I found myself this past Monday morning with a few extra minutes checking my almost empty “to-do” list and, with the exception of planning to watch the Pittsburgh Steelers football game and the endless chore of raking leaves in my yard (I immediately rejected the latter), I discovered I had very few professional or personal priorities to focus on this week! Wow! Some additional “free time!” Shh… don’t tell anyone!
Down time? As I mentioned in a previous blog-post, since the summer, things had been a little hectic for “this retiree.” When I accepted the position of “admin” to the marching band of the school from where I retired, I discovered how fast we can fill up our schedules with meetings, rehearsals, and performances… to the point that it is hard to imagine how I could possibly have done all of this unless I retired from the regular job! My wife jokingly said, “Those were the days!” (perhaps a little unsympathetically?) as she watched me takeoff for band camp, parent salute nights, late night away football games, etc., while she remained cozy at home. “Been there. Done that! Not anymore!”
Only one professional association got me through more than five decades in music education and 35+ years of full-time directing, equipping me to handle the twists and turns of an ever-changing career (e.g., becoming a choral director even though I had never sang in a high school or college choir), and even attending music festivals as a viola and tuba student for four years in the Penn Hills school district. Who do I credit for giving me this “life force,” “teacher chops,” and music mastery? PMEA. We are so fortunate to have this priceless “collaboration of our colleagues,” numerous resources for the benefit of our own professional development, and services we provide to our music students. Cut me and I bleed PMEA blue!
How Are YOU Feeling?
This blog’s “call to action” is necessary because of the turmoil the pandemic has left the arts education community, new school health and safety mandates, re-prioritization of district resources (in some places away from the arts in spite of the need for more not less social emotional learning), reports of the drop in music participant enrollments, decrease in membership renewals, and teacher shortages.
The crush of COVID-19 and all of the program delays, suspensions, (and hopefully not) permanent losses have made this one of the most challenging times I can ever recall. The only way we can get through this is “together…” and frankly, “if you’re not part of the solution, you’re part of the problem!” This is NO TIME to let your membership and involvement lapse! PMEA and other professional music education organizations (like NAfME, ACDA, ASTA) need your “dedication to the cause,” willingness to help “the team” and one other, and active participation.
Collegiate members, full active members, and retired members – all of us joining forces – can truly “make a difference!” No matter how busy or stressed you are and how much you feel you are “slugging it out in the trenches” alone, we all need to become partners and devote time for and dedication to the associations we are blessed to have right now that support music educators in the Commonwealth, the nation, and the profession.
The Essential Role of Associations
It does not matter which profession you have chosen! You NEED an ASSOCIATION!
The architects may have defined “this essential bond” best:
Membership in the relevant professional organization is one of the things that separates a profession from a conventional job. It is a key element that defines a professional. Membership in one’s professional organization is expected of all professionals. It is important to support the advancement of one’s profession, and becoming a member of the professional organization is a part of that advancement.
Involvement with a professional society will afford the participant an opportunity to network with other colleagues in industry and practice. Making connections with others who have similar interests reinforces why one has chosen this career. It enables new professionals to associate with senior members of the profession and learn from them. Joining a professional organization is critical in keeping abreast of the latest knowledge and practices locally, regionally, and globally. It helps the professional to stay abreast of current issues and opportunities and will also assist in personal advancement for the member who becomes involved.
Many professional organizations offer continuing education, seminars, and lectures along with other opportunities for learning. An active participant will have the opportunity to serve in professional development. Working with people outside of one’s own firm and volunteering will build leadership skills. Opportunities for working with the community for the betterment of society and the local economy will be available. There will be possibilities for making real contributions to the human condition through projects the professional organization may take on as a part of giving back to the community. There are events that will call for public speaking skills and professional visibility which will assist in moving one’s career to another level by connecting with other professions and local leaders in the area. The profession will benefit from members’ service and the members will be rewarded in return by such things as personal fulfillment, professional enrichment, and building a stronger resume as a result.
Further definition of the professional responsibilities and ethical practices will come in part from the professional organization. It is a central core for regulation, education, revitalization, networking and service. Joining a professional organization provides occasions and experiences to renew one’s enthusiasm for the practice of interior design. The interaction can be both inspirational and enlightening. Being a member of a professional organization is a symbiotic relationship between the organization and the member that will benefit them both.
My “top-ten” benefits for membership in a professional association like PMEA are:
Development and sharing of the standards and best practices of the profession
Student festivals and music performance assessments
Professional development and career advancement opportunities: workshops, conferences, and publications
Collaborative projects such as health and wellness seminars, ethics training, library of online resources, etc.
Models and resources for curriculum writing
Coaching and mentoring resources
Resources in job hunting and interviewing techniques
Advocacy of music education and “a voice” (more political “clout”) in defining future government public policy
So, What’s in it for Me?
Review a few of the synonyms of “association” mentioned above: “alliance,” “consortium,” “coalition,” “connection,” etc. I am sure you’ve heard the saying: “TEAM stands for Together Everyone Achieves More.” Or, to quote the philosopher Aristotle: “the whole is greater than the sum of its parts.”
The easiest way for me to show the value of joining PMEA and becoming more active, engaged, and successful in your teaching assignment (no matter what the primary specialty – general music, vocal, band, strings, jazz, music theory, technology, etc) is to take a snapshot of the benefits displayed on the www.pmea.net website. Why try to reinvent the wheel? You might be surprised the extent of the HELP that is available just around the corner! Go ahead… click away! Take a peek at what you may be missing!
