The writing was the easy part. The preparation was the most challenging mental activity that I have ever put myself through (besides trying to understand band fronts…jk, lol, move along). I will say this that pursuing this degree has disciplined my mind and has made me budget my time. If my mother reads this post, she would be the first to tell you – those are two things her second son was not good at growing up.

The following is some advice in preparation for anyone taking on a doctoral degree in any education discipline. If you are reading this, I hope you find it helpful, and I certainly wish you well along your journey.

1) You will not do this without the support of your family, friends, and faith. There will be times when your relationship with all three of them will be strained. Do not break your connection with any of them, because like Rocky’s trainer they will be the only ones in your corner at times saying “C’mon Champ, get back up!”

2) Don’t let your coursework sit abstractly by in the forms of papers, projects and presentations. The encouragement of one person in particular helped me to generate several articles published internationally, and a number of presentations at conferences and workshops. Removing that information from the academic context and putting into the context of your teaching allows for a number of interesting self-discoveries that enrich the process.

3) Critically reflect upon yourself, your teaching area, and how this process may change your perspective in the classroom. Again, the self-reflection process has led me through a number of questions about the very foundations of music education. I see some people writing and tweeting about music education, and I am concerned as they seem to have a pretty limited perspective that is full of absolutes. There are always at least two sides to every story, and I teach music with a much larger perspective in a much larger world with an even wider perspective. I don’t presume that the area which I can make better will fix the whole world, but my self-reflection tells me I can make the areas that I am concerned about better for students with whom I interact, teach, and lead.

4) Stay up on research in your field. It’s not always a very cost effective endeavor – we tend to gouge people to pay for research findings – but if we are going to bridge research to practice, somebody has to take the initiative. It might as well be the practitioner who has the most opportunities to make a difference in education. Related to that, pay attention to veins of research and the names that go with them. In preparation for my comprehensive exams an article in 2001 by Donald Hodges clarified a whole semester of course work for me in Music Psychology. The article connected three more names to related areas in Music Psychology, and each of those names connected to a research area which led me to 2 articles per area and suddenly neurons started firing at incredible rate (at least that’s what I think was happening, I have to go back and read to get you the specifics…).

5) Give yourself a good 6 months to prepare for your qualifying/candidacy exams. Even with a self-made weekly reading list of major topics in all my coursework and reading of related areas to my coursework in the 2nd Handbook of Research on Music Teaching and Learning, I still didn’t feel ready. I had to put a lot of things on the back burner to prepare myself adequately. With two weeks to go, I finally started to experience a “spinning” sensation as if all the information that lived in separate realms began to be dumped into a blender and the soft edges of those topics became blended together.

As I write on a Friday night after a football game, I am sure of several things:
1) My family still loves me and my kids remember my name.
2) I am probably going to reread this Saturday morning and change something (the title: original was called “Reflections on Candidacy Exams).
3) I will never be smarter in my time on this earth. But I always hope I keep a wide perspective, and keep on learning.

1) Live blogging from Dr. Joseph Pisano and his students: SMASH HIT. No wonder this guy was the PMEA District 5 Citation of Excellence and TIME Teacher of the Year. Thank you Andy, Emily, Liz, Brittany, and Ryan – awesome future music educators!!!

2) Raising the EEQ of your performing ensemble: My thanks to Stacy Paparone and Jess Beblo (presiding chair and jag council, respectively) for their pre-session encouragement, and the many close friends and colleagues in attendance. I don’t know that I solved anything by presenting – but I hope I helped those in attendance think differently about their performing ensemble.

3) Steve Hawk’s Jazz Ensemble was an awesome way to start Thursday morning. So proud of former student teacher Garrett Faccone! Great days await that young man at Towson – how fortunate they are to be having him on board as a GA next year!

4) Andy Yozviak’s Wind Ensemble at West Chester is ridiculous – we are talking Midwest Thursday or Friday night concert good. Andy is on my radar of the next great wind band conductors and genuine people of the next few decades.

