Are you retiring soon? Thinking about “taking the plunge” and “Crossing the Rubicon” into your “second beginnings” or “next chapter” of senior life?
No matter how busy you are now, you need to “take five” from your work or personal to-do’s and review the following recommendations from past blog posts at this site. Consider this a personal toolbox for the retired and soon-to-retire professional… and assigned HOMEWORK!
Now the top-ten list – a well-balanced collection of online essays. The more you read, the better you will be able to embrace a healthy transition through this major life passage!
1. Plan ahead for retirement: “It’s Not Only About the Money”
It is agreed that a period of adjustment will occur during the first years of “interning” as a retiree, especially critical during the “pre-retirement” stage (believe-it-or-not, as many as six to ten years prior to “taking the big leap” to FREEDOM!). The solution to a smooth transition is to be prepared: communicate your intentions with your family members, and reflect on the vast considerations of the “who, what, when, where, how, and why” of retirement. This prep to your “golden years” is the perfect time for a little self-assessment and self-reinvention in finding new purpose, meaning, and fulfillment in your life.
2. Identify and take steps to alleviate the stress of leaving your job: “The Good, The Bad, and The Ugly”
The phases of retirement are discussed in greater depth here, as well as different departure scenarios and the usual post-employment “cycles of emotions.” This piece is particularly good if you have ever felt pushed into early retirement or experienced being unappreciated, disrespected, uninspired, unsupported, or “burned out” in your career.
3. Are you really ready? “Signs it is time to retire… OR “Signs is NOT okay.”
This “countdown to retirement” article poses the essential question “Are you psychologically (or emotionally) prepared to retire?” and offers a “road map” of seven easy steps towards closure for prospective music teacher retirees.
This early blog post proposed several factors to consider for the choice of where you want to live in retirement… both geography and floor plans. Another good source to read on this topic is the book that was published two years later by the retirement guru and former PMEA session presenter Dave Hughes:The Quest for Retirement Utopia – How to Find the Retirement Spot That’s Right for You.
5. Maintain your professional associations: “Ask not what PMEA can do for you, but what you can do for PMEA!”
A retired educator is a valuable resource. If you care about the profession, there are many ways you can continue to contribute your experience and wisdom, albeit less stressful and time-consuming moments, but still assist your colleagues who continue to “fight the good fight” in the field.
6. Acquire a more carefree attitude: “It’s Not Your Sandbox”
It may be at times a challenge to surrender your urge to continue as “an agent of change” or, as E.A. Wynne has written in “The Moral Dimension of Teaching” (Teaching: Theory into Practice, 1995), habits of “moral professionalism.” Learn how chill out and NOT to stress out over someone else’s supposedly poorly run “sandbox” and limit the need to provide unsolicited advice or major problem-solving for other organizations.
7. Make music: “Dust off your chops” and 8. “Sing your heart out…”
What led you to select a career in (and the “calling” of) music education? Retirement is the perfect place and time to expand on your love and skills in creative self-expression. When a music educator retires, among the many joys and fruits of his/her career in the arts is a sudden life-style change – the glorious transformation of being set free from those things you no longer want nor need to do (routine day-to-day drudgery, paperwork, meetings, etc.), embarking on new journeys to explore and embrace revised personal goals – hopefully including a renewed refocus on making your own music!
9. Explore mind-stimulating engagements: “Have you fed your brain today?”
The mind is a terrible thing to waste, even during retirement. Discover something new every day! Maximize your “brain health” with a host of these ideas to consider for your bucket list.
10. Take time to “give back” and volunteer: “What does it mean to be eleemosynary?”
In the scheduling our free time in retirement, it is important to feel “needed” and find activities that foster “mattering” to promote a positive self-esteem, good mental health, and stable life balance. Are you making choices to contribute to the musical and personal success and welfare of others? For the realization of the mission of this blogger’s retirement pastime: “I refuse to sit idle, binge-watch movies on Netflix, or view hours of boring TV.” To quote the song’s lyrics, this “senior citizen” will never lament…
Life is so unnerving For a servant who’s not serving He’s not whole without a soul to wait upon Ah, those good old days when we were useful Suddenly those good old days are gone Ten days we’ve been rusting Needing so much more than dusting Needing exercise, a chance to use our skills Most days we just lay around the castle Flabby, fat, and lazy You walked in and oops-a-daisy!
PMEA Annual Conference April 6-9, 2022 at the Kalahari Resort (Poconos)
PMEA retired members, please take note of these special events especially geared to YOU:
Free Retired Member Breakfast Meeting (including take-away gifts) on April 8 at 8 a.m.
Retirement 101 session on April 8 at 11:30 a.m. – Retired music teachers are encouraged to participate on the guest panel to “tell your own story” to help any interested soon-to-retire colleagues.
Three keynote speakers will join this year’s event: Dr. Tim Lautzenheiser, Lesley Moffat, and David Wish.
The U.S. Army Band “Pershing’s Own” will be featured on Thursday evening (April 7).