On a personal note, PMEA has provided me the insight, inspiration, and opportunities for substantial career growth, “places to go and people to meet” to fill-in-the-gaps of the skill training I may have felt were missing, for example methods and media for teaching a high school choral program for more than 16 years and directing/producing 37+ musicals. In addition, PMEA and NAfME have been the sole institutions that I have turned to for more than 50 years for their sponsorship of choral and orchestral music festivals and other enrichment that have provided my students new and highly motivating musical challenges and countless state-of-the-art once-in-a-lifetime experiences.
So now, reflect on the title of this blog! It is essential to give back to our association – to help it achieve its mission: “to advance comprehensive and innovative music education for all students through quality teaching, rigorous learning, and meaningful music engagement.” We’re all in this together, and together we can make it better! Slide #6 at the bottom of the retired members’ webpage proposes what PMEA needs from all members (not just retirees):
The number one thing you can do for ANY association is to pay your annual dues, attend its meetings, be active and HELP OUT! In return, PMEA can assist you in finding and sustaining your passions! What are you waiting for? If you have not renewed for the 2021-2022 year, please visit this PMEA membership webpage.
Teachers make as many as 1,500 decisions a day for their classes and students… that’s as many as four educational choices per minute for the average teacher given six hours of class time. Surprised? (Not if you are an educator!) Check out this corroborating research:
Of course it can be exhausting… and as fast as “things” happen, even mind-numbing at times!
What do educators rely on for guidance, a sort of internal “ethical compass” for making these decisions, many of which are snap judgments?
Teacher “chops” (professional experience)
Peer and administrative support
Personal moral code (derived from one’s life experiences and upbringing)
Aspirations, values, and beliefs generally agreed upon by educational practitioners
State’s code of conduct and other regulations, statutes, policies, and case law
Or all of the above?
At this juncture during my workshops on ethics, I usually quote Dr. Oliver Dreon, Assistant Professor and Coordinator of the Digital Learning Studio at Millersville University of Pennsylvania and one of the authors of the Educator Ethics and Conduct Tool Kit of the Pennsylvania Professional Standards and Practices Commission:
“From a decision-making standpoint, I tend to look at it from the perspective of Ethical Equilibrium (work by Troy Hutchings). Teachers weigh the moral (personal) dimensions with regulatory ones (the law) with the ethics of the profession… While focusing on consequences is important, I worry that teachers may interpret this to mean that as long as they don’t break the law, they can still be unprofessional and immoral.”
– Dr. Oliver Dreon
From college students participating in their first field observations to rookie teachers (and even veterans in the field), I recommend searching the term “ethics” on the website of your State Board of Education. In Pennsylvania, checkout the following:
Now enters probably the single most valuable document of our time, an all-encompassing philosophy for embracing the highest standards of what it means to be an ethical educator: the Model Code of Ethics for Educators (MCEE), developed under the leadership of the National Association of State Directors of Teacher Education and Certification (NASDTEC). With the collaboration of numerous development partners including the American Federation of Teachers, National Education Association, National Association of Elementary School Principals, National Association of Secondary School Principals, Council of Chief State School Officers, and American Association of Colleges of Teacher Education – to name a few – MCEE is comprised of five core principles (like spokes in a wheel – all with equal emphasis), 18 sections, and 86 standards.
“The purpose of the Model Code of Ethics for Educators (MCEE) is to serve as a shared ethical guide for future and current educators faced with the complexities of P-12 education. The code establishes principles for ethical best practice, mindfulness, self-reflection and decision-making, setting the groundwork for self-regulation and self-accountability. The establishment of this professional code of ethics by educators for educators honors the public trust and upholds the dignity of the profession.”
Although pre- and in-service training on both are essential, the differences between a “code of conduct” and a “code of ethics” are vast. Codes of conduct like the Code of Professional Practice and Conduct for Pennsylvania teachers are specific mandates and prohibitions that govern educator actions. A code of ethics is a set of principles that guide professional decision making, not necessarily issues of “right or wrong” (more shades of grey) nor defined in exact terms of law or policies. Codes of ethics are more open-ended, a selection of possible choices, usually depended on the context or circumstances of the situation.
“The interpretability of The Model Code of Ethics for Educators allows for robust professional discussions and targeted applications that are unique to every schooling community.”
The music teacher and administrator colleagues with whom I have been privileged to work for more than 40 years are highly dedicated and competent visionaries who focus on “making a difference” in the lives of their students, modeling “moral professionalism” and the highest ethical standards for their classes, schools, and communities, in support of maintaining the overall integrity of the profession.
However, let’s unpack some of “the wisdom” of MCEE as it addresses the rare “nay-sayers” and entrenched teacher attitudes, failing to understand “the difference between what you have a right to do and what is right to do…” (Potter Stewart) or “doing the right thing when no one else is watching – even when doing the wrong thing is legal” (Aldo Leopold).
Here are sample negative responses, MCEE “exemplars,” and proposed assimilations for thoughtful and interactive peer discussion. Bring these to your next staff meeting or workshop, and apply them to a few mock scenarios (like these from my past blog ).
Principle I: Responsibility to the Profession
The professional educator is aware that trust in the profession depends upon a level of professional conduct and responsibility that may be higher than required by law. This entails holding one and other educators to the same ethical standards.
“I didn’t know it was wrong…”
Section I, A, 1: Acknowledging that lack of awareness, knowledge, or understanding of the Code is not, in itself, a defense to a charge of unethical conduct;
My comment: The old adage, “ignorance of the law is no excuse for breaking it.” – Oliver Wendell Holmes
“What’s the problem? I didn’t break the law!
MCEE Section I, A, 5: Refraining from professional or personal activity that may lead to reducing one’s effectiveness within the school community;
My comment: Any on or off-duty conduct or inappropriate language that undermines a teacher’s efficacy in the classroom, damages his/her position as a “moral exemplar” in the community, or demeans the employing school entity may result in loss of job, suspension or revocation of license, and/or other disciplinary sanctions.
