Asks for “The Before,” “The During,” and “The After”
These Responses Are Critical for Marketing Yourself & Landing a Job
This article was inspired by my recent participation in virtual mock interviews on Zoom for PCMEA members and senior music education majors.
It is up to you to do the research and plan ahead!
What is that “scout’s motto?” Be prepared!
Or, to put it another way, more “near and dear” to the average music student:
- “How do you get to Carnegie Hall?” (Practice, practice, practice!)
- “How do you get a job?” (Practice, practice, practice!) AND
(Prepare, prepare, prepare!) –
a focus on the BEFORE, DURING, and AFTER phases of an interview!
The Before
Prior to every job screening, walk in well-informed. Investigate in advance the background information of the school district:
- The job opening and responsibilities
- Details about the overall music program, number of staff, courses offered, etc.
- School district’s mission/vision/value statements
- Validation of administrative support for the arts
- Examples of community support for music education
- Work environment and employee attitudes
Be a detective! Look for responses to these inquiries “surfing the ‘Net,” studying the district’s website, reading local media releases, and, if you are able to, finding someone who is already employed there:
- What do you know about this school district?
- What is the average make-up (socioeconomic, education, racial, etc.) of the community? Is it mostly urban, rural, suburban? Are the majority of the jobs blue collar, white collar, entrepreneurial, agricultural, or mixed?
- What educational, cultural, and sport/leisure activities are available to the residents in and around the area?
- What philosophies or approaches are emphasized in the school district’s strategic plan and/or annual Board of School Director’s goals?
- What are samples of student, staff, building, and school district awards and traditions?
How many class periods (not counting lunch) are structured for the academic day? Are specific grade levels or buildings organized in block scheduling, “period 0” and/or before/after-school curricular or co-curricular classes, lesson pullouts, period rotations or A/B weeks, etc.?- How often is the curriculum revised or updated?
- What is the school district grading scale and music grading policy/practice?
- What music classes and extra-curricular activities are offered?
- Are any specialties or disciplines emphasized or promoted, e.g. Kodaly, Orff, Dalcroze, Little Kids Rock or Modern Band, World Drumming, Suzuki, Competitive Marching Band, Strolling Strings, etc.?
- What position(s) is(are) open and what duties are required?
- What avenues of professional development exist?
- What percentage of students are in the music program?
- What percentage of the music students own instruments, take lessons, and seek participation in outside ensembles?
- What indicators of cooperative parental and community support exist (concert attendance, private teachers, booster groups, community arts organizations, etc.)?
- What resources are budgeted (sheet music, music technology, field trips, piano tuning, instruments and instrumental repair, teacher in-service, festivals, etc.)
What answers you cannot find, you may ask at the end of the interview.
The During
So much has already been written about commonly asked interview questions. (Please revisit the blogs posted at https://paulfox.blog/becoming-a-music-educator/.) To “let the cat out of the bag,” when I am asked to do “mock interviews” for music education majors, the following are “my favorites.” You may also want to read my last article, “Coaching Advice for Acing Those Employment Interview Questions” at https://paulfox.blog/2020/01/26/more-on-teacher-interviews/.
- Tell us something about yourself… your strengths, weaknesses, and goals for the future.
- Who had the greatest influence on you becoming a music teacher and why?
- What are the most important qualities of an outstanding music educator?
- Describe a successful lesson plan you have developed.
- How will you accommodate students with special needs or varied interests in your music program?
- How would you recruit/encourage students and “grow” interest and participation in the music program?
Describe your approach to introducing a musical concept: singing matching pitches, keeping a steady- Why is it important for students to be actively engaged in the performing arts?
- Why should I hire you for this position?
- Describe your background and knowledge of each of the following methodologies, and for a general music position, which one is your favorite? Orff, Kodaly, Dalcroze?
- Describe a lesson that did not materialize in a manner that you expected. What did you learn from this experience?
- If you were hired as a high school band director at the last minute the third week of September, and the marching style was contrary to your preference to teach, how would you adapt?