Author Trishna Patnaik with a view of the mountains of Darjeeling, India
This special feature reviews something all music teachers, performers, and consumers already know that’s in our DNA… the need for music to sustain our lives! Guest authored by Trishna Patnaik, this poignant message is essential during these challenging times of COVID-19 and in support of many school music/art programs currently under siege.
PKF
Can you envision a life without music?
A world where your favorite musician is a doctor or lawyer, or construction worker because music doesn’t exist?
A life where you can’t turn on your favorite workout playlist while going for a run? Or the pump-up song to boost your confidence right before your big presentation cannot happen?
If you can’t, you are definitely not alone.
Music tends to hit on us a deep level. Whether it is sad music that helps us feel relatable when we are going through hard times or joyful music that adds an extra bounce to your step, music is incredibly powerful!
But, then why is this case? Why does music impact your brain and mood so deeply?
Music is a Universal Language…
…but we don’t always pay enough attention to what it’s saying and how it’s being understood. We wanted to take an important first step toward solving the mystery of how music can evoke so many nuanced emotions. Music has a special ability to pump us up or calm us down.
Listening to music can be entertaining, and it might even make you healthier. Music can be a source of pleasure and contentment, but there are many other psychological benefits as well. Music can relax the mind, energize the body, and even help people better manage pain.
Brain regions involved in movement, attention, planning, and memory consistently showed activation when participants listened to music—these are structures that don’t have to do with auditory processing itself. This means that when we experience music, a lot of other things are going on beyond merely processing sound.
Knowing better how the brain is organized, how it functions, what chemical messengers are working, and how they’re working—that will allow us to formulate treatments for people with brain injury, or to combat diseases or disorders or even psychiatric problems.
The notion that music can influence your thoughts, feelings, and behaviors probably does not come as much of a surprise. If you’ve ever felt pumped up while listening to your favorite fast-paced rock anthem or been moved to tears by a tender live performance, then you easily understand the power of music to impact moods and even inspire action!
The psychological effects of music can be very powerful and wide-ranging. Music therapy is an intervention sometimes used to promote emotional health, help patients cope with stress, and boost psychological well-being. Your taste in music can provide insight into different aspects of your personality.
Why Do People Listen to Music?
Over the past several decades, showcase numerous functions that listening to music might fulfill. Different theoretical approaches, different methods, and different samples have left a heterogeneous picture regarding the number and nature of musical functions.
Principal component analysis suggested three distinct underlying dimensions. People listen to music to regulate arousal and mood, to achieve self-awareness, and as an expression of social relatedness. The first and second dimensions were judged to be much more important than the third—a result that contrasts with the idea that music has evolved primarily as a means for social cohesion and communication. The implications of these results are discussed in light of theories on the origin and the functionality of music listening and also for the application of musical stimuli in all areas of psychology and for research in music cognition.
The psychology of music seeks to interpret musical phenomena in terms of mental function; that is, it seeks to characterize the ways in which people perceive, remember, perform, create, and respond to music. While centred on the empirical findings and theoretical approaches of psychology, the field is highly interdisciplinary, with input from neuroscientists, linguists, geneticists, computational modellers, physicists, anthropologists, music theorists, music performers, and composers.
While the study of music has a long history, dating from the ancient Greeks, the psychology of music as an empirical science did not emerge as a full-fledged discipline until the second part of the 20th century. During the last few decades the field has advanced rapidly, and it interfaces strongly with other branches of psychology, such as the studies of perception, cognition, performance, human development, personality psychology, psycholinguistics, clinical neuropsychology, evolutionary psychology, ability testing, and artificial intelligence.
Musical activity combines perceptual, cognitive, and motor skills in real time and it can offer social and health benefits for diverse populations. While psychologists and neuroscientists probe musical activity for insights about the human mind and brain, music scholars examine its cultural, pedagogical, and theoretical aspects. Though these approaches can complement each other, scientific and humanistic studies of music are often disconnected.
This can result in experiments with flawed musical stimuli and musicological writings with problematic assumptions about human cognitive processes. The human brain contains neural mechanisms specific to music perception. It has identified a neural population in the human auditory cortex that responds selectively to sounds that people typically categorize as music, but not to speech or other environmental sounds. It has been the subject of widespread speculation.
The Benefits of Listening to Music
Brain Focus is Enhanced
Any music listener will agree that music can evoke emotions such as pride, elation, or relaxation. That music does more than that for humans: it stimulates various parts of the brain and bodily responses. How do different kinds of music affect the human body physiologically and psychologically? Is the unconscious experience elicited by the autonomic nervous system analogous to what is experienced consciously through emotions?
Background music, or music that is played while the listener is primarily focused on another activity, can improve performance on cognitive tasks in older adults. One study found that playing more upbeat music led to improvements in processing speed, while both upbeat and downbeat music led to benefits in memory.
