Living Your Legacy

Teacher Retirees: Not to be morose, but have you undergone a little soul-searching and introspection into how you want to leave your mark on this world? Since you’ve departed from your full-time career, do you feel your past/current goals and pursuits will make a difference?

How will you be remembered once you’re gone?

If someone else was to “put me on the spot” and ask me this, my quick rejoinder would be, “Music and education are my life!”

How about you?

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Let’s start with a review of the broad definition from Merriam-Webster:

legacy

noun: 1. a gift by will especially of money or other personal property, 2. something transmitted by or received from an ancestor or predecessor or from the past

adjective: of, relating to, associated with, or carried over from an earlier time, technology, business, etc.

synonyms: bequest, birthright, heritage, inheritance, patrimony

Legacy is [how] most people… want to be remembered, loved, and revered.

A legacy is not something that we have complete control over. After all, we cannot control how other people perceive us, we can only control our own actions.

So how can we leave the world with a legacy of our choosing?

What we must do is inspire through our own actions. If you go back through time and analyze the most influential legacies, you’ll see that they all inspired action through their own action. They didn’t just think about doing things, or tell others to do them; they went out and got things done on their own!

These legacies began while they were still alive, except I’m sure they weren’t thinking about them in those terms. Their ACCOMPLISHED GOALS became their legacy, which lives on today.

— Amy Clover in Strong Inside Out

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It may boil down to two thought-provoking inquiries posed in “What Will Be Your Legacy?” What do you want to leave for the world that will affect it when you are gone? AND How do you want to change the future?

Thanks to blogger Marelisa Fabrega, here’s more food for thought and self-examination:

  1. What do you want your life to stand for?
  2. How do you want to be remembered by your family and friends?
  3. What will those beyond your circle of family friends remember you for?
  4. What kind of impact do you want to have on your community?
  5. How will the world be a better place because you were in it?
  6. What contributions do you want to make to your field?
  7. Whose lives will you have touched?
  8. What lessons would you like to pass on to future generations?
  9. What do you want to leave behind?
  10. How can you serve?

 

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In her article “How to Leave a Lasting Legacy,” Fabrega also shares several activities for the creation of a personal legacy, everything from the Stephen Covey exercise on writing your own obituary or designing the words you want etched on your tombstone to adding your own “meaning of life” verse to the Walt Whitman poem Oh Me Oh Life as English teacher John Keating (played by Robin Williams) taught in the film Dead Poets Society.

Your legacy is putting your stamp on the future. It’s a way to make some meaning of your existence: “Yes, world of the future, I was here. Here’s my contribution, here’s why I hope my life mattered.”

— Bart Astor in Forbes

 

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Getting Your Affairs in Order

A legacy is more than a large donation to your favorite church, foundation, or charity. Of course, this process should begin with self-reflection, advance planning, hiring an attorney, and making your financial intentions and final instructions clear in writing.

Do you have a legal will, ethical will, living trust, Power of Attorney, and advance directive? Have you updated your important documents to take care of the needs of your family? Have you notified your spouse, adult children, and other relatives where they can find these legal papers, passwords, and other digital files? If not, please review my blog “Estate Planning.”

But, legacy is so much more, including strategies for passing on your values and goals after you are no longer here!

Ethical Wills.png13 years ago, I first learned about an ancient tradition for passing on personal values, beliefs, blessings, and advice to future generations called an “ethical will.” At a subconscious level, I must remember the custom, because when my father was diagnosed with lung cancer in 1990, I asked him to write a letter about the things that he valued. About a month before he died, my dad gave me two hand-written pages in which he spoke about the importance of being honest, getting a good education, helping people in need, and always remaining loyal to family. That letter – his ethical will – meant more to me than any material possession he could have bequeathed.

— Barry K. Baines in Ethical Wills

As we have also noted in a previous blog-post, you should reflect on what you would say to those nearest and dearest to you if you couldn’t (or didn’t) tell them in person. Consider writing individual letters to your partner, children, or other family members “as a way of leaving a few last words.” Check out Frish Brandt’s “Last[ing] Letters.”