5) When in doubt, sit down with friends and colleagues you trust. It is incredibly life and career reaffirming both ways – you to them, and them to you. Thank you Andy, Erich, Nino, Doc, Robert, Bob, Varden, Tom, Ron, Chris (owe you dinner buddy!), Tad, Stacy, Jess, Susan, Lee, Bubba, Jim, Eric, Gary, and Joe.

6) Emily Volek’s students need to understand I am not kidding – yes, we know each other, and yes that’s really me in the picture. So proud of both Emily and her husband (former assistant with me) Brad.

Finally, yes the times are dark for all of us. But I refuse to give up – and neither should you. A number of projects and initiatives were started at PMEA 2011 in which I am involved. It will take time, but they are small battles in the good fight – ones I am excited to begin and finish. As per my soundcloud about me section: “Advocate, Composer, Conductor, and Educator on a quest to save music education one note and one student at a time.” That’s just about right, ultimately the only two things I can actually have some sort of control over. It’s such a huge challenge, it’s such a long road, it’s going to be so tough: A reminder to all of us – this won’t be easy, it will be worthwhile.

 ”Moravian Dance” (PMEA District 5 Band), “For the Love of a Soldier” (PMEA District3 JH Band), and “Shine!” (YSU University Band) have enjoyed great performances – my thanks to Jack Anderson (University of Pittsburgh) and David M. Blon (YSU Graduate Assistant & Assistant Director at Mercer HS) for their part in bringing this music to life. 

I have cleared two major hurdles at Kent State this semester and now find myself in the “belly of the beast” so to speak as I begin analyzing data from a research study. It is my hope this study will lead me to focus the scope and subject matter of my dissertation. In the back of my mind, preparation for my comprehensive exams next fall has begun.

Teaching Music notified me they will publishing an article in the future dealing with selecting Middle School Band Literature. Attention to my presentation at PMEA All-State in April is picking up as colleagues are asking me for a sneak peek. Looking back where I was just three years ago to now is at times surreal – as Joe Pisano and I frequently discuss “The toughest thing about being successful is that you have to keep on being successful.”

I got to be a proud parent last night as my oldest daughter sang in her very first choral festival. 200 students on stage, great music, and delighted to have my parents, my wife’s parents, and all our children together for a wonderful night of music.

Finally, leaving class on this past Monday night at Kent on my way to conduct a concert at my school, Joe Pisano called. My conducting teacher – Lou Collela – passed away after a tough bout with cancer. I conducted that night with a heavy heart knowing that this was the first one of my mentors that passed away, and I realized that I did not completely like the idea of not being able to pick up the phone and call when I wanted to ask him a conducting question (and to break conducting down to just one thing according to Lou “It’s all about anticipation”). He held me to a high standard every day in class (just ask John Seybert at South Eastern Florida University about the time we were late). The one thing I never knew about him is that we shared the same birthday.

Thank you Lou for making me a better musician, educator and conductor. I will always remember “Great conductors love great music, and they share that love with their students.” God rest your soul Lou, and bless your family in the days ahead.

It is very exciting to host, but it is even more exciting having nearly 100 submissions! There are so many of us now in this stream of communication and media that are making a difference by our professional development, reading, enacting new teaching strategies, and reflecting upon our craft as educators.  What a tremendous resource this movement has turned out to be, and how great to share it with you.  Many hard decisions were made, but we have a great line-up of articles and posts you need to check out!

Music Advocacy

Lindsay Morelli presents The Power and Purpose of an Ensemble posted at Lindsay Morelli.  What is an ensemble? Lindsay’s question unfolds into a great post with great perspective for all of us in music education to consider.

Music Education

The Grand-daddy Blogger of them All Dr. Joseph Pisano presents A Sample Curriculum For High School Instrumental Ensembles posted at MusTech.Net, saying “This curriculum example is a suggestion for Instrumental Concert Band Directors to study for use with their own programs. Many times “we”, as ensemble directors, really don’t think about the curricular needs of/for our ensembles nor give long-term thought to the integration of music literature that may fill a particular goal in our music programs.   This curriculum suggestion is just one way to think about these things and how what you are doing as a band director integrates into the bigger educational picture.”