“I’m not a rat fink…”
MCEE Section I, B, 2: Maintaining fidelity to the Code by taking proactive steps when having reason to believe that another educator may be approaching or involved in an unethical compromising situation;
My comment: As a professional with “fiduciary” responsibilities, we must look out for the welfare of our students, proactively protecting them from harm by embracing all provisions of “mandatory reporting.”
“What’s in it for me?”
MCEE Section I, C, 3: Enhancing one’s professional effectiveness by staying current with ethical principles and decisions from relevant sources including professional organizations;
MCEE Section I, C, 4: Actively participating in educational and professional organizations and associations;
Principle II: Responsibility for Professional Competence
The professional educator is committed to the highest levels of professional and ethical practice, including demonstration of the knowledge, skills, and dispositions required for professional competence.
“What’s the big deal about standards?”
Section II, A, 1: Incorporating into one’s practice state and national standards, including those specific to one’s discipline;
“Not another ‘flavor-of-the-month’ in-service program!”
Section II, A, 5: Reflecting upon and assessing one’s professional skills, content knowledge, and competency on an ongoing basis;
Section II, A, 6: Committing to ongoing professional development
My comment: Always “raising the bar,” being a member of a “profession” (like medical personnel, counselors, attorneys, etc.) requires the loftiest benchmarks of self-regulation and assessment, ongoing training, retooling, and self-improvement plans, revision and enforcement of “best practices,” and application of 21st Century learning skills.
“I needed to give him credit?”
MCEE Section II, B, 1: Appropriately recognizing others’ work by citing data or materials from published, unpublished, or electronic sources when disseminating information;
My comment: Especially during this period of online/virtual/remote education brought on by COVID-19, we must reference the owners of intellectual property (including sheet music) that we use and abide by all copyright regulations. In general, it is always “best practice” to cite research or authorship “giving credit where credit is due!”
“I’m just a music teacher! Don’t ask me to do anything else!”
MCEE Section II, C, 2: Working to engage the school community to close achievement, opportunity, and attainment gaps;
My comment: We teach “the whole child,” not a specialty or specific content area! I believe our ultimate mission is to facilitate our students’ capacity and desire to learn, inspire self-direction and self-confidence, and foster future success in life.
Principle III: Responsibility to Students
The professional educator has a primary obligation to treat students with dignity and respect. The professional educator promotes the health, safety, and well being of students by establishing and maintaining appropriate verbal, physical, emotional, and social boundaries.
“It’s just a gift…”
MCEE Section III, A, 5: Considering the implication of accepting gifts from or giving gifts to students;
My comment: It is not appropriate to give a gift to a student lacking an educational purpose. In some cases, this may be defined as a “sexual misconduct.” It begs the larger question: “Do you ensure that all of your interactions with students serve an educational purpose and occur in a setting consistent with that purpose?” Also from the PA Professional Standards and Practices Commission: “Teachers should refrain from accepting gifts or favors that might impair or appear to impair professional judgment.”
“You should never touch a student!”
MCEE Section III, A, 6: Engaging in physical contact with students only when there is a clearly defined purpose that benefits the student and continually keeps the safety and well-being of the student in mind;
My comment: We were told this warning in methods classes. However, as I mentioned in a previous blog here, this “rule” has little support in research or common “best practices.” It has been my experience that on occasion, most elementary instrumental teachers assist their students in acquiring the correct playing posture and hand positions by using some (limited) physical contact. Consoling an upset student with a pat on the shoulder is not out-of-line either. The factors that may contribute to the moment being judged “okay” vs. “inappropriate” boil down to:
Length of time
Frequency or patterns of repetition
Comfort level of the student
Age level of the student
Happening in public
Who started it?
“My students are my friends!”
MCEE Section III, A, 7: Avoiding multiple relationships with students which might impair objectivity and increase the risk of harm to student learning or well-being or decrease educator effectiveness;
My comment: You cannot be their “friend.” You are their teacher, an authority figure that is looking out for them and doing what is necessary (“fiduciary” responsibilities) for their health and welfare… perhaps at times things they do not want you to do. Crossing the teacher/student boundary with familiarity, informality, and being their “confidant” or “friend” are more than just unprofessional acts – they can foster a dual relationship where roles are less defined, an ambiguity that may lead to additional inappropriate actions and educator misconduct.
“He’s weird…” or “He’s not one of us!”
MCEE Section III, B, 2: Respecting the dignity, worth, and uniqueness of each individual student including, but not limited to, actual and perceived gender, gender expression, gender identity, civil status, family status, sexual orientation, religion, age, disability, race, ethnicity, socio-economic status, and culture;
My comment: Check your prejudices and personal biases at the door. Being a teacher is all about sensitivity and caring of all individuals – students, parents, staff, etc. Embracing today’s focus on reprogramming community attitudes on “diversity,” an educator daily models the values of empathy, compassion, acceptance, and appreciation, not just settling with the “lower bar” of tolerance, allowance, and compliance!
“Wait ’til you hear what happened in class today!”
MCEE Section III, C, 1: Respecting the privacy of students and the need to hold in confidence certain forms of student communications, documents, or information obtained in the course of practice;
My comments: Gossiping about and “carrying tales” home or in the teachers’ room are serious breaches of the care and trust as well as your fiduciary responsibilities assigned to you on behalf of your students. As for “regulations,” your indiscretion may be a violation of your students’ confidentiality rights (“a federal crime” according to Family Educational Rights and Privacy Act, Grassley Amendment, Health Insurance Portability and Accountability Act, and Individuals with Disabilities Education Act). You are only permitted to share information about a student with another teacher, counselor, or administrator who is on a “needs-to-know” basis or is actively engaged in helping this student.