 

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Your Contributions “In Memoriam”

The idea of leaving a legacy is the need or the desire to be remembered for what you have contributed to the world. In some cases, that contribution can be so special that the universe is unalterably changed. However, for most of us mere mortals walking this earth, we will leave a more modest legacy that doesn’t necessarily change the world but does leave a lasting footprint that will be remembered by those whose lives you touched.

You hope your life matters in some way. I know I do. I’ve been teaching since the age of 22 and teaching is my legacy, my contribution that hopefully enlightened the lives of my students whether they became actors, scientists, doctors, mothers or yogis. My teaching is a gift that keeps on giving because it leads me to other learning and knowing experiences that I share with others.

— Joan Moran in HUFFPOST

(I bolded “teaching is my legacy” in the above quote because I hope that will be considered as my own preeminent legacy.)

To borrow from the inspiration and expertise of others, I found this insightful and stimulating self-help article offering “Five Ways to Leave a Great Legacy” by Joan Moran.

Moran describes in detail these tips:

  1. ornament-1899065_1920_2_xsonicchaosSupport the people and causes that are important to you.
  2. Reflect and decide what is most important to you in your life.
  3. Share your blessings with others.
  4. Be a mentor to others.
  5. Pursue your passions because they are infectious.

She sums it up succinctly: “Leaving a legacy is an important part of your life’s work. A legacy develops from a life dedicated to self-reflection and purpose. What will be revealed and what will endure is a truthful and value driven body of living.”

The straightforward way to live a life of significance is simply to share your three t’s: time, talent, and treasure. Our lives are meant to give away – to significant causes, to loving families, to friends in need, to lasting relationships. Find a way that your gifts can serve others. Your time, energy, and money are precious resources – they are limited, and you are the sole owner. If you spend them in one area you can’t spend them in another. When we say “yes” to one thing, by default we saying “no” to something else. The key to winning is to say “yes” to the significant things in your life.

— Lee Colan in Inc.

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Giving Back… Getting Personal

eleemosynary

adjective: of, relating to, or supported by charity

synonyms: altruistic, beneficent, benevolent, charitable, do-good, good, humanitarian, philanthropic

Fancy SAT vocabulary term! No, we do not need a visit from Charles Dickens’ three ghosts to learn altruism! Everyone should want to be remembered as eleemosynary or generous souls! Especially during my retirement years (2013 to the present), I want to model volunteerism:

  • Fox_Paul_SHJODirecting the South Hills Junior Orchestra (non-salaried sharing of my teaching)
  • Serving as a volunteer escort for the St. Clair Memorial Hospital (three days/week)
  • Promoting communications and marketing strategies of the Community Foundation of Upper St. Clair
  • Supporting the Pennsylvania Music Educators Association in various projects including teacher training, recruitment, retention, and retirement prep.
  • Writing articles and presenting workshops/webinars that help other teachers

These wishes will need to be updated from time to time, just like revising mission/vision statements, goals and objectives.

In addition, future monetary bequeaths from “what’s left” of our remaining assets will serve as “random acts of kindness from the grave” in support our current values, funding hereafter projects and pursuits (subscribing Moran’s tips #1-3 above) that matter to us.

How to Make an Educator Smile

My wife and I never had kids, so admittedly we live vicariously when we “bump into” our former students and revel in their major life-passages and accomplishments. It warms a retired music teacher’s heart to “catch-up” with a combined 53+-year history of past pupils from our music classes, choirs, bands, orchestras, and musical/play productions, and learn that they are happy, healthy, prosperous, and thriving. It gives us a special thrill to hear they are still “making music” and/or passing on their love of the arts to their own kids. That is indeed part of every teacher’s wish for a lasting legacy.

During our retirement, we continue to attend many concerts, recitals, weddings, receptions, Eagle Scout ceremonies, etc. of our former “charges.” We feel blessed to be invited to participate in these special occasions to share in their joy, love, and success.

In some small way, we fervently hope our efforts to bring creative self-expression and the appreciation of the arts have made a difference to our students’ lives and their development into caring, responsible, and “artistic” adults.