Brenda D Muench presents BoomWhacker Mysteries in First Grade: Part One posted at Tech Tempo.  This lesson is a ton of fun for elementary teachers who use Boomwhackers – I will freely admit I tried it at home with the set in our basement!

Wendy Stevens presents To Give or Not Give Makeup Lessons posted atComposeCreate.com, saying, “Since many music educators also teach private lessons, this article gives them a list of options for making the most of their valuable time. Many independent music teachers will also find this information helpful.”

Great to see Andrew Ritenour (and fellow Tuba brother) getting involved as a future music educator!  Andrew presents The Educational Beauty of Twitter posted at Future Music Educators.

Janice Tuck presents Music Primary Singing Resources posted at The Music Teachers Blog.  I am continually impressed with the great teaching being shared by many elementary music educators, and Janice’s post identifies some great assets useful in the classroom music setting.

Matt Fonda presents Bass Drum Basics posted at DRUMMING WITH FONDA.  Keeping students aware of the physical demands of being on a drum line is essential, and Matt’s article (very appropriate for students to understand) outlines some things they can do to keep themselves physically ready.

Thomas J. West presents Creating Community in Secondary Performing Ensemblesposted at Thomas J. West Music, saying, “Here are some suggestions for getting choral and orchestra programs to experience the same kind of personal investment in a group musical activity that bands typically experience due to the marching band activity.”

Brian Wis presents I’m too busy to go to the doctor, and other teacher avoidance-techniques posted at Teaching Music in the 21st Century, saying, “A call to high school music teachers to join the PLN movement.”

Natalie Wickham presents Custom Design Your Own Flashcards with these Free Files!posted at Music Matters Blog, saying, “Use these beautiful free flash card designs by Natalie Wickham to create your own custom flashcards! Now you’ll never be stuck at the last minute wishing you had a particular set of flash cards – you can just make your own!”

Charla Pearen presents Old Macdonald – Letter Recognition posted at High Park Home Daycare.  A great exploration of music with infants and toddlers.

Kevin Keena presents 60 Picnicers, 13 years, 2 schools, and 1 Facebook Page posted at Heritage Bands Podcast.  A touching and refreshing look at how social media reconnected a group of students with an educator who made a big difference in their lives.

The experiment is on for me personally at school this year – you can check out the details in my post Big Leap into a Small Room posted at Travis J. Weller.

Carrie Oakley presents Novice to Slash: 100 Free Resources for Teaching Yourself Guitar posted at Online Colleges, saying, “Whether you’re picking up a guitar for the first time or revisiting a teenage hobby, these links provide free resources for teaching yourself how to play the guitar, as well as improving your technique and learning to read music.”

Samuel Wright presents Graphic Scoring with Yothu Yindi posted at Wright-Stuff Music, saying, “An Australian Aboriginal unit of work involving listening worksheets, music analyses and a final assessment where students get to create an animated graphic score of a contemporary Aboriginal work in Keynote 09.”

Ken Pendergrass presents It’s about the work, not you personally posted at Music Is Not for Insects, saying, “helpful advice for those of us who want to be “liked” by our students…”.  Ken’s blog is great, and he offers some helpful advice to communicate with students while maintaining a sense of fairness.

Music Pedagogy

David Ahrens presents Ever-Improving Chops on Secondary Instruments posted at Sound Education.  While I am new to David’s writing and work, this is a great post for all instrumental teacher to consider so that we can be effective musical role models for our students.

Music Technology

Jim Frankel presents The Other 80%: An Industry Perspective posted at Music Technology in Edcation. Jim tackles a larger issue that many ensemble educators/directors face in maintaining their relevance with the other students not in performing groups.

Nemanja presents Dont Compromise Choose Used DJ Equipment posted at Cheap DJ Equipment, saying, “The problem is universal, DJ equipment is expensive. When buying DJ equipment squeezing the most out of your budget is essential.”

