy Retirement?

A successful retirement is not “all about the money.” Certainly, you are well-advised to make an appointment with an estate planner, elder attorney, and/or financial advisor (probably all three). Bring a copy of your bank and investment statements, annual reports on your pension, social security, annuities, and insurance documents. Make sure you have the “big picture” of your net worth and accomplish the following (https://www.fisherinvestments.com/en-us):

  • Determine your goals, objectives and time horizon;
  • Make key distinctions between income and cash flow;
  • Develop a basic plan to help achieve your retirement goals.

However, probably even more important, experts say there are many other requirements that foster preparedness to enjoying your post-full-time employment years. For example, proposed by the editorial team of the NewRetirement website, there are eight essential keys to a potential retiree’s “happy transition.” (Read the entire article for a greater perspective at https://www.newretirement.com/retirement/8-skills-you-need-for-best-retirement/.)

  1. A Knack for Dealing with Uncertainty
  2. Resilience: Can You Overcome Adversity?
  3. Capability to Maintain a Set of Friends
  4. Cash Flow Mastery
  5. Ability to Set Your Own Schedule and Stay Motivated
  6. Can You Relax?
  7. Capacity to Have a Purpose and Follow Passions
  8. Do You Know How to Manage an Overall Retirement Plan?

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These concepts are supported by the book Happy Retirement: The Psychology of Reinvention by Kenneth S. Shultz (DK Publishing, 2015) which focuses on the question, “Are you psychologically prepared to retire?”

  1. How important is your job when it comes to getting a sense of life satisfaction?
  2. How many non-work activities do you have that  give you a sense of purpose?
  3. How do you imagine your life to be once you stop working?
  4. How do you think retirement will affect your relationship with family and friends?
  5. How much energy for work do you have these days?

Being “psyched” for the “big day” also involves learning personal coping skills, modeling these characteristics of good mental health (from the book The Psychology of Retirement: Coping with the Transition from Work by Derek Milne, 2013):

  • Being able to use your talents and energy productively
  • Enjoying challenges and gaining pleasure from accomplishing tasks
  • Being capable of sustaining a meaningful love relationship
  • Finding meaning in belonging and contributing to your community
  • Being responsive, sensitive, and empathic to other people’s needs and feelings
  • Appreciating and responding to humor
  • Coming to terms with painful experiences from the past
  • Being comfortable and at ease in social situations;
  • Being energetic and outgoing
  • Being conscientious and responsible.

 

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Should I or Shouldn’t I Go Now?

No, this won’t be an easy decision… but, you knew that, right? There seems to be a plethora of free advice “out there” to help (?) you deliberate. (Well, you get what you pay for!) A few samples from the Internet:

7 Signs It Is Time (http://www.plannersearch.org/financial-planning/7-signs-its-time-to-retire)

  1. Your bank accounts
  2. Your bucket lists
  3. Your health
  4. The markets
  5. Health care benefits
  6. Social Security benefits
  7. Your spouse

10 Signs It Is Not Time (https://www.investopedia.com/articles/personal-finance/021716/10-signs-you-are-not-ok-retire.asp)

  1. Struggling to pay bills
  2. You have lots of debt
  3. Have major expenses
  4. Don’t know your SS benefits?
  5. Need monthly financial plan
  6. Need long term financial plan
  7. What about the effects of inflation?
  8. Need to re-balance portfolio
  9. Retirement worries you
  10. You love your job

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Happy retirement = busy retirement. We keep going back to what PMEA MIOSM Chair Chuck Neidhardt said about venturing into retirement – also the perfect bumper-sticker: “Have a plan!” In almost every case study, retiring music teachers must “move on” to an equally engaging and active life style, finding new purpose and meaning in their “senior years!” Considering that many professionals are “addicted to achievement” and the sudden cessation from work may cause some emotional turmoil (Sydney Lagier in US News and World Report, July 20, 2010), we should study examples of those who have happily “Crossed the Rubicon” ahead of us into “retirement bliss.”