Principle IV: Responsibility to the School Community
The professional educator promotes positive relationships and effective interactions with members of the school community while maintaining professional boundaries.
“Don’t tell my parents!”
MCEE Section IV, A, 1: Communicating with parents/guardians in a timely and respectful manner that represents the students’ best interests;
My comment: I wish I had a nickel every time a student plead with me, “Don’t call my mom!” It is part of “moral professionalism,” your “code,” and good ethical standards to originate meaningful two-way dialogue, and if necessary, confront the parents of underachieving children. I also believe it goes on long way to nurture your relationships in the community if you notify parents when their kid has done something remarkable… “I caught him being good” or “The improvement has been extraordinary!”
“Did you hear what a staff member said about you… in front of the kids?”
MCEE Section IV, B, 1: Respecting colleagues as fellow professionals and maintaining civility when differences arise;
MCEE Section IV, B, 2: Resolving conflicts, whenever possible, privately and respectfully, and in accordance with district policy;
My comment: Before you bring up the matter with your supervisor or building administrator (which you have the right and even responsibility to do, especially if the students hear any improper speech first-hand or that the incidents rise to the level of bullying or aggressive behavior), first confirm the story. Talk to the unhappy team member one-on-one. Be calm and sensitive, but hold your ground: you must assert that his/her behavior/language is unacceptable and will not be tolerated in the future.
“Not another TEAM meeting?”
MCEE Section IV, B, 4: Collaborating with colleagues in a manner that supports academic achievement and related goals that promote the best interests of students;
My comment: We work together to insure that all educational goals are met. Open and interactive peer partnerships are helpful in the review, design, and application of new lessons, methods, media, and music.
“I was just teasing her…”
MCEE Section IV, B, 8: Working to ensure a workplace environment that is free from harassment.
My comment: Be extremely careful in the practice of any behavior or language of a kidding, sarcastic, cynical, or joking manner. It can be misinterpreted regardless of your intentions… and it can hurt someone’s feelings. And it is never appropriate or “professional” to “put down” another person.
“Don’t ask for permission… beg for forgiveness.”
MCEE Section IV, C, 3: Maintaining the highest professional standards of accuracy, honesty, and appropriate disclosure of information when representing the school or district within the community and in public communications;
My comment: Yes, I have heard this “view” a lot, advocates of whom will tell you to go ahead and stick your neck out to do something “for the good of the order,” and if needed later, “beg for forgiveness” if you decision is met with disapproval from administration. My advice? Less experienced teachers, run everything through your fellow colleagues (informally) and principal (formally). Don’t fall back on the lame “oops” and “beg for forgiveness.” I may have felt differently when I had three times as many years of experience under my belt than the supervisors who were assigned to “manage” me… but, even then, “venturing out without a paddle” usually did not serve the best interests of the students. There’s no reason to place “the teacher’s convenience” over the safety/welfare of the students. Besides, why not take advantage of the legal and political backup of your bosses if they are kept “in the loop?”
“He’s our preferred dealer and always takes care of us.”
MCEE Section IV, D, 4: Considering the implications of offering or accepting gifts and/or preferential treatment by vendors or an individual in a position of professional influence or power;
My comment: Formerly called “sweetheart deals” with music companies, you are on “shaky” ethical ground (and may also have “crossed the line” violating state laws/statutes) if you negotiate the rights of exclusive access to your school’s or booster’s purchasing. If you have any questions about your school’s policy on outside vendors, seek advice from your district’s business manager.
Principle V: Responsible and Ethical Use of Technology
The professional educator considers the impact of consuming, creating, distributing, and communicating information through all technologies. The ethical educator is vigilant to ensure appropriate boundaries of time, place, and role are maintained when using electronic communication.
“Isn’t use of social media forbidden?”
MCEE Section V, A, 1: Using social media responsibly, transparently, and primarily for purposes of teaching and learning per school and district policy. The professional educator considers the ramifications pf using social media and direct communications via technology on one’s interactions with students, colleagues, and the general public.
My comment: Professional educators’ use of a dedicated website or other social network application enables users to communicate with each other by posting information, comments, messages, images, etc. and “learn” together. However, using social media for sharing social interactions and personal relationships with your students, parents, and staff is unethical and dangerous. As they say, “a post (or snap) is forever.” Communicating digitally or electronically with students may lead to the blurring of appropriate teacher-student boundaries and create additional challenges to maintaining and protecting confidentiality.
The Final Word
In Pennsylvania (as well as the rest of the country), the statistics on school staff misconduct reports are rising alarmingly. Your own state’s “code of conduct” and the MCEE should help to clarify misunderstandings, but it has been my experience that the majority of educators do not receive regular collegiate, induction, or in-service training on educator ethics or moral professionalism. Luckily, we are fortunate to have access to many mock scenarios (see below) from state departments of education to review/discuss among ourselves common ethical conflicts and “conundrums” dealing with pedagogy, enforcement, resource allocation, relationships, and diversity. We all need to “refresh” our understanding of these issues from time to time and revisit “our codes” frequently to help “demagnetize” (and re-adjust) our decision-making compass.
Please peruse the ethics category of this blog-site for other articles and sample references below.
Spring 2020 Final Lecture to the Music Education Graduate Students
by Rich Victor, PMEA Past State President and Adjunct Instructor for the University at Buffalo Graduate School Online
Originally posted in the Facebook group PLAN: The PA Leadership Advocacy Network
This course, “Supervision of Music Learning Programs,” was focused on programs as they existed before this year. Obviously, some things have changed.
What has changed and what has stayed the same? To answer that question let’s take another look at this graphic from Unit 4.
All decisions should flow from the mission statement. That should not change.