Music Tips

Sam Lyons presents Piano Practice Tips For Beginners posted at Learn The Keyboard Online, saying, “If you are new to the piano and you’ve probably experienced boredom. Sometimes that happens when you continue doing the same thing over and over again. Things become a little repetitious…”

Ashley Davids presents Guitar Warm Up Stretches posted at Metal Guitar Lesson, saying, “Highlighting the importance of warming up prior to practicing guitar.”

Sam Lyons presents Keyboard Practice Blues! posted at Learn The Keyboard Online, saying, “Keyboard Practice Blues! We all get them from time to time. Just keep practicing the piano a little everyday. You will succeed in learning the piano.”

Jenny Boster presents The Importance of Beginning Technique posted at The Teaching Studio, saying, The Teaching Studio is a relatively new blog all about teaching piano lessons. This article focuses on the topic of teaching beginning piano technique.

Other

Naomi Seldin presents 10 Rock Stars Who Went to an Ivy League School posted at Online Colleges and Universities Education Database. An interesting article to demonstrate to students about notable stars that have challenged themselves in the academic field.

That concludes this edition. Submit your blog article to the next edition of music education blog carnival using our carnival submission form. Past posts and future hosts can be found on our blog carnival index page.

The most pervasive musical element in term of correct interpretation by both composers and conductors was in regard to tempo.  Other commonalities existed across both conductors and composers (notably by Barnes, & Camphouse) including utilization of recordings, becoming familiar with a score through a secondary instrument (piano or voice were mentioned frequently), and that over time our interpretation of a piece may change because of new perspectives or personal experiences.  It would seem to me that the process by which one learns a score varies widely across known experts in the band world, and is a highly personalized decision based upon your pedagogical training.  Choices of meter, key, and tonal and rhythmic patterns are sufficed to say objective, but in matters of overall general expressive musical elements, tempo seems to be a common focus because of the great variability for which it can possess.  It is interesting to note that a number of conductors and composers both concede that a performance tempo can differ from the ideal (marked tempo in the score), and that the adjusted tempo of the performance can still result in a quality or reputable performance.  In some cases it is a matter of ensemble technique that will prevent an ensemble from being able to achieve the demands printed in the score, but it is obvious in the writings that conductors and composers acknowledge this and are able to recognize when other elements are brought to the best possible quality which contribute to effect interpretation.

Another commonality that seems to exist across many of the composers and conductors is they concede that there is a limit to what musical notation can convey, and at times there are ambiguities that may not make sense during score study.  Hopefully these moments of questions and uncertainties can be answered by the director as he looks at the work he is studying, compares it with other known pieces by the same composer, and compares the current piece against stylistic practices of the time or pieces of similar musical structure.  I believe it is worth noting that here that this process the conductor is going through for just one piece of music is not so far removed from the idea of comprehensive musicianship whereby the musician immerses him/herself in studying music from multiple perspective, each perspective contributing to a greater understanding of a larger picture. Andrew Boysen Jr.’s (Camphouse, 2007, p. 11) comments perhaps summarize the idea best as he asserts that the notation in the score should support the conductor’s musical decisions.  It follows that the performance is the very best attempt by an ensemble and conductor to represent what they believe to be the composer’s intent.