In Conclusion: The Fox Vision and Values — “These Things I Believe”

  1. Equal-access to high quality and meaningful music education programs is an essential part to the intellectual, emotional, and artistic development of all children.
  2. The primary goal of an education in the arts is to nurture creative self-expression.
  3. Regardless of talent or privilege, every individual on earth can find inspiration and success in some form of music or the arts.
  4. Our life purpose involves relationships. It is more about people than about things.
  5. We were put on this planet to understand and help others, to foster more than a mere tolerance for diverse individuals and perspectives, rather to emphasize the values and practices of acceptance, respect, empathy, and collaboration.
  6. Our primary goal is to empower volunteerism, to make a difference in the lives of others less fortunate or experienced, and to give freely of our time, talents, passions, and resources.

PKF

 

Photo credits (in order) from Pixabay.com

 

Photo of Robin Williams portraying John Keating in the movie Dead Poets Society was by bardfilm.blogspot.com

 

© 2020 Paul K. Fox

Becoming a School Music Educator

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

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

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

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

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

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Student Teaching

First stop: Tips on Student Teaching.

Also check out these past issues of PMEA Collegiate Communique:

 

“Secrets” for that First Year

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

 

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Everything… Including the Kitchen Sink

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

 

Job Seekers

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

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

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 Collegiates, welcome to the profession!

“Break a leg” at your employment interviews!

PKF

 

Photo credits in order from Pixabay.com:

 

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© 2019 Paul K. Fox

Now What?

Guest blog-post by Colonel (Retired) Thomas H. Palmatier

 

 

Originally printed in the School Band and Orchestra (SB&O) Digital Magazine, June 2019. Reprinted with permission. All rights reserved. http://digitaleditiononline.com/publication/?i=593349#{%22issue_id%22:593349,%22page%22:26}

This was also featured in the August 2019 edition of the PMEA Retired Member Network eNEWS, archived at https://www.pmea.net/retired-member-network-enews-archive/.

Motor City Band Festival Palmatier

At some point, every band or orchestra director will either retire or move to another career. While there is much emphasis on mentorship and other ways to assist new directors, there are almost no programs to help us with the potential a more difficult transition. The U.S. Army has a mandatory program for anyone leaving the service to prepare them for the next phase of their life. Even without assistance, leaving a job that you love is tough for everyone. I want to share some lessons that I learned in the research I’ve done into this issue.

Pershing's OwnIn my case, I had over 37 years where I had established an identity as a music director and as a soldier. Prior to retirement from the army, I was the senior music director in the U.S. Armed Forces and was on speed dial of many officials in the department of defense, the Congress, and of course, the media. I received 500 to 600 emails daily from all over the world. By the way, I also was leader and commander of the US Army Band “Pershing‘s Own,” one of the largest (and busiest) military music units in the world. Then, one day I was no longer in the army, my phone wasn’t ringing constantly, the email stopped, and my schedule was mostly free. Sounds great, right? As a band or orchestra director, you were probably the most well-known and well liked person in your community. You have students, parents, and administrators who rely on you. And then suddenly, you are not that person any longer. For each of us there are emotional/psychological, social/family, and financial impacts of this transition.

MotorCityFestival Palmatier

The identity that you have developed over the years is now essentially gone. I was fortunate to have a colleague warm me up that about six months after retiring, I would hit a wall of depression, and he was so right. Because I have been warned about it, I was able to act with my health care provider.  Now, imagine if upon your transition, you are now spending more time with your spouse/partner then you would ever have before but then find yourself unhappy. Studied show increased divorce rates soon after retirement or a career transition because people make the mistake and assumption that their Brett_Favre_Super_Bowl_50depression is related to spending time with their spouse.

Brett Favre reportedly said when ending his first retirement from pro football that “the one thing about having nothing to do is that it doesn’t take long to do it.” To overcome boredom (and depression), it’s important that you know how you see yourself now and how you want others to see you. For many years, your identity was band/orchestra director. What’s your identity going to be now?