So the next time you are working on a task, consider turning on a little music in the background if you are looking for a boost in your mental performance. Do consider choosing instrumental tracks rather than those with complex lyrics, which might end up being more distracting!
Music Can Reduce Stress
It has long been suggested that music can help reduce or even manage stress. Consider the trend centred on meditative music created to soothe the mind and inducing relaxation. Fortunately, this is one trend supported by research. Listening to music can be an effective way to cope with stress.
Listening to music had an impact on the human stress response, particularly the autonomic nervous system. Those who had listened to music tended to recover more quickly following a stressor.
Music Can Help You Eat Less
One of the most surprising psychological benefits of music is that it might be a helpful weight-loss tool. If you are trying to lose weight, listening to mellow music and dimming the lights might help you achieve your goals.
Music and lighting help create a more relaxed setting. Since you are more relaxed and comfortable, then you may consume food more slowly and be more aware of when you began to feel full.
You might try putting this into practice by playing soft music at home while you eat dinner. By creating a relaxing setting, you may be more likely to eat slowly and, therefore, feel fuller sooner!
Music Can Improve Your Memory
Some feel like listening to their favourite music improves memory, while others contend that it simply serves as a pleasant distraction.
It depends upon a variety of factors, including the type of music, the listener’s enjoyment of that music, and even how musically well-trained the listener may be. Musically naive students learned better when listening to positive music, possibly because these songs elicited more positive emotions without interfering with memory formation.
However, musically trained students tended to perform better on learning tests when they listened to neutral music, possibly because this type of music was less distracting and easier to ignore. If you tend to find yourself distracted by music, you may be better off learning in silence or with neutral tracks playing in the background.
Music Can Help Manage Pain
Music can be very helpful in the management of pain. The effects of music on pain management found that patients who listened to music before, during, or even after surgery experienced less pain and anxiety than those who did not listen to music.
While listening to music at any point in time was effective, noted that listening to music pre-surgery resulted in better outcomes. Music listeners require less medication to manage their pain. There was also a slightly greater, though not statistically significant, improvement in pain management results when patients were allowed to select their own music.
Music May Help You Sleep Better
Insomnia is a serious problem that affects people of all age groups. While there are many approaches to treating this problem, it has been demonstrated that listening to relaxing classical music can be a safe, effective, and an affordable remedy. Sleep quality is enhanced for those who listened to soothing music before going to sleep over a period of time without any intervention or breakages.
Music Can Improve Motivation
There is a good reason why you find it easier to exercise while you listen to music. Listening to fast-paced music motivates people to work out harder.
Speeding up the tracks resulted in increased performance in terms of distance covered, the speed of pedalling, and power exerted. Conversely, slowing down the music’s tempo led to decreases in all of these variables.
So if you are trying to stick to a workout routine, consider loading up a playlist filled with fast-paced tunes that will help boost your motivation and enjoyment of your exercise regimen!
Music Can Improve Mood
Another of the science-backed benefits of music is that it just might make you happier! People who listen to music knew an important role in relating arousal and mood. Participants rated music’s ability to help them achieve a better mood and become more self-aware as two of the most important functions of music.
Listening to music is not directed to become happier intentionally! However, if you do so by working to determine your own levels of happiness, you will show improvement in the moods and feeling happier.
Music May Reduce Symptoms of Depression
Music therapy can be a safe and effective treatment for a variety of disorders, including depression. Music therapy was a safe, low-risk way to reduce depression and anxiety in patients suffering from neurological conditions such as dementia, stroke, and Parkinson’s disease.
While music can certainly have an impact on mood, the type of music is also important. Classical and meditation music offer the greatest mood-boosting benefits, while heavy metal and techno music are ineffective and even detrimental.
Music Can Improve Endurance and Performance
Another important psychological benefit of music lies in its ability to boost performance. While people have a preferred step frequency when walking and running, scientists have discovered that the addition of a strong, rhythmic beat, such as fast-paced musical track, could inspire people to pick up the pace.
Runners are not only able to run faster while listening to music; they also feel more motivated to stick with it and display greater endurance. While research has found that synchronizing body movements to music can lead to better performance and increased stamina, the effect tends to be the most pronounced in cases of low to moderate intensity exercise. In other words, the average person is more likely to reap the rewards of listening to music more than a professional athlete might.
So why does music boost workout performance?
Listening to music while working out lowers a person’s perception of exertion. You’re working harder, but it doesn’t seem like you’re putting forth more effort. Because your attention is diverted by the music, you are less likely to notice the obvious signs of exertion such as increased respiration, sweating, and muscle soreness.
Music engages people with learning disabilities
There is evidence that music interventions can offer opportunities for creative, psychological, and social developments for individuals with mild to profound learning disabilities, addressing the disadvantages they face in respect of social outcomes.
Music can change the world
Do you ever listen to a song and find yourself moved so deeply you are almost in tears? Have you ever been to a live performance that turned your worst day into your best? Have you ever heard a song that inspired you? Music has the power to move us and to change us. Yet today’s music mostly does not seem to have the same earth-moving, society-shaping effects as that of the past.