As you discovered, most school district mission statements focus on ideals such as “success, life-long learning, and becoming responsible citizens in the community.” An effective music department mission statement will be in alignment with the stated district mission. It will inform the administration and the community how the study of music helps the district achieve their stated mission through the skills and knowledge children learn in music. It also explains what children would lose if the subject were not offered because no other discipline is available in the school district where children can learn those skills and knowledge as well as in music classes.
The school mission and the department mission define the WHY.
Once the WHY has been determined, then the district must determine the WHAT. WHAT learning activities need to be offered to the students in the district in order to help them achieve the desired outcomes stated in the mission? The answer to that question should help determine the curriculum for music.
The content for the music curriculum is determined partially by the district and department missions, partially by state mandated Arts Standards, partially by local school district inter-disciplinary curriculum requirements, and partially by the music department’s desire to provide each child with a comprehensive and high-quality music education based on National Standards.
The outcomes from those learning activities – the WHAT – should not change.
In pre-COVID-19 times, the next decision would be to determine how much time is needed for students to master the curriculum and succeed in their activities. How many years will each facet of that curriculum require? How many hours of instruction should be allocated in each year and WHEN should that time be scheduled in order to provide the maximum number of learning opportunities for each child?
The WHEN might stay synchronous or change to asynchronous instruction. The number of instructional hours provided to each teacher and each subject may need to be flexible. That is yet to be determined and we should prepare for all possibilities. However, keep in mind that the WHEN should not alter the WHAT.
Once it is decided how many hours of instruction should be allocated annually and when those hours would be scheduled, then the district must figure out exactly how many teachers will be needed to deliver that instruction and what qualifications those teachers should possess. The “WHO” part of the process – the staffing piece of the puzzle – should still be driven by the needs of the curriculum and should not change.
It will be the HOW and WHERE parts of this process where the largest changes will occur.
Obviously, the decision WHERE teachers and students will be in the fall will impact HOW music will be taught and what equipment and materials can be used for learning activities.
Facilities in school buildings must be adapted to provide appropriate space for instructional activities to take place and to conveniently store all of the materials and equipment used in those activities while following whatever social distancing protocols and approved procedures for safely handling musical materials are adopted. The WHERE may continue to be the student’s home or a combination of school and distance learning. Once again, we need to prepare for all possibilities.
The most important thing to keep in mind is that the outcomes of the K-12 music curriculum – the WHAT – should not change. Teachers need to keep “the end in mind” rather than just focusing in on their own period of time with each student. Then, following the principles of Understanding by Design, K-12 music staff must work as a team to create appropriate learning activities that are designed to help each student make progress through each grade and ultimately achieve the specific learning outcomes of the K-12 music program using the WHEN, WHO, HOW and WHERE pieces that we will have to work with.
As my friend and colleague Bob Morrison said in a recent presentation “Change the HOW not the WHAT!”
Yes, it will be challenging. The challenges caused by these changes may appear to be daunting at first, but they are not insurmountable!
Fortunately, there are some great thinkers in our profession who are already coming up with ideas to make the best of the situation for both classroom and performance teachers. Even if you are the only music teacher in your school district – you are NOT alone! Wonderful ideas for solutions to these challenges can be found in social media and through webinars.
The most important thing to know at this time is that discussions are occurring right now in every school district throughout the country. When students might return to school, and how classes might be scheduled will be determined soon. You must be proactive and become part of that decision-making process BEFORE the decisions are made! Be at the table so that decisions affecting music education in your district happen WITH you and not TO you.
The future of music education is in YOUR hands. It will be what you make it. Good luck and keep in touch!
Editor’s note: As a follow-up to Rich Victor’s article, check out these PMEA webpages:
Richard Victor is currently Adjunct Instructor for the University at Buffalo Graduate School Online.
Richard Victor had a 37-year career as State College Area High School Band Director. In 1987, he was also appointed to the position of Coordinator of Music for the State College Area School District. He was President of the Pennsylvania Music Educators Association (PMEA) from 2000-2002 and served as its Advocacy Chair. He was President of the PA Unit of the International Association of Jazz Educators (IAJE) from 1989-1993, the PMEA All-State Jazz Coordinator and PMEA News Jazz Editor from 1993-1998, and chair for the NAfME Council for Jazz Education from 2014-2018. He has also served on the advisory board for the NAfME Teaching Music magazine and held the office of President of the Penn State Alumni Blue Band Association. Other professional memberships include Phi Beta Mu and The Gordon Institute for Music Learning (GIML).
Mr. Victor has been a guest conductor and adjudicator for concert band and jazz events in Delaware, Maryland, Pennsylvania, and Virginia, and currently serves as an instrumental adjudicator for Music in the Parks. He frequently provides services as a clinician, consultant, and/or featured speaker for school districts and music events throughout Pennsylvania. He has presented sessions at five NAfME (formerly MENC) national conferences, three NAfME Eastern Division conferences, and the 2008 Americans for the Arts National Convention. He also has been a presenter for six different MEA state conferences, three JEN National Conferences, and three International Conferences on Music Learning Theory.
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.
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 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??
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
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
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
Media and materials are appropriate, interesting, organized and related to the unit of study.
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 understanding of what to do and how to do it
Positive, “can-do” atmosphere
Student questions, teacher response
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.”
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
After a well-deserved break from your academics and other college or work deadlines, now would be the perfect time to explore supplemental resources and get a “head-start” on additional pre-service training for next fall. These tips are especially valuable to anyone entering his/her senior or final year as a music education major, finely honing in and marketing your skills as a professional in order to be prepared for finding and succeeding at your first job.