Leaving your school employment does not mean you won’t continue doing what you have always enjoyed… personal music (or dance or drama) making, performing in or conducting an ensemble, composing, accompanying, etc. The PMEA Retiree Resource Registry – the proverbial “directory of past leaders in PA music programs” – lists many retired members who continue to offer their talents and experience to help others in the profession. This is a good place to start for asking “advice from the experts” on just about any topic… perhaps even tips on deciding WHEN to retire: https://www.pmea.net/retired-members/.

How about a couple more “models and mentors” who made this “change of life” adjustment and explored new directions towards self-reinvention in retirement?

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Ben Franklin, Founding Father
“Having worked as a successful shopkeeper with a keen eye for investments, Franklin had earned his leisure, but rather than cultivate the fine art of indolence, ‘retirement,’ he said, was ‘time for doing something useful.’ Hence, the many activities of Franklin’s retirement were: scientist, statesman, and sage, as well as one-man civic society for the city of Philadelphia. His post-employment accomplishments earned him the sobriquet of ‘The First American’ in his own lifetime, and yet, for succeeding generations, the endeavor that was considered his most ‘useful’ was the working life he left behind when he embarked on a life of leisure….”

https://www.theatlantic.com/business/archive/2015/09/how-america-lost-track-of-benjamin-franklins-definition-of-success/400808/

2000 – “The Year of Retirement?” for two musical superstars
Barbra Streisand, singer, songwriter, actress, and filmmaker
Garth Brooks, country-music singer and songwriter
“In 2000, Barbra Streisand performed four farewell concerts to mark her retirement from performing live. At the time, she was 58 years old and wanted to focus more on acting, directing and recording albums, reported ABC News.”

“Her retirement ended in 2016 when she returned to the stage for her The Music… The Mem’ries… The Magic! tour, which grossed $53 million over 16 performances, according to Billboard.”

“Garth Brooks shocked fans in October 2000 when he announced his plan to retire to Oklahoma until the youngest of his three daughters graduated from high school, reported Billboard. The country music superstar was 42 years old when he began his early retirement.”

“During his semi-retirement, he did a few sold-out stints at arenas and a 186-show Las Vegas residency with wife Trisha Yearwood, according to Billboard, but he largely stayed out of the spotlight. Brooks returned to touring in September 2014 and continued until December 2017, performing a total of 390 shows, reported Billboard. Forbes cited his 2017 earnings as $60 million. Together, Brooks and Yearwood are one of the richest celebrity couples.”

https://www.gobankingrates.com/net-worth/celebrities/celebrities-who-came-out-of-retirement/

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“If money can buy you happiness,” supposedly these ten athletes were financially more successful after retirement, as opposed to the total earnings they generated during their original sports careers:

  • Muhammad Ali
  • Jim Brown
  • Oscar De La Hoya
  • Lenny Dykstra
  • George Foreman
  • Dwayne Johnson (“The Rock”)
  • Magic Johnson
  • Michael Jordan
  • Nolan Ryan
  • Dave Whelan

https://www.complex.com/sports/2012/01/10-athletes-who-made-more-money-after-retiring/

 

Agatha Christie, British writer
Finally, to answer the question, “What would Agatha Christie do in retirement?” best-selling author Ernie Zelinski quoted in his The Retirement Cafe website the following list of activities proposed to be “her favorite things” from the publication Agatha Christie: An Autobiography (Dodd, Mead & Co., 1977).

  • Sunshine
  • Apples
  • Almost any kind of music
  • Railway trains
  • Numerical puzzles and anything to do with numbers
  • Going to the sea
  • Bathing and swimming
  • Silence
  • Sleeping
  • Dreaming
  • Eating
  • The smell of coffee
  • Lilies of the valley
  • Most dogs
  • Going to the theatre

Ernie concluded, “This list of activities and things that Christie loved may trigger some of the stuff that turns you on and which you can use for an active retirement. This will go a long way towards conquering retirement boredom.”

http://www.retirement-cafe.com/Fun-Things-to-Do-When-You-Retire.html

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Is the time ripe for you to retire? Again, only YOU can answer that!

When it becomes the right moment for you to make that “big plunge” to “living your dreams…” KUDOS and BEST WISHES on your rebirth as you explore your own pursuit of retirement self-reinvention and post-employment “freedom!”