With today’s technology, music has become even more of a part of our life experiences: we listen to it on our drive to work, when we go to parties, while we study, when we exercise, and in so many other settings. There are, however, still musicians who hope that their words will inspire change.
Music with a message
The combination of the right lyrics, rhythm and instruments can build a group identity, stir strong emotions, engage audiences and amass people to take action. This makes music the perfect partner for social change.
The effect of music on emotions
It is undeniable that music can stimulate our emotions, evoking different feelings like sadness, happiness, calmness, relaxing and nostalgic feelings. This emotional stimulation from music is because it activates areas in our brain that process sound features. It also activates the limbic brain areas associated with emotions and the prefrontal areas, which is connected to decision making!
One of the reasons music has a huge impact on our emotions is that our mirror neuron system is activated when music is being played. It may be due to the song’s pitch, volume, and timbre. Indeed, music plays a big part on our emotions. If we are broken hearted, we react accordingly when we hear music or songs that were connected to our failed relationships. We sometimes find ourselves in tears hearing a song that reminds us of these relational memories.
There are also points in our lives when we are feeling so low that listening to something inspirational can often alter our negative mood into a positive one.
The Effect of Music on Intellectual Capacity
Can music make people smarter?
Those who undergo musical training are said to be more cooperative and coordinated than their non-musically trained counterparts. This is probably because people who play an instrument or sing usually work with other people; hence, they learn how to interact and communicate with others, making them more open to social interaction.
People who are into music or those who have undergone musical training show an increase in brain plasticity. Brain plasticity is the innate ability of the brain to change shape and get bigger in response to learning or training.
There is a significant difference in terms of structures of auditory and motor cortices in the brain and other brain areas between musicians and non-musicians. They found out that musicians tend to have a bigger and structured brain areas compared to non-musicians. Musical training affects other domains such as verbal intelligence and executive functions, which often lead to better academic performance.
The Effect of Music on Attainment and Creativity
Music is said to enhance one’s creativity and attainment. There is a strong association between music and attainment of tasks! Music could also make us enter into a “wandering mode.” This wandering mode enables us to daydream or imagine things, which sometimes stimulate our creative side.
Music as a Therapy
Music can improve your mood, quality of life, and self-esteem, but it is also:
Extremely safe
Non-invasive
Easily accessible
Non-expensive
Music Boosts Our Moods
Can your favorite songs be a form of therapy?
It was discovered that music can release dopamine in two main places in the brain, the dorsal and ventral striatum. When you are having a pleasurable experience, such as listening to your favourite song, these areas of the brain light up.
These things happen because musical patterns affect our auditory cortex, which is a part of the neural reward system and other areas involved in memory and emotion.
Music has accompanied major social events throughout the history of mankind. Major gatherings such as weddings, graduations, or birthdays are usually recognized by a familiar tune! There is evidence that music plays a large role in emotional processes within the brain. An individual’s emotional state of mind can directly impact daily cognition and behaviour.
Studies have shown that music has the ability to regulate a wide range of both positive and negative emotions. Determining the degree of music’s influence on aggression using two extremes of genre such as: relaxing yoga music versus aggressive rap music! It is seen that those who listened to yoga music show lower aggression, while those who listened to rap music have higher aggression. Aggressive music can make listeners more aggressive emotionally compared to other types of music!
How Many Emotions Can Music Make You Feel?
The subjective experience of music across cultures can be mapped within at least 13 overarching feelings: amusement, joy, eroticism, beauty, relaxation, sadness, dreaminess, triumph, anxiety, scariness, annoyance, defiance, and feeling pumped up.
So much is the power of music, the vibe of music is so propelling that you must enamour enormous benefits and experiential experiences of music time and again. So that you become as timeless as music itself! This is the very derivative of the psychology of music as poignant, proper and poised as music itself!
Trishna Patnaik is a self-taught visual artist, art therapist, workshop presenter, and full-time professional painter from Mumbai, India. She holds the degrees of BSc (Life Sciences) and MBA (Marketing). Trishna has been practicing art for over 14 years. After a professional stint in various reputed corporates, she realized that she wanted to do something more meaningful. She found her true calling was painting. She says, “It’s a road less travelled but a journey that I look forward to everyday.” Trishna offers this inspiration for the advocacy of music and art at a time we all need to support continuation of school programs in the Fine and Performing Arts, so essential to the social and emotional learning of all students during the pandemic.
Reprinted from “A View from the Podium” (Upper St. Clair High School, 2015) for current South Hills Junior Orchestra members and other students seeking recommendation letters from their music teachers.
If you are requesting a letter of recommendation from any teaching staff member, administrator, minister, coach, or activity sponsor for college entrance, scholarships, awards, or job placement, please follow the instructions of your school counselor AND review/complete the steps below.