Actually I hate to admit it, I enjoy assigning college students a little “homework!” But, most of this you can do from the comfort of your patio, beach blanket, swimming pool lounge chair, or couch in the game room. With the exception of “getting your feet wet” and diving into enriching music teaching field experiences and a summer workshop or two, all you need is a pencil to take notes and a device with access to the Internet.
There’s a lot to-do right now, and you only have the rest of July and August. Please try to “keep your eyes on the target” and squeeze in a few of these self-improvement plans around your vacation trips (seven lessons – see sections below) :
1. Are you really ever “on vacation” from music education?
Most veteran music educators would respond with “NEVER!” We maintain our professionalism by participating in workshops, reading teacher journals and online articles, perusing lesson materials and new music, practicing and advancing our personal musicianship, undergoing technology “tune-ups,” and focusing on other career development. This is a 12-month, even 7-day process, and academic breaks when they appear on our calendar allow us to “double-down” in areas we need the most help.
“Hands-on” training not only “fills-up your resume” with primary employment/volunteer sources, but more importantly, exposes you to realistic opportunities to expand your skills and knowledge of the “best practices” in music education and leadership training, while building techniques for handling student motivation and discipline best learned from “the school of hard knocks.”
These placements don’t always come “knocking at your door.” Go out and seek a little adventure! For leads, talk to your high school band, string, or choir director. Your purpose is to find something that allows you some contact with children… free (usually) or paid, in or outside the field of music and the arts. Here are a few ideas:
Coach summer band sectionals, field rehearsals, marching or dance practices, etc.
“Put up your shingle” and teach private or small class music lessons.
Offer to arrange music or or provide choreography for local school drum-lines, marching bands and/or auxiliary units, or theater groups.
Sing in a community or church choir, and offer to help accompany, vocal coach, or conduct.
Sign-up to assist in local youth ballet, modern dance, or drama programs.
Sing, play, or teach solo or chamber music for summer religion or music camps, childcare facilities, hospitals, or senior citizen centers.
Volunteer (in almost any capacity) at a preschool or daycare center.
2. The tools of the trade – CONFERENCES!
Summer is a GREAT time to grow your network of valuable opportunities for future collaboration, do a little goal setting, and “push the envelope” with professional development of the “latest and greatest” and “state of the art” music and methods. The primary source for professional development is the education conference. There still may be time for you to find one close to you, perhaps in conjunction with a little sightseeing or visits with friends and relatives in the same city, like the following:
Finally, believe-it-or-not, you can bring the conferences to YOU! For the annual $20 subscription fee, you can view NAfME Academy professional development videos on almost any topic you can imagine. Check out the NAfME library of webinars: https://nafme.org/community/elearning/.
3a. A winning website
The aforementioned Majoring in Music website is an excellent place to visit. It is amazingly extensive. You should read these articles for your “final year of prep.”
3b. These “awesome” resources are brought to you by NAfME
Besides the broad-based music subject matter and specific teaching skills, here’s some valuable advice, including how to “run a music program” (first link). I hope I am not stating the obvious: You should become a member of this national association for the advancement of music education.
I also want to point you to the community discussion social media platform called Amplify, a benefit of NAfME membership. We are stockpiling a lot articles for college music education students, as well as sharing dialogue on everything from pedagogical issues to music equipment purchasing recommendations in both the collegiate member group and “music education central.” Go to https://nafme.org/introducing-amplify-largest-community-music-educators-country/.
4. “Filling in the gaps”
Your music education methods courses and other college classes were never expected to provide 100% of the necessary tools to become a competent teacher in every setting. This spotlights the need for professionalism. Once you land a job, you will have to “catch-up” and seek additional training to improve those areas in which you feel inadequate or unfamiliar. You can begin NOW to explore a few of these areas while enjoying your less stressful off-campus schedule:
Understanding specific educational jargon and the latest approaches, applications, and technologies in the profession (e.g. Backwards Design, The Common Core, Whole Child Initiatives, Multiple Intelligences, Depth of Knowledge and Higher Order of Thinking Skills, Formative, Summative, Diagnostic, and Authentic Assessment, etc. – Do you know the meaning of these terms?)
Teaching outside your “major” area or specialty (e.g. instrumental music for voice students, etc.)
Comprehending behavior management techniques and suggestive preventive disciplinary procedures
Mastering the use of valid assessments (e.g. can you give specific examples of diagnostic, authentic, formative, and summative assessments?) as well as a variety of music rubrics and evaluative criteria
Knowing the provisions of the Family Educational Rights and Privacy Act and other confidentiality statutes, Individual Education Plans and service agreements, and accommodating students with disabilities
You need to ask yourself the question, “What are my greatest weaknesses in music education?” Or, to put it another way, “What school assignments would I feel the least confident to teach? After earning your state’s all-essential credential, your certificate will likely be general and only say “music Pre-K to Grade 12.” Administrators will expect you can “do it all” – introducing jazz improvisation at the middle school, accompany on the piano or guitar all of the songs in the grades 1-6 music textbook series, directing the marching band at the high school or the musical at the middle school, starting an elementary string program, etc.
Figure out and face your greatest fears or worse skill areas. Work on them now! Take a few lessons, join a new ensemble of the “uncomfortable specialty,” ask help from your peers, etc.
So far, have you been given any ethics training in college? Most pre-service educators only receive a cursory introduction to such things as codes of conduct, moral professionalism, guidelines to avoid conflicts in relationships with students, use of social media, confidentiality regulations, copyright infringement, pedagogical and economic decision-making, etc.
