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:

 

daviddockan_choir

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

Student Teaching in Music- Tips for a Successful Experience.png

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.

 

dockan4

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??

 

national core arts standards

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?

 

dockan1

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

 

dockan3

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

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

 

people-3350545_1920_tweetyspics

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.

 

woman-3435842_1920_Comfreak

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

 

stress-2883638_1920_geralt

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”

 

woman-1852907_1920_Pexels

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:

 

stress-226706_1920_geralt

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:

 

cello-521172_1920_enbuscadelosdragones0

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.

 

trumpeter-1945553_1920_klimkin

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

 

marching-band-559379_1920_skeeze

Additional resources on stage fright and other anxiety issues:

 

hug-1315552_1920_markzfilter

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

 

laptop-3087585_1920_JESHOOTScom

 

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.

New Dreams and Horizons

“Self-Realization” ― The Key to Resolving Retirement “Conundrums”

Most gerontologists agree that a period of adjustment will occur during the first years of “interning” as a retiree. Even more crucial is the “pre-retirement” or “imagination” stage of retirement – (see https://www.usatoday.com/story/money/personalfinance/2014/10/12/five-stages-of-retirement/16975707/ or http://www.investopedia.com/articles/retirement/07/sixstages.asp…) involving your preparation six to ten years prior to “taking the big leap” to FREEDOM!

Have you considered a few “terms of transformation” below that are all-to-common to soon-to-be-retirees undergoing that life-changing transition to “living their dream?” How should you unravel these “conundrums” or mysteries of transitioning to retirement?

  • Self-Identity and Change
  • Free Time
  • Energy and Fortitude
  • Losing Control and Perpetual Care

The only solution to “softening the blow” of the possible turmoil and incongruity brought on at this time is to follow the Boy Scout rule… BE PREPARED.

Tips Retirement for Music EducatorsThat means, according to TIPS Retirement for Music Educators by Verne A. Wilson (MENC 1989), at least three years before you leave your full-time employment:

  1. Sit down with your spouse if you are married (and other family members) and plan ahead carefully.
  2. Decide when you want to retire. Estimate as accurately as possible what your economic situation will be after you retire.
  3. Decide where you want to live after you retire. This means not just the neighborhood, city, or state, but also the kind and style of residence… retirement community, one-floor ranch, apartment, etc.
  4. Set some goals regarding how you want to spend your retirement time. Focus on your talents and abilities instead of looking at the handicaps that may come with the aging process.
  5. Be prepared for “change” and learn how to accept it, and be willing to embrace new opportunities for personal growth, flexibility, and adaptability.
  6. Be sure your intentions are clearly stated in writing (wills, power of attorneys, living wills, etc.)

Now, to define your “life’s goals” and anticipate several of the “big issues,” read on!

SELF-IDENTITY & CHANGE: Who am I?

The prep and passage to your “golden years” is the perfect time to a little self-reinvention based on self-assessment towards finding purpose, meaning, fulfillment in your life. There are many publications that promote personality and interest surveys to point you in the right direction and help synchronize your goals with your spouse, “significant other,” other family members.

the_retiring_mind_coverRobert Delamontagne writes in detail about using the enneagram as an evaluative tool in Honey, I’m Home: How to Prevent or Resolve Marriage Conflicts Caused by Retirement (Fairview Imprints, 2011) and The Retiring Mind: How to Make the Psychological Transition to Retirement (Fairview Imprints, 2010).

The definition of enneagram is “a system of classifying personality types that is based on a nine-pointed star-like figure inscribed within a circle in which each of the nine points represents a personality type and its psychological motivations (such as the need to be right or helpful) influencing a person’s emotions, attitudes, and behavior.” And now, the essential question: Are you and your spouse or significant-other “compatible” and facing your retirement future “on the same page?”

I have come to learn that different people process life-changing events in various ways, depending on their personality type. You slam a hard-charging personality type with an achievement addiction into an unplanned, downsized retirement life and you won’t see stress like this unless you invested your retirement money with Bernie Madoff.