The impact on your social relationships can be equally challenging. Most of us develop the circle of friends in the music and education communities. When you are no longer in “the biz,” who will your friends be now? What will you talk about besides the awesome halftime show that you are no longer writing? This all goes back to who you are now, not who you used to be.

MidWest Clinic Palmatier

The financial impacts of retirement or transition are unique to every individual. However, if you intended to now be self-employed, be serious about it. Create a limited liability company (LLC). Most states let you do it online and it usually cost no more than $100. Keep meticulous records and don’t mess with the IRS. Done right, you can legally deduct lots of things as business expenses. Remember, you don’t have a music library anymore so you will be buying lots of scores (don’t be one of those folks whose library is full of illegal photocopies!).

If you’re going to follow the self-employed path, be aware of that self marketing, maintaining a website (see mine at ThomasPalmatier.com), and bookkeeping take a lot of time.

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There is one terrific way to stay relevant in our profession – being a mentor. I encourage you to read my article in the August 2018 issue of SBO Digital Magazine called “Be a Mentor – Get a Mentor.”

Here are my top five takeaways for those approaching retirement or a career transition:

  • Start preparing as far in advance as possible.
  • Be prepared for the inevitable challenges. If you were unhappy or depressed, get help!
  • You get to define yourself now.
  • Stay relevant – be a mentor.
  • Enjoy it!

 

 

Col. Thomas H. Palmatier
Colonel Palmatier served as guest conductor of the 2017 PA Intercollegiate Band Festival at Grove City College in PA

Colonel (retired) Thomas H. Palmatier is the former leader and commander of the U.S. Army Band “Pershing‘s Own” and commander and conductor of the United States Army Field Band. He holds degrees in music education from the Crane School of Music (State University of New York at Potsdam) and Truman State University, as well as a Master if Strategic Studies degree from the US Army War College. He is an active clinician, adjudicator, and guest conductor of concert bands, orchestras, British-style brass bands, jazz ensembles, and marching bands. He is a Conn-Selmer clinician and a member of the American Bandmasters Association.

© 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

fisherman-1624704_1920_paulbr75_

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.

wooden-train-2066492_1920_Couleur

 

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

 

 

Transitioning from Collegiate to Professional – Part II

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

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

This segment, Part 2 of the series, and will continue with an examination of ongoing music teacher preparation (much of it “direct instruction”) and mentoring programs.

 

application

Moving from “Book Learning” to “Practical Application”

It is a challenge to squeeze everything necessary into a college curriculum for music education certification: mastery of your major instrument/voice, music theory, music history, sight-singing/ear-training, conducting, piano proficiency, instrumental and vocal methods, etc. The school from which I matriculated (Carnegie-Mellon University) had a five-year-plus program guiding me towards the degrees of Bachelor of Fine Arts in Music and Masters of Fine Arts in Music Education. Even with the extra year of classes, time over the summers, and practical “on-the-job training,” many things were overlooked.

NOW IS THE TIME to fill in these gaps!

First off, how well do you know common educational jargon? Prior to your interviews, it would be good to review the terms (and even abbreviations) in frequent use. My music education methods courses never got around to detailed definitions and applications of…

  • woman-3061656_1920_RobinHigginsThe Common Core
  • Whole Child Initiatives
  • 21st Century Learning Skills
  • Flipped Classrooms and Blended Schools
  • Multiple Intelligences
  • Depth of Knowledge (DOK) and/or Higher Order of Thinking Skills (HOTS)
  • Customization, Differentiation, and Individualization
  • Formative, Summative, Diagnostic, and Authentic Assessments

Just for fun (a crossword puzzle), how many of these acronyms can you identify? https://paulkfoxusc.wordpress.com/2015/07/18/the-alphabet-soup-of-educational-acronyms/

One of the tasks in “year one” of my first position was to write a course of study for junior high school music appreciation. I had received no training in writing curriculum. The “hurry-up” self-tutoring was stressful, and occupied many long nights and weekends. However, by December, I had satisfied my principal’s instructions and then began preparation over winter recess to teach that course for the coming second semester.