Flexibility as it relates to letting the music “live in a certain place” as Giroux states (Camphouse, 2004, p. 80), gathering insight from the ensemble not previously considered as Kirchoff suggests (Williamson, 2008, p.53), and, as Hunsberger observes, understanding each ensemble has an “optimum tempo” (Williamson, 2008, p.37), also seems to an important aspect of interpretation.  The modern conductor must have in his arsenal of abilities an understanding to be flexible as his perspective may change while working on a piece with his own students, but find a new perspective when asked to conduct the group of a colleague or an honor ensemble.  Getting back to the idea of tempo, both the music and the ensemble must find the tempo at where they can ideally perform.  I believe this is the reason why at times pieces are adored by one ensemble, and despised by a group 12 miles away – optimum performance tempo of the music and the ensemble do not converge.  Part of this problem may be related to that, but it might also have to do with directors being afraid to vary from the printed score even when it might be more educationally sound to do so (emphasis added, duplicity implied).  A discussion for another day – but this isn’t math or science with one right answer – and some directors are chasing a trophy  on the wall and it is easier to play it safe.  While McBeth and Giroux go as far to say that composers are sometimes indicating the wrong metronome markings they include on a score, Camphouse and McBeth agree with Jack Stamp that composers are not always the best interpreter of their own work.  James Barnes recounts a story about Verdi and Toscanini that is a reminder that one’s inner musician is critical for a conductor’s interpretation that is truly “in the spirit” of the composer’s intent.  Jack Stamp (Miles, 1998) discovered during his college experience that although Stravinksy was held in high regard compositionally, others did not feel he was the best interpreter of his own work!

The final aspect of interpretation that seems to be a shared concern of importance between composer and conductor is that of feeling, emotion, and passion.  To a degree, many of the composers explicitly mention important aspects of feeling, expression, and emotion in the interpretation of their work.  No matter what reason a composer decides to put “pen to paper”, their works are a product of their experiences, beliefs, surroundings, and creative ideas – and those experiences are at times attached to significant feelings, emotions, or expressions.  As stated by my friend and colleague Dr. Joseph M. Pisano, a composition conveys a concrete thought such as the liberation one’s country, an emotional thought such as the liberation of one’s heart, or a spiritual thought such as the liberation of one’s soul.  The composer is literally molding a conceived idea or a feeling into a sonic musical existence.  The passion of music becomes interpreted correctly when the conductor understands and enjoys the music, and is able to get the students in the ensemble to “reproduce those feelings” as Hilliard states (Camphouse, 2007).  Sam Hazo’s experience with Paul Thornton’s band demonstrates the importance of connecting the music to the lives of the students.  Paula instructed her students to write a meaningful life experience to the sound of the music in the margins of their music – it created in every student a way to connect their life stories to the music in which they were engaged in performing.  I would be interested in knowing just how many of those little anecdotes written by her students were emotionally charged or connected.  Robert Sheldon states that in order to convey passion (emphasis mine), a conductor must possess technical means and the wherewithal and self-confidence to do and say whatever is necessary to get the ensemble to respond (Camphouse, 2002). Frank Ticheli shares that the conductor must find meaning in the work, and believe in it passionately (emphasis mine) (Camphouse, 2002).  When asked about it, Mark Camphouse’s opinion is that “Passion (emphasis mine) comes from believing in the music long before a conductor ever steps on the podium…If a conductor has passion for the art of music and for playing great literature, his performance will have passion…” (Brown, 2001, p. 13).

Many conductors have written about helping the ensemble recreate or realize the interpretation of the composer’s intent, and rarely do they discuss a performance that was devoid of feeling, emotion, or passion if it was achieved.  Can we forgive a less then perfect performance that lacks emotional expression? My feeling is that many would agree yes.  I am not saying technical accuracy and precision may be tossed out – they are part of our responsibilities as educators to ensure that students have mastered.  But we might also be aware that there is another side that is beneficial for the student to experience, and that through our own authentic interpretation we may be able to unlock the emotion, passion, and feeling in music for the benefit of our students (Help them find the love!).  As Craig Kirchoff (Williamson, 2008, p. 54) states so eloquently, “Without such passion, there is no communication…and not even any real music.”

Brown, J. S. (2001). Mark Camphouse creates music with the passion of a performer. The Instrumentalist, 56 (6), 12-15.

Camphouse, M. (Ed.). (2002). Composers on composing for band (Vol. 1).  Chicago: GIA Publications.

Camphouse, M. (Ed.). (2004). Composers on composing for band (Vol. 2).  Chicago: GIA Publications.

Camphouse, M. (Ed.). (2007). Composers on composing for band (Vol. 3).  Chicago: GIA Publications.