PKF

© 2019 Paul K. Fox

 

 

Photo credits in order from Pixabay.com: “old” by dietcheese, “man” by geralt, “elderly lady” by mabelamber, “senior” by ritae, “woman” by silviarita, “old couple” by monicavolpin, “ben-franklin” by ericdunham, “Fisherman” by paulbr75, “grandma” by fujidreams, and “wooden-train-toys-train-first-class” by Couleur.

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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

 

 

“Act Well Your Part; There the Honor Lies…”

Amateur/Community Theater Groups in PA

pmeaReprinted from the Fall 2016 PMEA News, the state journal of the Pennsylvania Music Educators Association

 

Opportunities abound for “hands-on” participation in community theater, volunteering as an actor, singer, dancer, musician, props or scenery painter, make-up artist, costume seamstress, stage technician, usher, box office sales or marketing staff, etc. As you can see at the PMEA link below, there are numerous amateur groups throughout the state.

The payback of theater involvement (for all ages, full and part-time workers, soon-to-retire, and retired members) is well-documented. For example, according to the www.openartsalliance.com, “Theatre is one of the oldest and most influential art forms. It combines interpersonal skills with intrapersonal awareness. Just think about ALL the benefits that theatre can offer artists young and old alike!”

  1. Self-confidence and risk taking
  2. Imagination and creative self-expression
  3. Empathy and tolerance
  4. Cooperation and collaboration
  5. Concentration
  6. Communication skills
  7. Emotional outlet
  8. Problem solving
  9. Fun and relaxation
  10. Self-discipline
  11. Trust
  12. Memory
  13. Social awareness
  14. Aesthetic appreciation
  15. Physical fitness

drama-1436610-1With the help of PMEA State Director of Member Engagement Joshua Gibson, PMEA retired members researched and compiled a PA community theater directory, to join the listings of bands, orchestras, and choruses posted on the PMEA retired members’ website.

This project was daunting! Just because a group advertises as serving as a local “civic theater,” it does not mean there are “open” auditions for non-Equity actors, or volunteers can lend a hand in making the sets/costumes or running the stage tech (although everyone usually asks for money or unpaid ushers!). It was found that some semi-professional companies act very “community” oriented, while others are really “closed shops!” Even if it was hard to discern their “amateur” status or opportunities for nonprofessionals, most PA organizations and contact information were included… to allow PMEA members to find out for themselves if the association would accept non-union actors, etc.

Another problem was that many small theater groups do not maintain a web-page. We had trouble confirming they were active (names or locations changed a lot, too). Scores of amateur drama companies are likely missing. Please consider this a “first draft” and send all corrections to paulkfox.usc@gmail.com.

For retiring and retired PMEA members, good advice comes from Ernie J. Zelinski, author of the book How to Retire Happy, Wild, and Free.

Zelinski“Two essentials for successful retirement are sufficient funds to live on and sufficient things to live for. You may have the funds and a list of interests, hobbies, and leisure activities that will keep you busy. Nonetheless, if you want your retirement to be satisfying, these activities may not be enough. You may need an overriding purpose.

“While describing retirement, George Bernard Shaw concluded, ‘A perpetual holiday is a good working definition of hell.’ Shaw was right in that retirement can be hell for those who don’t put any purpose into it. On the other hand, for people who have some major purpose to their lives, retirement can be heaven.”

You have heard it before… For a happy, healthy, and meaningful retirement, revisit your “creative roots,” the reason you went into music in the first place. Have you always wanted to explore or nurture the “thespian” in you? Here’s your resource to get started today! Get out there! “Bring down the house.” “Break a leg!”

Additional sources of information:

To download the updated PMEA Amateur/Community Theater Company listings for Pennsylvania, please click on the link at http://www.pmea.net/retired-members/.

PKF

© 2017 Paul K. Fox

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This article is a complimentary re-issue to motivate retired music educators to join their professional association. For more information, please go to PMEA website http://www.pmea.net/membership-information/ and read the blog-post “PMEA in Retirement – What’s in it for Me?”

 

(Photo credits: Loretta Humble and Shamseer Sureash Kumar at FreeImages.com)