Do you have an updated “me-file” on your computer’s desktop? Maintain a bulleted list of accomplishments with dates. Scan archives of awards, programs, commendations, special honors, and significant assessments. This will become the basis for the creation of résumés or portfolios, and background for your college or employment essays.
In person, ask the teacher from whom you want the letter if he/she is willing to do this. This should be an adult in whom you have a great deal of trust and with whom you have had frequent contact. If you have any doubt or misgivings like “Does this professional like me?” or “Will he/she give me a fair rating?” – then you should ask someone else. If you are a current member of SHJO, anyone asking Mr. Fox should have no fear. He will tell you immediately if there is any problem in writing a positive letter.
In my opinion, if you choose the right person to do your letter, you can sign-off your rights to see it before submission to the institution. A student checking “yes” to waiving his/her access to/examination of the reference may look better to the evaluator. Although not required, some may send you a copy of it for your files. That is my standard practice.
Know your deadlines. BY WHEN do you need the reference letters or common app teacher recommendations?
As a courtesy to the writer (and modeling good preparation on your part), give at least two to three weeks’ notice (more is better). Remember: “Lack of planning on your part does not constitute an emergency on the teacher’s part.” It would also be polite to “gently remind” the staff member about the final deadline of the recommendation (at least one weekend’s notice). For SHJO, one Saturday ahead of the final deadline would be ideal.
Unless it is an online application or digital reference, the individual requesting the recommendation should provide in advance a pre-stamped self-addressed envelope to be signed, sealed, and mailed directly to any school or organization.
To facilitate “anecdotal references” and confirm accurate data/details, email a mini-résumé of your achievements, particularly those things that can be mentioned in the letter. Try to complete as many of these as possible:
When did you first begin your musical (or other academic specialty) study? When did you join SHJO or other music group?
What classes, ensembles, and/or productions have you participated at school?
What music or academic leadership positions have you served (give specific dates)?
What are your outside activities?
What have you done as community service?
How are you unique? Describe yourself in three to five words.
What qualities or strengths have you exhibited that the staff member, from working with you, could corroborate in the letter?
Can you remember any funny or significant class or rehearsal anecdote that demonstrated growth in your musical technique, expressiveness, student leadership, “team” or ensemble building, or the 21st Century learning skills of creativity, communications, critical thinking, collaboration, and global understanding?
What is your planned major or minor in college, and how did your association with the staff member (his/her classes or activities) help you gain the experience, insight, or confidence to go into this field?
Good luck! PKF Revised 3/18/19
The mission of South Hills Junior Orchestra, which rehearses and performs at the Upper St. Clair High School in Pittsburgh, PA, is to support and nurture local school band and orchestra programs, to develop knowledge, understanding, performance skills, and an appreciation of music, to increase an individual member’s self-esteem and self-motivation, and to continue to advance a life-long study of music. Members of the Orchestra learn, grow, and achieve positions of leadership to serve their fellow members.
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.
If 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.
“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, physical, 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:
Preparation to your placement in music education field assignments
Understanding of the relationships between your cooperating teacher(s) and the university supervisor (and you!) and promotion of positive communications
Adjusting to new environments
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:
“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
Have a specific goal for the observation in mind before you begin
Make copious notes, but don’t write down everything.
Write down techniques, quotes, musical directions or teacher behaviors that seem important.
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.
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.
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):
Contacts (cooperating/master teachers and administrators’ phone/email addresses)
Course work outlines and class observation journals
Concerts (your own solo and ensemble literature and school repertoire)
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.
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.
Be confident and have a positive attitude (if needed, “fake” self-confidence)
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.)
Stay clear of drama (no gossip!)
Don’t take it personally (embracing constructive feedback and criticism)
Ask for help (that’s why you and mentor teachers are there)
Edit your social media accounts (privacy settings and no school student contacts)
Approach student teaching as a long interview (always, throughout the student teaching assignment: “best foot forward” and showcase of all of your qualities)
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??
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 Pennsylvania, 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.)
Stated learning principles are related to specific learner or student teacher
activities.
The importance of the course of study is explained in terms learners would likely
accept and understand.
Each goal is supported by specific objectives.
The sequence of the objectives is appropriate.
The goals and objectives are realistic for this group of learners.
The objectives consider individual differences among learners.
The content presentation indicates complete and sequential conceptual
understanding.
The presentation is detailed enough that any teacher in the same field could
teach this unit.
The amount of content is appropriate for the length of time available.
A variety of teaching strategies are included in the daily activities.
The teaching strategies indicate awareness of individual differences.
The daily plans include a variety of materials and resources.
The objectives, teaching strategies, and evaluations are consistent.
A variety of evaluative techniques is employed.
Provisions are made for communicating evaluative criteria to learners.
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?
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:
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
Student activities that are instructionally effective
Teacher monitoring of student activities, assisting, giving feedback
Opportunities for higher order thinking
Teacher energy/enthusiasm
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)
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
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. AsTeacherHub 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
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
At the same time, although it may not seem to be documented 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
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:
College funding
Academic pressures: acquiring new knowledge, understandings, skills, etc.