― Robert Delamontagne in The Retiring Mind: How to Make the Psychological Transition to Retirement

enneagramDelamontagne labels the characteristics of each E-Type. After reading his book, which ones are closest to resembling you and your spouse?

  • E-Type 1: The Master
  • E-Type 2: The Enchanter
  • E-Type 3: The Star
  • E-Type 4: The Drama Queen
  • E-Type 5: The Solitary Mystic
  • E-Type 6: The Closet Rebel
  • E-Type 7: The Cruise Director
  • E-Type 8: The Conquistador
  • E-Type 9: The Harmonizer

Approaching it from an individual retiree’s quest for self-reinvention in their book Shifting Gears to Your Life & Work After Retirement (New Cabady Press, 2013), Dr. Carolee Duckworth and Dr. Marie Langworthy offer self-assessments and analyses with the four-letter personality type code in Chapter 6: “Reinvent Yourself” (see the Myers-Briggs Personality/Cognitive Style Inventory Test at http://www.personalitypathways.com/type_inventory.html and TypeLogic Profiles at http://typelogic.com/index.html) followed by the Interest Profiler in Chapter 7: “Rediscover Your Work” (see https://www.cacareerzone.org/ip).

shifting gears bookcoverOn their book jacket, Duckworth and Langworthy promote their work as “a call to action on your own behalf” to:

  • Jump start your newly invented personal and professional retirement ― your Next Phase life and work.
  • Create your own custom road-map to how Baby Boomer YOU will live your last and BEST personal opus, with vitality, enthusiasm, and enjoyment.

These sections from their reading were also very interesting to review: the 10-point Retirement Countdown, 7 “What Comes Next” Pathways, a 5-Step Process to Create Your Retirement, and 5 Major Types of Retirement Work Options.

In a similar fashion, before you finish the first three dozen pages of The Joy of Retirement, authors David C. Borchard and Patricia A. Donahoe introduce the Life Vitality Assessment and a Transition Readiness – Change Aversion vs. Attraction poll to assist in your self-analysis.

The book develops the “Core Themes for Your New Life,” with the hopes to assist you in re-creating a new life involving the following four phases:

  1. Envisioning the nature of the kind of future you desire.
  2. Articulating that picture into the written word.
  3. Claiming your passion once you are clear about what it is.
  4. Developing a plan or a map for getting where you want to go and for achieving who you want to be.

Joy of Retirement bookcoverLife Themes Profiler, a comprehensive assessment tool developed by David Borchard and laid out initially in Chapter 4, will help you understand and graph the retirement themes and “your intentions for the next chapter of your life.”

They say that 50 is the new 40. If you’re over 50, chances are you feel more vital, energetic, and passionate than ever. While you may be ready to retire, you may not be ready to stop working entirely. These days, life after work no longer conjures up images of couples wandering the malls, playing golf, and taking endless Caribbean cruises. As baby boomers reach their 50s and 60s, they are re-defining what it means to retire. What they want is joy, vitality, and meaning in their lives.

― Back cover of The Joy of Retirement

At the very least, these book resources may open-up new pathways to define your values, personality, temperament, and what may “float your boat” in selecting future service projects, “encore careers,” and hobbies.

Now, get busy on these and “the rest of your life!”

 

FREE TIME: Where do all of our hours go?

There’s never enough time to do all the nothing you want.

― Bill Watterson, Calvin and Hobbes

It’s a good thing I have that Calendar app on my phone, or I would never remember all of the unique, non-repetitive, and less predictable appointments that I make as a retiree.