Now in my 46th year working in the field of music education (although retired from the public schools in 2013), I unblushingly admit I never had a full-blown course in ethics. Music colleagues have confirmed to me that it was barely (or not at all) touched-on in music methods classes, introduction to student teaching, school district orientation or induction sessions, or back-to-school in-service programs. Since music teachers are all “fiduciaries” (do you know the meaning of the word?) and legally responsible for our “charges,” wouldn’t it be a good idea to review our state’s regulations and code of conduct, and hear about the challenges and pitfalls of ethical decision-making before we jump in and get “over our heads,” so-to-speak?
I can offer you two ways to immerse yourself into music education ethics. If you are a PCMEA or PMEA member and an “auditory learner,” you might prefer the FREE PMEA online webinar video (two-part) plus handouts at https://www.pmea.net/webinars/. Otherwise, visual learners and others may like this five-part blog series:
6. “A picture says a thousand words” in marketing yourself
Have you been archiving your last several year’s of field assignments? Have you recorded numerous moments of teaching, music directing, performing, and working with students? Are you prepared for the coming year’s student teaching, getting ready to take still photos, audio samples, and video excerpts?
“We cannot emphasize the power of pictures enough when it comes to portfolios. During interviews, committee members are trying to get to know you and trying to envision you teaching. Don’t trust their imaginations to do so, give them pictures… photos or newspaper articles of you teaching students in the classroom, with students on field trips, learning excursions or outside class activities, with children while you are serving in adviser roles, with your students at musical or athletic events, coaching or working with children in a coaching capacity, as a leader and role model.” – http://www.theeduedge.com/top-five-must-haves-top-five-could-haves-your-teacher-interview-portfolio/
As I mentioned in a previous blog, be careful to obtain permission in advance to video record students for your e-portfolio. During your field experiences or student teaching, ask your cooperating teacher (or his/her supervisor’s) permission. Some school districts have “do not photo” rosters. (However, in my district, only a few elementary students were “on the list” and most defaulted to a “permissible” status unless the parent opted out. The principal’s secretary had a record of all exceptions.) It is also suggested that you focus your camera mostly on YOU and not the students, from the back of the classroom or rehearsal facility (possibly from afar), so that the student faces are not clearly discernible. To respect their privacy, in the recorded excerpts, do not use any segment announcing the names of your students.
What would be ideal to place on/in your website/e-portfolio? Show a wide spectrum of experience and training: elementary and/or middle school general music, band, choral and string ensembles (all grades), marching band, musicals, dance, music technology, piano and guitar accompanying, Dalcroze eurhythmics, Orff instruments, etc. Competency, versatility, and being well-rounded are the keys here.
After reading all of these (and compile your own list of interview questions), you should get together informally with your fellow juniors and seniors and hold mock interviews, record them, and jointly assess the “try out” of your interviewing skills to land a job.
Finally, have you recently updated your resume, and created (or revised) your professional business card, website, and e-portfolio?
Okay, I admit it. I got a little carried away. You would need TEN SUMMERS to cover everything above. What’s that saying? “There’s never enough hours in a day…”
Hopefully these resources and recommendations are helpful “food for thought!” You cannot accomplish anything by procrastination… or just “sleeping in!”
Many have said that aspiring to be a music educator is a lot like a “calling.” Using your summer “free time” is all about “professional engagement.” One of my superintendents said he expected prospective new music teacher recruits to show high energy, enthusiasm, sense of purpose, and dedication during the interview… even a supposed willingness to “lay down in front of a school bus” or “do whatever it takes” to make the students (and the educational program) successful. Regardless of the hyperbole, that’s engagement!
So, what are you waiting for? Pass the sunscreen and the ice tea. Then, after a quick swim, jog, round of golf, or game of tennis, get started on your summer assignments!
Photo credits (in order) from Pixabay.com: “music” by ArtsyBee, “music” by KevinBism, “orchestra” by HeungSoon, “music” by brendageisse, “kids” by klimkin, “marching band” by sam99929, “guitar” by sunawang, “child” by skeeze, “flute” by congerdesign, “microphone” by klimkin, “choir” by intmurr, “band” by Pexels, “little girl” by Atlantios, “boy” by Silberfuchs, “children” by mochilazocultural, and “piano” by nightowl.
The Metamorphosis and Integration of Philosophy, Maturity, and Teacher Preparation
Are you ready to assume the role of a music teacher? Besides the completion of your coursework and field experiences, have you acquired the necessary attitude and personal skills? Do you “have what it takes” to become an ethical role-model, leader, and “fiduciary” responsible for the welfare and special needs of your students?
Before long, you will shed the label and function of a “college student” (although still remaining a life-long learner… and never stop the quest for new knowledge and self-improvement!). The focus will shift from YOU to YOUR STUDENTS. The prerequisites for a career in education are unique and do not resemble the same challenges as success in business, manufacturing, retail, service industry, or becoming an entrepreneur, blue-collar worker, or even a composer or professional musician. The sooner you realize these are world’s apart, the better, and now is the time to finish your major and life-changing transformation to… a professional music educator.
This series for college music education majors will explore perspectives and definitions involving the evolution and (dare we say?) “modulation” to a productive and successful career in music teaching.
What does a “professional educator” look like? Do you belong as a member of this group?
Succeeded in and continues to embrace “higher education”
Updates self with “constant education” and retooling
Seeks change and finding better ways of doing something
Like lawyers/doctors, “practices” the job; uses different techniques for different situations
Accepts criticism (tries to self-improve)
Proposes new and better things “for the good of the order”
Can seemingly work unlimited hours (24 hours a day, 7 days per week?)
Is salaried (does not think in terms of hourly compensation, nor expects pay for everything)
Is responsible for self and many others
Allows others to reap the benefits and receive credit for something he/she does
Has obligations for communications, attending meetings, and fulfilling deadlines
Values accountability, teamwork, compromise, group goals, vision, support, creativity, perseverance, honesty/integrity, fairness, and timeliness/promptness
Accepts and models a very high standard of behavior, etiquette, appearance, language, and ethics.