Since then, I have written dozens of course curriculum. Most of them required familiarity with the national and state standards in music, and a backwards-design approach introduced by Grant Wiggins and Jay McTighe (UbD) in the planning of curriculum “maps,” setting goals before choosing instructional methods and forms of assessment, and formulating essential questions (EQ), enduring understandings (EU), etc. (See: https://cft.vanderbilt.edu/guides-sub-pages/understanding-by-design/.)

Bottom line: Start now and assume the role and responsibilities of a professional music educator. Begin researching (even practicing) writing lesson targets, lesson plans, and even curriculum. Seek resources like the PMEA Model Curriculum Framework: https://www.pmea.net/resources/pennsylvania-music-standards/.

Other areas on which you may need to “catch-up” are:

  • microphone-1804148_1920_klimkinBehavior management, disciplinary procedures (especially preventive practices) and posting class or ensemble rules
  • Valid assessments, scoring/rubrics, and use of the school’s grading system
  • Provisions of the Family Educational Rights and Privacy Act (FERPA) and other confidentiality policies
  • Individual education plans (IEP) and accommodating students with disabilities
  • Management of a proverbial “sea of paper” required of all music educators: purchase and repair requisitions, absences reports, student attendance records, conference requests, induction/in-service program assignments, etc.
  • Public relations and communications with parents and the community

It would not hurt to purchase and read cover-to-cover at least one book like The Everything New Teacher Book by Melissa Kelly (Adams Media, 2004) or The First-Year Teacher’s Survival Guide: Ready-to-Use Strategies, Tools and Activities for Meeting the Challenges of Each School Day by Julia G. Thompson (John Wiley & Sons, 2013).

In addition, take advantage of the outstanding free resources on the NAfME “Music in a Minuet” blog-site, like the following articles:

 

Artist vs. Teacher

The transition from a collegiate musician and pre-service educator to becoming an in-service “master teacher” involves the balance of two distinct skill sets: depth of knowledge vs. methodology. Both are absolutely essential!

In the first several years of classes like music theory, solfeggio, eurhythmics, and lessons on your major instrument or voice, most college programs focus on developing your own deep understanding and musicianship.

No one should become a music teacher who has not previously achieved a near-virtuoso level of playing/singing on their own part. The profession demands a high degree of technical mastery and artistry… which you will need when you stand in front of a school choir, band, or orchestra to prepare repertoire rated above a level 3 or 4.

excited-3126449_1920_RobinHiggins9However, 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.

In addition, your studio teacher may help you to grasp the pedagogical concepts of these abstract but important foundations:

  • Assessment of student needs and diagnosis of problems and solutions to learning
  • Application of brain theory to “making connections” in order to recommend solutions to problems and in planning lessons
  • “Scaffolding of learning” techniques (interrelated “building blocks” of curriculum)
  • Creation of stories and analogies to introduce specific learning objectives such as the principles of breathing, embouchure, pitch, steady beat and rhythm, bowing or moving with a natural and efficient follow-through, etc.
  • Team building and collaborative learning
  • Leadership and the cornerstone of trust

One of the best courses I took at Carnegie-Mellon University was “repertoire class,” offered for no credit and no grade, but required by my string professor. We sat in a circle Monday afternoon for two hours and played solo selections assigned by our studio teacher, after which one-by-one we commented on each other’s performance. We learned the art of listening, prioritizing areas for improvement, and how to give constructive criticism and positive remediation without “crushing” the feelings of the player… probably among the most valuable lessons I later carried with me to my job as full-time string teacher in grades 5-12.

boy-273279_1920_SilberfuchsYou will be required to seek additional research, study, and at times “re-tool” outside what was presented in your methods courses. Some of these new “best practices” will be presented by the induction or in-service training of your school district. When I was hired by the Upper St. Clair School District, a big three+ year professional development program was the Madeline Hunter Model of Mastery Learning. Grudgingly (at first I did not see the purpose), I came to realize that labeling and defining the “eight steps of effective lesson plan design” improved my overall skills as an educator, especially in many of her strategies of “anticipatory set,” “modeling,” “checking for understanding,” and “guided practice…” none of which were ever mentioned even briefly in my five-and-a-half years in college. (For more info, read https://www.doe.in.gov/sites/default/files/turnaround-principles/8-steps-effective-lesson-plan-design-madeline-hunter.pdf.)