ZelinskiObviously, fulfilling your “bucket lists” and goals will influence the structure of your daily/weekly schedule.  According to Ernie Zelinski, with or without “a job,”  you need to find a “work-life balance” and devote equal time to these essential priorities:

  • Job or Volunteer Work
  • Family, Relationships
  • Friends and Colleagues
  • Community Activities
  • Self Care – Sports/Exercise
  • Religious/Spiritual Philosophical Concerns
  • Hobbies/Interests
  • Future Plans/Projects

In his book, How to Retire Happy, Wild and Free (Ten Speed Press 2016), Zelinski lays out his “plan” for finding purpose (and prioritize time) in his life:

  • To make a difference in people’s lives
  • To make a contribution
  • To find creative expression
  • To take part in discovery and challenge
  • To help preserve the environment
  • To accomplish or achieve a challenging task
  • To improve health and well-being

Design Your Dream Retirement Cover-slanted-with-shadowDave Hughes echoes these sentiments with his “four essential ingredients for a balanced life” in the book Design Your Dream Retirement: How to Envision, Plan for, and Enjoy the Best Retirement Possible (2015):

  1. Physical activity
  2. Mental stimulation
  3. Social interaction
  4. Personal fulfillment

Watch out for what I will call “the caretaker’s anchor.” One of the greatest things you can do in retirement is to surround yourself with young people… As many wise people have said, “They will keep you forever young!” However, unless you want it to be the primary focus of your life, your babysitting duties should not take over your entire retirement schedule. It is easy for your love ones to assume that since you no longer have a full-time job, you can assume the responsibility of serving as the “safety net” or even the number one full-time caregiver for your grandchildren and grandnieces.

Several additional time management tips:

  1. If you are married, synchronize your schedule with your spouse.
  2. Set aside at least 30-45 minutes a day for sustained physical activity.
  3. Avoid watching more than an hour and a half of television per day. Experts say this is not healthy.
  4. shiny-brain-1150907-1Do something every day that will expand your mind, stimulate your intellect, or increase your curiosity quotient.
  5. Hobbies that focus on self-expression or other creative pursuits are best enjoyed in the morning when you are fresh. You might consider doing your music warmups, practicing, composing, writing, painting, etc. ― anything that requires firing up your artistic “right brain”― before lunch and prior to your appointments, chores, and shopping. Besides, if it’s something you really look forward to doing, it will help motivate you to get out of bed early in the morning.
  6. Get enough sleep. Believe it or not, many retirees have re-occurring bouts of insomnia. Check out “Retirement Insomnia” by Claire N. Barnes at HUFFPOSThttp://www.huffingtonpost.com/claire-n-barnes-ma/retirement-insomnia_b_6395998.html.

It’s 3 a.m. and I’m awake! How many of you boomers have this experience? As the Inspirement journey continues, I have been surprised to learn how common insomnia is among retirees. Forget all the advice suggesting that when you retire, you can sleep more (or longer…. or later). The practical reality is a large percentage of retirees experience insomnia or sleep difficulties.

whatever clockAlthough the exact number of boomers and seniors who experience sleep problems is hard to pinpoint, a national study of our aging population suggests nearly 42 percent of those surveyed have sleep difficulties. That figure is beyond an epidemic.

― Claire N. Barnes

 

ENERGY & FORTITUDE: What happened to my stamina and endurance?

Participating in several extra-curricular programs (marching band, fall play, after-school strings, spring musical, etc.), my hectic music teacher weekday work routine began at school around 6:30 a.m., and often I did not make it home until after 9:30 p.m. Since retiring in 2013, I volunteer at the hospital several days a week pushing patients in wheelchairs (with some of our discharges weighing over 300 pounds!). Considering that 15 hours use to be my daily norm, I keep asking myself: “What’s up with my needing to take a ‘power nap’ after only three hours of a moderate physical activity?”

Aerobic activities, strength training and flexibility exercises can help retirees preserve muscle and bone mass, feel young and be better able to do the activities of daily living, such as putting items on shelves and even holding the grand-kids.

― Felicia Stoler, registered dietitian and exercise physiologist in Holmdel, N.J.

running-in-the-morning-1538848 Patrick NijhuisRegular physical activity is a must. Quoting from a future article I plan to submit to the state journal of Pennsylvania Music Educators Association PMEA News: “The definition of ‘exercise,’ especially in order to receive cardiovascular benefits, is to raise your heart rate for 30 minutes or more. Leaving your La-Z-Boy to let the dogs out or looking for the remote does not count!”