Competition (both in self-perception of achievement and in relation to peers)
Trends in seeking perfectionism
Coping with being away from home
Sleep deprivation
Challenges with personal relationships
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.
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 Music 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.
“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
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:
Learning to “manage your burdens,” class schedules, assignments, calendar, etc.
Improvement of personal time management towards greater work/life balance
Development of coping skills for new environments
Exploration of new practice venues and study routines
Allocation of more time with supportive peers
Learning to make manageable choices, setting of limitations and reasonable expectations for making future commitments
Practice of relaxation, slow breathing, and meditation exercises
Strategies for reduction of performance anxiety and “stage fright”
Reflection on and rehash of personal mission, goals, and motivations, and “what first inspired them to pursue music”
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 2009), “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:
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:
“Reducing Music Teacher Burnout and Its Consequences” by Sung Eun Kim and David Barg in Music Education Policy Briefs (2010) https://www.bu.edu/muedpolicyproject/brief2.pdf
“Ways to Manage Stress and Avoid Teacher Burnout” by John Hylton in the NAfME Music Educators Journal (1989)
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
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
“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
Additional resources on stage fright and other anxiety issues:
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:
Job placement
Financial planning
Raising a family
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.
UPDATE (June 30, 2021)
Grace Jackson, Community Manager of OnlineTherapy.com, reached out to us to offer an excellent article on “Addiction Treatment – What Families Need to Know,” providing comprehensive information and helpful resources for handling substance abuse issues. Although this is not the focal point of this blogpost, for many, addiction causes significant problems leading to anxiety, depression, poor physical and mental health, loss of productivity (and even death). We felt it needed to be shared here and on the “Care” subcategory of this website.
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.
Are you retired, retiring this year or next, or thinking about “Crossing the Rubicon” to post-employment bliss over the next three or more years?
According to Ken Dychtwald, psychologist, gerontologist, and CEO of Age Wave, research on aging, health, and work issues defines five stages of retirement:
Stage 1: Imagination (5 to 15 years before retirement)
Stage 2: Anticipation (1 to 5 years before retirement)
Stage 3: Liberation (first year of retirement)
Stage 4: Re-engagement (1 to 15 years after retirement)
Stage 5: Reconciliation (ages late 70s and early 80s)
As reported by USA TODAY at https://www.usatoday.com/story/money/personalfinance/2014/10/12/five-stages-of-retirement/16975707/, these first three stages provide opportunities to rethink, recharge, reinvent, and even retool new ways to redefine one’s life-purpose and meaning, become productive, and begin that new chapter in their lives. The studies emphasize the need for the famous Boy Scouts’ motto – “be prepared” – and you should start reflecting on “what you are going to be when you grow up” at least three years prior to “the big day!”
Many people want to continue to work. In fact, 72% of pre-retirees, age 50 and older, say they want to keep working after they retire, according to a recent survey sponsored by Merrill Lynch in partnership with Age Wave. Almost half (47%) of current retirees either are working, have worked, or plan to work in retirement, the survey found.
Many people also want to devote more time to their family and friends. Some want to continue to learn, and others want to enjoy their favorite hobbies and develop new ones…
— Ken Dychtwald
The bottom line is, as suggested in “Retire Happy – What You Can Do Now to Guarantee a Great Retirement” in the USA TODAY/Nolo Series by Ralph Warner and Richard Stim, prior to leaving the work force, you should make a concerted effort to anticipate “life after work,” including:
Cultivate interests outside work
Lead a healthier lifestyle
Revitalize family relationships
Spend more time with spouse
Embrace spirituality or meditation
Nurture friendships and make new friends.
FIRST THINGS FIRST
So, are YOU ready to retire from full-time music teaching? Are you sure?
For me, I cry out HURRAY for the FREEDOM, and enthusiastically take on exploring raising puppies, home improvements, more personal music making, conducting, writing, photography, community service, and volunteer work. And, as you can imagine, my calendar is as full as it has ever been!
However, not all of our newly retired colleagues feel the same way… at least, not at first. It should be said that not everyone may be ready to retire. Often heard employment complaints aside, “be careful for what you wish!” In general, few are ambivalent about this transition… leaving the day-to-day highly pressured, detailed, “rat-race” most music teachers embrace to jumping into the wide-open horizons of new vision, focus, and directions. Recent retirees either love or hate this “passage.”
Have you seen this quote by Dr. Robert P. Delamontagne from his book Retiring Mind (Fairview Imprints, 2010), which provides statistics that are actually a little alarming?
50% of retirees will suffer some form of acute emotional distress. This is potentially a very large problem given the fact that 10,000 people are becoming eligible for Social Security every day for the next 20 years in the US alone.
— Dr. Robert P. Delamontagne
I also recommend taking the quiz, “Are You Psychologically Ready for Retirement?” at http://www.nextavenue.org/quiz-are-you-psychologically-ready-for-retirement/ from the book, Happy Retirement: The Psychology of Reinvention by Kenneth S. Shultz (DK Publishing, 2015), asking these five essential questions:
How important is your job when it comes to getting a sense of life satisfaction?