- What are three adjectives students would use to describe you?
- How would you assess the learning in your rehearsals?
- What is most important to you? Music outcomes, content, or process?
You will probably be asked, “Do you have any questions for me?” by the interviewer. You should show your interest, forethought, and advanced preparation by coming up with a few, or adapt several of the 16 pre-interview samples in the “Before” section above. At the very least, if the principal or supervisor of the posted position happens to be in the room, you could inquire: “Where do you see the program in 10 years?” or “What is the most valued attribute of a ______ School District educator?”
The After
As soon as it is over (immediately when you get home – don’t put it off!), debrief yourself. Do an assessment of your positives and areas for improvement or needs for further practice. To formalize this process, try any number of evaluative rubrics (for examples, visit https://paulfox.blog/2019/05/14/job-interview-rubrics/). Or, just summarize your observations into strengths (+) and weaknesses (-) referencing the elements of attitude, speech, language, body language, content/on topic, and preparation. (See the first box above.)
Are you telling me it’s time to bring up more questions? Yep, to finalize your interview’s “postmortem,” reflect on these queries, which will become your focal points in preparation of your next job screening.
The first “biggie critique” might take a little while to follow-up and re-train. This is important since most of the professionals who serve on interview screening committees are administrators, HR staff members, or curriculum supervisors (not music content specialists). And, in the same breath, most music education majors are not well versed on these “buzz words” since they may be only briefly mentioned during their music courses.
1. How many times did you use appropriate general educational terminology and current school jargon? Here are a few samples of “the ABCs.” If you do not know the meanings, Google search them or look up sites like https://resilienteducator.com/classroom-resources/education-terminology-jargon/, https://www.teachervision.com/dictionary-educational-jargon, and https://wwndtd.wordpress.com/education-jargon/. (If you really want to dive into an interesting “lingo generator,” experiment with https://www.sciencegeek.net/lingo.html, which may also help you define associations among related educational terms used in the composition of reports, grant applications, and other documents for accreditation.)
- Assessments – Authentic, Formative (“for learning”), Summative (“of learning”), and Diagnostic
- CCCC (The Four C’s) – 21st Century Learning Skills of Creativity, Collaboration, Communication, and Critical Thinking
- Classroom Management and the concepts of “Assertive Discipline” and “Ladder of Referral”
- Charlotte Danielson’s Four Domains – Planning and Preparation, Classroom Environment, Instruction, and Professional Responsibilities
- DOK – Depth of Knowledge and HOTS – Higher Order Thinking Skills
- ESSA – Every Student Succeeds Act (2015), successor to NCLB (No Child Left Behind)
IEPs – Individualized Education Program, including IDEA (disabilities), 504 plans, accommodations for special needs, differentiated and customized learning, etc.- LMS – Learning Management System (software used by schools to track grades, take attendance, deliver curriculum, and offer/evaluate courses, etc.)
- Middle School (or Middle Level Learner) Philosophy
- PLN/PLC – A Personal Learning Network or Professional Learning Community
- PBL – One of two different concepts: Project-Based or Problem-Based Learning
- SEL – Social-Emotional Learning
- SAS – Standards Aligned Systems of the PDE (Pennsylvania Department of Education)
- STEAM – Science, Technology, Engineering, Arts, and Math
- UBD – Understanding by Design, “backwards-design” curriculum development with EU (Enduring Understandings) and EQ (Essential Questions)
Of course, if you were “nailed” by not knowing terminology or acronyms of which you never heard, don’t “fake it!” Just be honest with the interviewers (they cannot expect a “raw recruit” fresh out of college to know everything), but never-the-less, look it up as soon as you return home. You’ll be ready for the next interview. (“Catch me once, shame on you. Catch me twice, shame on me!”)
More questions to help you evaluate your performance:
2. At the interview, did you project the image that you are solely qualified to serve as a specific music content-area specialist? In other words, are you only a “band director,” “vocal conductor,” EL/MS general music teacher, piano/guitar accompanist, jazz instructor, music theorist, or string “maestro?” Did you basically imply to the screener(s) that you would not accept any assignment outside your “comfort zone,” and that your Music Pre-K-12 Instructional I Certificate is not worth the paper on which it is printed?