Actually, taking the dogs out for a long walk may be a good idea, but you need to move at a fast pace. Stopping to talk to the neighbors down the street or allowing the pups to slow down and sniff every bush, may not bring the health benefits you desire.

The best tip prior to adopting an exercise program in retirement is to see your doctor.

Here are a few Internet resources:

 

LOSING CONTROL & PERPETUAL CARE:  Should we expect our children to take care of us in our old age?

helping-the-elderly-1437135 melodi2This final category of “pre-retirement planning” has everything to do with living with independence and security as we grow older. Many Baby Boomers just starting their retirement journey may not actually see this as “a big deal” right now. However, developing a long term “backup plan” for maintaining our health care, mobility, and comfortable living is critical. Again… we must think ahead!

As a “senior” with no children, nephews, or nieces, I again seek the advice of experts.

First, visit Kathy Merlino’s recent blog for a good introduction on this subject, especially as it applies to your children becoming the adult caregivers: https://kathysretirementblog.com/2017/07/23/should-your-kids-take-care-of-you/.

She is very eloquent in her “independent-living manifesto”― being actively involved in her children’s lives but NOT leaving them the ultimate chore of “taking care of mom!”

The primary reason for my planning for independence is my children. I’d like for them to live unfettered with my care. They have their own lives, spouses, children and now, my oldest daughter, has her very first grandchild. Taking care of myself is the best gift I can give them…

We, as parents, should never expect our kids to resign from their lives to care for us. It is up to us to care for us. We owe it to our children to stay physically active, to eat a healthy diet, to pursue our passions, to stay mentally sharp, to develop a community of friends of our own, to stay spiritually true to ourselves. And, if necessary, live in an assisted living community. That is the best legacy we can leave them.

― Kathy Merlino

Consumer Reports offers an excellent online article “Healthy Aging in Your 80s and Beyond – 5 Tips to a Long, Healthy Life,” recapping the above advice on physical fitness and offering a few recommendations on how to live independently:  https://www.consumerreports.org/cro/magazine/2014/06/healthy-aging-into-your-80s-and-beyond/index.htm.

Consumer Reports logoFifty-five percent of our respondents wanted to stay in their own homes, with help as needed, as they got older and required more care. But a recent AARP survey revealed that only about half of older adults thought their homes could accommodate them “very well” as they age; twelve percent said “not well” or “not well at all.”

“The time to think about your housing options is when you first retire and are relatively healthy and young,” said Linda Fodrini-­Johnson, a geriatric-care manager in Walnut Creek, Calif. “You need to think realistically about the things that might happen over the next 20 years.”

Consumer Reports, June 2014 issue

I like a few additional resources on the web:

romanticism-1309299 Claudia Meyer

CONCLUSION ― Food for Thought!

Gerontologists like Ken Dychtwald and Robert Atchley contribute loads of research and recommendations for the “imagination” (pre-retirement), “anticipation,” and “liberation” stages of retirement. They provide the basis for all the concern and rush to reflect on senior self-realization and dodge anticipated problems we may encounter during this period. One quote from TIPS Retirement for Music Educators by Verne A. Wilson sums up the need for a concerted effort in “advance planning” to enjoy and find meaning in your post-employment “new dreams and horizons!” Conquer your own retiree “conundrums!”

If you were planning to spend the rest of your life in another country, you would want to learn as much about it as possible. You would read books about the climate, people, history, and architecture. You would talk to people who had lived there. You might even learn a bit of its language. Old age is like another country. You’ll enjoy it more if you have prepared yourself before you go.

― B. F. Skinner and Margaret Vaughn in TIPS Retirement for Music Educators

 

PKF

© 2017 Paul K. Fox

Photo credits from FreeImages.com (in order): “Sunset Years” by Bill Davenport, “Shiny Brain” by artM, “Running in the Morning” by Patrick Nijhuis, “Helping the Elderly” by Melodi2, and “Romanticism” by Claudia Meyer