How many non-work activities do you have that give you a sense of purpose?
How do you imagine your life to be once you stop working?
How do you think retirement will affect your relationship with family and friends?
The transition from a structured to an unstructured lifestyle can be unnerving if you are not prepared. When our clients retire, they often feel as if they are on vacation for the first month or so. After that, the realization that they are not returning to work starts to sink in. This is when anxiety can creep in. However, the process of adjusting can be far less stressful if you establish a plan well in advance.
— Maureen E. Hansen
She emphasizes that both financial and non-financial aspects of retirement need to be addressed. “Long before your going-away party at the office, you need to decide what you want for your retirement—leisure time, volunteer work, establishing a legacy?” Here are her several key issues to consider:
Purchase a book or two by the “masters” of retirement transitioning (check out these authors and others from the sources above: David Borchard, Julie Cameron, Robert Delmontagne, Dave Hughes, Steven Price, Kenneth Shultz, Hyrum Smith, Verne Wilson, and Ernie Zelinski).
Family Meeting: If you are married, sit down with your spouse (with no distractions) and map out the essential “who, what, when, where, and how” of retirement. Are you both ready to venture into your “golden years?” Are you and your wife/husband on the same page?
PSERS (PA pension fund) Planning: 12 months or more away from your projected retirement date, attend a “Foundations for Your Future” program (even attend it more than once), and request a retirement estimate (form PSRS-151), after which you will need to schedule the all-important “Exit Counseling Session.”
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, PSERS reports, social security, annuities, and insurance documents. You may need help in determining which PSERS “plan” to adopt. While you’re at it, update your will and other legal documents.
To stay “connected” with your professional associations (e.g. Pennsylvania Music Educators Association and National Association for Music Education), be sure to update your personal profile at “headquarters” with your personal (not school) email address. Continue to participate in music and education, and reap the benefits of significantly discounted retired membership dues and conference registration fees. See the blog-post “PMEA in Retirement – What’s in it for Me?” at https://paulkfoxusc.wordpress.com/2016/12/15/pmea-in-retirement-whats-in-it-for-me/.
Finally, if you have not done so, I encourage you to revisit my last retirement blog-post (https://paulkfoxusc.wordpress.com/2017/08/03/new-dreams-and-horizons/). Review those six essential things to do when you are a couple years “out” from making that “great leap to freedom,” solid advice from TIPS – Retirement for Music Educators book by Verne A. Wilson (MENC 1989), and to learn more about “nipping in the bud” those pesky retirement conundrums:
Self-Identity and Change
Free Time?
Energy and Fortitude
Losing Control and Perpetual Care
Yes, planning ahead makes all the difference. On this topic, our last inspiration also comes from TIPS – Retirement for Music Educators.
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.
Photo credits from FreeImages.com (in order): “Happy Days” by Crissy Pauley, “Senior with Red Wine” by Walter Groesel, “Hour-Glass” by Aleksandra P., “Old Couple” by Ricardo Santengini, and “Senior Portraits 2” by Loretta Humble, “Senior Portraits 1” by Loretta Humble, “Dad 1” by Tommi Gronlund, and “Senior Portraits 4” by Loretta Humble.
Follow the Wonderful “Gold Brick Road” to More Retirement Resources
This blog-site will continuously explore new/better research on and suggestions for a happy, healthy, and meaningful transition to retirement. This month, it seems we hit the mother-lobe of recent discoveries for this journey… four more for the road! (To catch-up reading all the blogs for retirees, click on the category link “Retirement Resources” at the right.)
Jean Potuchek
Probably one of the most insightful and expansive treasures of online articles on retirement is Stepping Into the Future – A Retirement Journal by Jean Potuchek, who defines herself as “a professional sociologist who has just stepped into the next phase of my life, retirement, after more than thirty years of college teaching.” She succinctly states her purpose: “This blog is about my experience of that new phase of life.”
Take a deep breath, find an easy chair, ignore your cell phone’s texts/calls, and plunge into her full website: https://stepintofuture.wordpress.com/category/retirement-transition/. Or, if you prefer, set aside 30 minutes and read a few of her individual posts (below). I have just begun to “crack this nut” – her blog-site is more extensive than anything else I have found!
As a music educator, this last title peaked my interest. We urge every retiree to revisit their creativity roots and seek renewed opportunities to enjoy music as a lifelong pursuit. (We have already posted reprints of several of my articles on this subject from PMEA News, the state journal of the Pennsylvania Music Educators Association, including Sing Your Heart Out, Now and in Retirement and It’s Time to “Dust off Your Chops” (join a community band/orchestra).