In addition to mastery of their subject matter, skills in collaboration, communication, critical thinking (problem solving), and creativity (also known as “the four C’s”), according to “The California BTES – Overview of the Ethnographic Study” by David Berliner and William Tikunoff, effective teachers regularly demonstrate these traits:
Consistency of message
Engagement of students
Knowledge of subject
However, effective teachers DO NOT score high on the negative attributes of abruptness, belittling, clock punching or counting hours, defiance, illogical views or statements, mood swings, oneness (treating the whole group as “one”), or self-recognition. Human resource personnel and administrators look for candidates who model (and can confirm their history of) the habits of the first group, with no evidence of the latter behaviors.
The bar is raised even further. In addition to holding oneself up to the highest standards of the education profession, teachers also exemplify “moral professionalism” in their daily work. As cited in the chapter “The Moral Dimension of Teaching” in Teaching: Theory Into Practice by E.A. Wynne, teachers must
Come to work regularly and on time;
Be well informed about their students and subject content-matter;
Plan and conduct classes with care;
Regularly review and update instructional practices;
Cooperate with, or if necessary, confronting parents of underachieving students;
Cooperate with colleagues and observe school policies so the whole institution works effectively;
Tactfully but firmly criticize unsatisfactory school policies and propose constructive improvement.
Have you viewed your state’s teacher expectations, code of ethics, and code of conduct? It may surprise you that a number of seasoned professionals have never seen these documents. You may be ahead of the game if educator ethics were even mentioned briefly in a methods class, as indoctrination to student teaching, or orientation within the induction program of your first job.
The “code” defines the interactions between the individual educator, students, schools, and other professionals, what you can and cannot do or say, and the explicit values of the education profession.
No excuses! Better go look this stuff up. If you reside in Pennsylvania and plan to become employed there, go immediately to http://www.pspc.education.pa.gov/Pages/default.aspx. If your state does not have a code of ethics or state-specific conduct standards, download and consume this excellent reference: http://www.nasdtec.net/?page=MCEE_Doc. The National Association of State Directors of Teacher Education and Certification proposes these principles:
Responsibility to the Profession
Responsibility for Professional Competence
Responsibility to Students
Responsibility to the School Community
Responsible and Ethical Use of Technology
After reading all of this, what would be on proverbial “ethics test?” Well, can you answer questions like these?
How do ethics inform a teacher’s personal and professional actions?
What does it mean to be a “moral exemplar” or “role model” in the community?
What are the professional expectations for working with diverse populations of students, parents, and colleagues?
How should teachers handle social media and other electronic interactions with students?
Do you see yourself as a potential “friend” or “confident” of the music students in your classes?
Is it okay to accept personal gifts from students, their parents, or music vendors who do business with your school… or to give presents to students for no educational reasons?
For the last two questions, the response should be a resounding NO!
Here’s another query. What five groups of people are both “professionals” and “fiduciaries…” and have a legal responsibility to serve the best interests of their “clients?” The answer is… doctors/nurses, lawyers, counselors (both mental health and investment), the clergy, and… teachers.
Although teachers seem to be the only one of these who DO NOT have formal pre- or in-service ethics training, and our “charges” represent a “captive audience,” our duty is clear: to act as a fiduciary for our students’ best interest, and to create and maintain a safe environment for them at all times.
The keystone of “right or wrong” and what your mother always said was “behaving appropriately when no one is watching you” are all about professional ethical standards that guide decision-making. The work of Troy Hutchings (among other leaders in this field) helps to further clarify these sometimes-blurred definitions:
Personal Morality: “Personal values and beliefs derived from one’s life experiences… subjective and may/may not align with community mores.” Regulations of Law: “Policies, statues, and judicial activity that articulate conduct absolutes.” Professional Ethics: “Professional ethical standards that assist practitioners within situation and systemic contexts in choosing the best course-of-action.” Professional Dispositions: “Agreed-upon professional attitudes, values, and beliefs to be held by educational practitioners.”
For a comprehensive review on “Ethics for Music Educators,” please visit these links:
At this point, if most of this makes you feel uneasy or uncertain, then perhaps it is time to switch majors and look into pursuing another line of work!
Have you written your personal philosophy of music education?
Regina Zona wrote in her article, “For Teachers: Writing a Music Teaching Philosophy Statement” that a music education philosophy statement is “a way to connect on a personal level to your students (current and potential) by stating who you are as a teacher (your beliefs and ideals), how you do what you do, and how that positively impacts the study of music.” If you have not completed your philosophy, here are her essential questions to guide your thoughts:
What do you believe about teaching?
What do you believe about learning? Why?
How is that played out in your studio/class?
How does student identity and background make a difference in how you teach?
What do you still struggle with in terms of teaching and student learning?
She adds, “If you are having a hard time answering these questions, maybe because you haven’t been teaching very long, think on a teacher who made an impact on you (positive or negative), your education, your life. How did they communicate? Did they have passion for their work and if so, how did they express that passion? What were their methods of imparting the information?”
Take time to peruse these and others. Most of these sites also offer excellent examples of personal branding and marketing of the prospective job hunters’ experiences, skills, and achievements… material for our next blog on this topic.
Future blogs in this series will continue with a focus on these concepts:
Moving from “Book Learning” to “Practical Application”
Photo credits (in order) from Pixabay.com: “tutor” by nrjfalcon1, “music” by brendageisse, “idea” by RobinHiggins, “woman” by RobinHiggins, “young” by RobinHiggins, “singer” by BEP, “ying-yang” by Printoid, “music” by davorkrajinovic, “isolated” by RobinHiggins, and “orchestra” by ernestoeslava.