Finally, I have said this before in past blogs: “You may be the best musician this side of the Mississippi, someone who has perfect pitch, can conduct Orff’s Carmina Burana or Shostakovich‘s Festive Overture blindfolded, play an extremely fast and even paradiddle on the snare drum, and sing a high “A” with perfect intonation and tone, but if you cannot inspire students, work with coworkers, and communicate effectively with the parents, your chances for success in the public schools is doomed from the start.

 

Generalist vs. Specialist

Whenever presenting at college chapters of NAfME or music education methods classes, I always try to ask the students several things on a one-to-one basis:

  • What is your focus or main subject area?
  • What would be your ideal job?
  • Do you see yourself as a band maestro… choral director… string teacher… jazzer… general music instructor… or early-childhood specialist?

thinking-3079060_1920_RobinHiggins11Of 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_____.”

It is important to “apply your skills” and become a well-rounded “generalist,” while embracing the concept of unity in education, which includes the following philosophy (shared at college seminars):

  • The needs of “The Whole Child” are a priority.
  • All course offerings are equal in importance.
  • Most school districts do not design and administer their curriculum solely on one approach like Orff, Kodaly, Dalcroze, or Suzuki.
  • Avoid being labeled and “branded” to an exclusive subject area or grade level.
  • Multiple certifications and skills may be helpful to land a job (although later they may become liabilities if you never teach them).
  • Utilize your college resources now to “broaden your training” and lessen your insecurities.
  • Figure out your worse area – work on it now! (Get lessons, join ensembles, ask help from your peers, etc.)
  • Develop resources – people and programs to get and keep your job!

I ask, imagine what would be your worst assignment?

  • Coach a primary student to match pitch or maintain a steady beat.
  • Teach beginning or advanced guitar.
  • Introduce jazz improvisation for the first time to middle school instrumentalists.
  • Start a string program.
  • Accompany the chorus (any grade level) and be able to play simultaneously some or all the vocal parts in rehearsal (demonstrate altos and tenors only, soprano 2-alto 1-bass 1, etc.).
  • piano-2564908_1920StockSnapAccompany, direct/teach the drama, and choreograph the middle school musical.
  • Adjudicate and coach a high school instrumental or vocal ensemble.
  • Set-up a keyboard lab and instruct students in composition and A.P. Music Theory.
  • Arrange the music and chart the halftime show for the high school marching band.

If you think you are a “miserable” pianist, take a few extra lessons. Or conquer your other “fears” such as learning to sing better, playing a new string instrument, crossing the break once again on the clarinet, practicing jazz , etc.

 

mentor

Cultivating a Mentor or Two

board-784349_1920_geraltEgo 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.”

Your state MEA may have a mentoring program. Go to their website. A quick (non-comprehensive) Google scan of “music teacher mentors” fetched links for the following:

A well-defined description for the benefits of first-year teacher orientation and connection and assignment to a “senior advisor” comes from TMEA:

TMEA mentoring1

TMEA mentoring2

 

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These blog-posts are also excellent resources:

r3_logoRetired 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.”

R3 documents the amazing record of contributions of some of the still most active albeit retired PMEA members while it allows needy members access to “expert advice” on a number of essential topics:

R3

Although it is free, the advice and experience of these retirees may be considered “priceless.” In addition, retired music teachers may have more time available to confer in person or by phone, respond to your concerns more quickly, and have a few “quick fixes” or share their “bag of tricks” to solve the problems of “newbie teachers.” It’s all about, “been there, done that!”

All you have to do? Just ask for a little help! You won’t be sorry.

 

listen-2840235_1920_Robin_Higgins12Please feel free to comment on this blog-post. What are your thoughts?