3. If you had videotaped the interview, how would you characterize your rapport with the screening individual or committee? To what extent did you demonstrate an attitude of openness, cooperation, sensitivity to the interviewer’s style/personality, and fostering of the four C’s of the model interviewee behavior – be calm, caring (motivated), congenial, and considerate?
4. Were you “engaged” in treating the session as a mutually beneficial exchange of information?
5. 
Did you respond to the interviewer’s questions “on topic” with clear, concise, and substantiated statements, supported by specific anecdotes/stories or examples of your skills or experiences?
6. Did you avoid “bird walking,” “tap-dancing,” having verbal clutter (too many run-on statements), rambling, fast talking, sounding verbose, being flip or too casual/informal in conversation, or going overboard with your answers?
7. How many times (count them) did you use the words “ah,” “um,” or “like?”
8. Did you promote your strengths and all experiences (musical and non-musical) you have had interacting positively with children, and not discount your potential and capabilities due to a limited past job record or shortened time in student teaching?
9. How successful were you in controlling your nerves, looking interested, “being yourself,” and demonstrating good eye contact, pleasant facial expressions, and relaxed and professional speech, posture, and body language?
10. Did you avoid the use of “weak words” that suggest a lack of conviction: “kind of,” or “sort of,” or “I feel like?”
11. Did you limit any form of “fidgeting,” such as tapping or shuffling feet, cracking knuckles, touching hair or face, drumming or spinning a pen between your fingers, wiggling in your seat, etc.?
12. How many times did you use the name of the interviewer(s) during your interview? It shows respect and is the best way to get/keep his/her attention.
In summary, treat the job search process more scientific:
- Be diligent in practicing mock interviewing with classmates, friends, and family members,
- Plan ahead, and
- Formalize your questions and self-assessments.
The jobs are out there… waiting for you to “hook them in,” and as every good fisherman knows: “Nothing replaces time on the water, patience, and the ability to admit to yourself there is always something to learn and a better way to do it.”
PKF
Photo credits from Pixabay.com by Gerd Altmann (geralt):
- “Businesswoman”
- “Interview”
- “Magnifying Glass”
- “Magnifying Glass Closeup”
- “Interview-Superior-Staff”
- “Feedback”
- “Did You Know?”
- “Never Stop Learning”
- “You Are Hired”
© 2020 Paul K. Fox
Once the COVID-19 emergency was declared and universally all schools and outside activities were cancelled (for who knows how long?), the 37th spring season of my community youth (of all ages) orchestra was also “clobbered!” Up to this time, the Western PA-based South Hills Junior Orchestra (SHJO) regularly met on Saturdays from 10:30 a.m. to 12:30 p.m. at the school from where I retired: Upper St. Clair High School.
Now in her fourth decade as a high school band director, Lesley Moffat has worked with thousands of people, helping them not only achieve musical goals (including repeated performances at Carnegie Hall, Disney Theme Parks, Royal Caribbean cruise ships, and competitions and festivals all over the US and Canada), but also teaching them how to develop the long-term life skills they need to be successful in the world.
Introduction: Striving for the New
Drone Improvisation
In a more recent release of EdNote (July 2018), 
inventors vs. imitators
In 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.
Next, 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.
His chapters are organized into six tips:
The 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 
now would be the perfect time to explore supplemental resources and get a “head-start” on additional pre-service training for next fall. These tips are especially valuable to anyone entering his/her senior or final year as a music education major, finely honing in and marketing your skills as a professional in order to be prepared for finding and succeeding at your first job.
Mix and mingle to improve your networking opportunities
Understanding specific educational jargon and the latest approaches, applications, and technologies in the profession (e.g. Backwards Design, The Common Core, Whole Child Initiatives, Multiple Intelligences, Depth of Knowledge and Higher Order of Thinking Skills, Formative, Summative, Diagnostic, and Authentic Assessment, etc. – Do you know the meaning of these terms?)