Potuchek relates her rationale for a quest in more spontaneity in her retired life and participating in a “creative aging singing workshop” sponsored by the Portland Public Library:
I am never going to be a totally spontaneous free spirit; it’s just not in my character. I like structure, and I don’t see myself giving up scheduling as a way to structure my days and weeks. But as I get weekly practice in spontaneity, I am learning to loosen up and be more flexible with my schedules. My first spontaneous jump into a new activity has brought the joys of choral singing back into my life, introduced me to some new friends, and helped me to recover long-forgotten skills (like reading music). Who says you can’t teach an old dog new tricks? For this old dog, retirement is proving to be a time of growth and learning. – Jean Potuchek
Top 55 Retirement Planning Websites
Generally, I am not much in favor of perusing commercial websites on planning for retirement, especially those by investment counselors, but Ernie Zelinski (author of bestsellers like How to Retire Happy, Wild, and Free) sent me this link: http://goldretiree.com/retirement-planning. Zelinski’s own “Retirement Cafe” (http://www.retirement-cafe.com/) is the second website listed, and seems to archive the foundations of much of his subsequent writings. Here is his “10 Dumbest Retirement Moves.”
Purchasing a larger home than you need or than you can afford
Watching a lot of TV — more than an hour and a half a day is excessive!
Neglecting your health by not indulging in vigorous physical exercise every day
Not making new friendships and neglecting old friends
If you are concerned about your personal finances, investment, life styles, travel, or other issues in planning for your “golden years,” goldretiree.com may be valuable. Besides Zelinski’s site, I was taken with the following writers:
The final entry at goldretiree.com, AARP is worth mentioning here (http://www.aarp.org/). I was one of those 40-something spouses who automatically became a member when his wife turned 50 and she joined; I was neither ready nor expecting it. However, the AARP magazine and online materials are excellent, and span topics about travel, health care and coping with aging, finance, dining and cooking, etc. plus special discounts and benefits.
If you like, the entire listing of retirement websites is provided at this link: GoldRetiree.com
Stephen Price
In my last blog-post on retirement, “Three Exit Lanes to Retirement Self-Help Guides,” I briefly mentioned Stephen Price’s book “How to Survive Retirement: Reinventing Yourself for the Life You’ve Always Wanted.” No one resource has everything… but this book comes closest to covering the greatest variety of subjects, exploring such possibly mundane (?) topics of financial planning, making your home elder-friendly, and social security information, to riding the up-and-down emotions of “change” and retirement. The book’s table of contents is eclectic:
Entering Retirement
Discovering the New You
The New Realities of Money
Making a Move: Post-Retirement Relocating
Do Unto Others: Opportunities to Volunteer
Travel
Encore Employment, or Returning to Work
Planning for a Healthy Retirement
Of special merit, Price shares 14 pages of ideas on volunteering, with a gang of valuable websites on which to follow-up… everything from animal shelters, museums, zoos, aquariums, and conservation groups to business mentoring, foster grand-parenting, senior companions, and child advocates.
The last full chapter, written by Laurence Burd, MD, starts with a quote by the late PA Senator Arlen Specter: “There’s nothing more important than our good health – that’s our principal capital asset,” and dives into the effects of aging and how to maintain good health throughout “our maturing years” (or second childhood?). I have never seen a manual for retirees that goes into such detail on these issues:
Decline of Organ Performance and Function
Wrinkles and Dry Skin
Gray Hair
Balding
Hearing Loss
Decreased Vision
Dental Problems
Skeletal System
Cardiovascular System
High Blood Pressure (Hypertension)
Swelling of Ankles and Feet
Heartburn
Constipation
Urination Irregularities
Decreased Sex Drive
Memory Loss
Help, I’ve Fallen and I Can’t Get Up
Insomnia
Depression and Anxiety
This is definitely a book worth buying, reading, and keeping!
Although a life of ease may have been your dream, retirement brings with it a host of questions, problems, and responsibilities that never occurred to you and may now seem insurmountable. How to Survive Retirement will help you plan for most any eventuality during the golden years. – Steven Price/back cover
Finally… The Ultimate Resource Guide/Bibliography
I tried to revise, assemble, and share in one place all of the retirement resources I have found. Click on this link to download the ultimate retiree resource guide 072216. You do not have to be a former music educator to use this reference list to gain a perspective on research and assistance to preparing and managing the life-changing adventure of retirement.
This document is my present to you. It cannot get much more comprehensive or convenient to find/use this collection of “sound advice” from advisors who themselves have successfully found happiness, good health, and real purpose in retirement life.
Updates to my presentation “Surviving and Reveling in Retirement” for the PMEA Summer 2016 Conference are posted on the PMEA retired members website: http://www.pmea.net/retired-members/. If you are music teacher retiree and taught or live in the state of Pennsylvania, we recommend joining PMEA to enjoy the numerous benefits of networking with fellow colleagues, reading publications, supporting music advocacy efforts, realizing ongoing professional and leadership development, and other programs. One advantage of being “senior citizens” is that our dues and conference registration fees are significantly reduced! For more information, please go to the PMEA website: http://www.pmea.net/membership-information/.