The “finale” (Part 3) is coming soon and will devote discussion on these concepts, significant issues about marketing your abilities and getting a job as a music teacher:

  • Personal Branding
  • Networking
  • Engagement

 

PKF

© 2018 Paul K. Fox

 

Photo credits (in order) from Pixabay.com: “tutor” by nrjfalcon1, “woman” by RobinHiggins, “microphone” by KimKin, “excited” by RobinHiggins, “boy” by Silverfuchs, “thinking” by RobinHiggins, “board” by geralt, “birds” by Dieter_G, and “listen” by RobinHiggins.

 

Where Are the Models, Mentors, and Motivators?

Photo credit: FreeImages.com, photographer Peter C.

 

Are You Listening to Solo, Chamber, and Orchestral Music?

foxsfiresidesWhen I was teaching full-time school orchestra music grades 5-12, the following conversation by students in my program may have been shared at the dinner table. “He wants me to spend time and listen to several outstanding players. I was a little embarrassed when he called on me in class and asked, ‘Who is your favorite violinist?’ and I could not identify a single principal string player or even the current Concertmaster of the Pittsburgh Symphony Orchestra!”

I was dismayed that as many as 80% of my instrumentalists could not respond with the name of a famous classical musician who is currently playing their instrument! This brings the issue to the forefront of my greatest concern: DOES ANYONE LISTEN TO GOOD MUSIC ANYMORE?

Obviously, most people learning how to play golf, tennis, ballet, ice skating, gymnastics or any of the contact sports, could instantly name their “hero” and leading examples in their field. Can you imagine not watching a professional athlete model his/her technique? For example, if you wanted to learn how to be a high-diver or competitive swimmer, would you simply read a book on the subject, study the moves, take a few lessons, practice in the pool, and not once attend a local swim meet or watch the Olympic event when it appeared on TV?

seriestoshare-logo-01Pittsburgh has a strong cultural base, providing a home for the world-class Pittsburgh Symphony Orchestra and Pops, the Pittsburgh Ballet and Pittsburgh Opera companies, and the Pittsburgh Civic Light Opera productions, to name a few venues. We are also most fortunate that many amateur or semi-professional groups such as the Pittsburgh Civic Orchestra, Washington Symphony, and River City Brass Band are local (some concerts presented conveniently next door in the Upper St. Clair HS Theatre). Professional soloists and chamber groups visit our city nearly every month, and opportunities to enjoy free concerts are limitless on cable/FiOS television and WQED.

This revelation motivated me to bring my laptop computer to every music lesson and ensemble rehearsal to share musical examples. With truly “basic” technology, there is really no excuse for not exploring a sea of masterpieces, watching a virtuoso performing his craft up-close – thanks especially to online resources such as www.youtube.com. Here are just a few “totally free” audio examples:

Here is the musicianship prescription – tips on providing meaningful motivation, momentum, and exposure to GREAT works of art in order to become more culturally connected and musically literate:

  • Families: Take the music break and listen to Classical (all styles/eras), folk, pop/jazz music at least once a week.
  • Encourage your musician to regularly use his/her computer/tablet to watch performances on the web.
  • Choose several favorite soloists playing the same instrument you are studying, and follow them.
  • Buy CDs of music or download movements of concertos, sonatas, or symphonies from iTunes, etc.
  • Go to a live professional concert at least once a year – more often in the summer, if possible.

Take a trip to the South Hills Junior Orchestra website… Under “Resources,” check out the two sets of free “Series to Share…” additional “Fox’s Fireside” issues by Paul K. Fox, and “Music Enrichment Workshop” presentations by Donna Stark Fox. In particular, download and read the Listening Enrichment Session, the perfect companion to this article.

PKF

© 2017 Paul K. Fox

This “Series to Share” is brought to you by… the Founding Directors of the South Hills Junior Orchestra (SHJO), “A Community Orchestra for All Ages” based in Western Pennsylvania. Feel free to download a printable copy and distribute to music students, parents, teachers, and fellow amateur musicians.

SHJO rehearses most Saturdays in the band room of the Upper St. Clair High School, 1825 McLaughlin Run Road, Pittsburgh, PA 15241. New members are always welcome! For more information, please go to www.shjo.org.