You need to ask yourself the question, “What are my greatest weaknesses in music education?” Or, to put it another way, “What school assignments would I feel the least confident to teach? After earning your state’s all-essential credential, your certificate will likely be general and only say “music Pre-K to Grade 12.” Administrators will expect you can “do it all” – introducing jazz improvisation at the middle school, accompany on the piano or guitar all of the songs in the grades 1-6 music textbook series, directing the marching band at the high school or the musical at the middle school, starting an elementary string program, etc.
Since music teachers are all “fiduciaries” (do you know the meaning of the word?) and legally responsible for our “charges,” wouldn’t it be a good idea to review our state’s regulations and code of conduct, and hear about the challenges and pitfalls of ethical decision-making before we jump in and get “over our heads,” so-to-speak?
ask your cooperating teacher (or his/her supervisor’s) permission. Some school districts have “do not photo” rosters. (However, in my district, only a few elementary students were “on the list” and most defaulted to a “permissible” status unless the parent opted out. The principal’s secretary had a record of all exceptions.) It is also suggested that you focus your camera mostly on YOU and not the students, from the back of the classroom or rehearsal facility (possibly from afar), so that the student faces are not clearly discernible. To respect their privacy, in the recorded excerpts, do not use any segment announcing the names of your students.
According to the above study by Peter Webster, Scholar-in-Residence at the Thornton School of Music, University of Southern California in Los Angeles, “good music teaching” involves the practice and observation of three types of musical behaviors:
Peter Webster’s definition of “creativity in music” is succinct: “the engagement of the mind in the active, structured process of thinking in sound for the purpose of producing some product that is new for the creator.” Furthermore, this is a thought process and “we are challenged, as educators, to better understand how the mind works in such matters — hence the term creative thinking.” (Webster, 1987)
A heighten interest in the young child and invented music notation and their discussion of it as a window to understanding the child’s knowledge (Barrett, Gromko, MacGregor)
Related to this are the issues of teacher control: when do we step in to change something or suggest a new path.
The Common Core
Behavior management, disciplinary procedures (especially preventive practices) and posting class or ensemble rules
However, in the methods classes that come later (perhaps in the second through fourth year?), the basics of “how-to teach” will come. Of course, as you sit in a class teaching you to “cross the break” on a clarinet or play a scale on the flute with good tone, you must also absorb (and remember) the finite steps required in the lesson to pass on this knowledge and skill, not just honk or squeak a few times to master the proficiency exam for yourself.
Of course, these are “trick questions.” The answer should be “I want to teach music,” or even better, “I want to teach children.” In most of the school districts across the country (with a few exceptions in the Midwest and places that accept teaching specialty certification by grade level or subject area), you are licensed to teach music in grades Pre-K to 12. At no point in any conversation with a potential administrator (or colleague who may become a member of the screening committee for a music opening) do you want to be “pigeon-holed,” or give the impression “I can only teach_____.”
Accompany, direct/teach the drama, and choreograph the middle school musical.
Ego and arrogance has no place in the teaching profession. Where did I hear this saying? “The more you think you know, the less you actually know.” Joining a mentoring program or finding a formal or informal veteran teacher “buddy” will go far to insuring your professional success and dodging those first-year teacher “pot holes” (dumb but common blunders) and “rookie blues.”
Retired music teachers are another excellent resource. For example, if you live or work in Pennsylvania, many post-employed PMEA members have placed their name and contact information on the Retiree Resource Registry to serve as willing, capable, and informal consultants for pre-service, novice, or other members recently transferred into a non-major specialty “outside their comfort zone.”
Please feel free to comment on this blog-post. What are your thoughts?
Before 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.
Updates self with “constant education” and retooling
Cooperation
National Association of State Directors of Teacher Education and Certification proposes these principles:
Here’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. 
Although 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.
What do you believe about teaching?
Take 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.
paulfox.blog 