McBeth, F. W. (1992). Interpretation: Unlocking the drama in music. The Instrumentalist, 47 (5), 14-18.

Miles, R. (1998). Teaching music through performance in band (Vol. 2). Chicago: GIA Publications.

Williamson, J. E. (2008). Rehearsing the band. Galesville, MD: Meredith Music Publications

Where do the effective educators come from? When we think of effective music educators do we confine it to intuitive conductors whose work on a podium with ensembles gives inspiring performances? Is it a classroom of students engaged in “musicking”?  Is it a studio teacher or small ensemble “coach” who is able to extract high levels of musicianship from individuals? Is it simply an educator in music who brings their students to a higher degree of appreciation for this art, and allows them opportunities to make a connection with music on a personal level?  While the first three bring about wonderful opportunities for students, my hope is that our profession begins to recognize the fourth educator as the prototype for effective teachers.  It goes beyond, as the author shares, just technical competence (i.e. planning, creating lessons, solving problems, selecting appropriate music).  Personal technique is also part of the equation.   It is our duty to create a positive environment that develops a sense of synergy, a social atmosphere that supports developing the core of our student’s character alongside the musician waiting to be, and a musical experience that is guided by educators who practice and model their craft passionately to the benefit of their students.

Effective Music Educators are musical role models: Reviewing research by Abeles (2004) presented in the text, music educators should take the responsibility of being a musical role model to their students very seriously.  Taking into account the community and the context of where the learning is taking place, the music educator may be the only professional musical role model students will interact with in their educational careers.

Effective Music Educators reach all their students in meaningful ways: In consideration of educating all students equally, there has been significant research that would indicate racial and ethnic minority students are not encouraged to participate in primarily white schools.  Differences in cultural expectations, including musical values, are cited as a reason for lack of participation.  As every culture has music and uses it for specific purposes, it is incumbent upon music educators to recognize and understand ethnic groups that are represented within the community in which they teach.  By identifying those groups and researching the value placed and how music is traditionally practiced within that culture, they can seek to provide meaningful and authentic musical experiences that will make a connection for that student within the curriculum and extend beyond the classroom or rehearsal room walls.  Research by Ballantine (2001) indicates isolation, a feeling that no one cares, and low expectations as being primary reasons students drop out of school.  Teachers can help students in school by setting high expectations, connecting with students inside and outside of class, and learning to recognize early warning signs of potential dropouts.  Research by Shields (2001) demonstrated that the presence of at-risk students caused non-musical problems to dominate the tone group rehearsals and class sessions.  This is a concern for teachers when potential at-risk students are enrolled in their classroom.  Although there was a downside to the enrollment of these students, the musical and non-musical skills growth provided a sense of intrinsic reward for the teacher, and the teacher as a mentor to students was a positive experience.  This is a reminder of the socializing power of the ensemble in that it does more for the individual student than the student contributes to the ensemble.

Effective Music Educators are able to motivate their students: Bandura (1993) suggested that teachers have three goals in developing motivation in students: a) create a state of motivation, b) develop the trait of being motivated to learn so that it is present throughout their lives, and c) encourage students to be thoughtful about what they study or participate in.  Probably one of the best things teachers can do is to model life-long learning through their enrollment in graduate programs and further studies.  I have found some of my students to become very inquisitive about my studies at Kent over the past two year, and it has become easier to share interesting research and points relevant to them from our class discussions.  If groups truly take on a reflection of their leader, I have found my students to be more open to self-reflection in their musical experiences when asked to do so.  We must find ways to create musical experiences that fuel intrinsic motivation in our students.

Effective Music Educators open pathways to new music for their students: Preference is an immediate, short-term choice of specific objects or events that can change at any time.  Taste is a more long-term or permanent commitment to a broader group of objectives or events (Abeles, 1980; Radocy & Boyle, 2003).  Preference and taste can be altered – repetition and familiarity are two influential techniques to broaden student preferences.  Research has shown many different musical elements can influence student musical preference (Demorest & Schultz, 2004), as well as various student characteristics (Radocy & Boyle, 2003).  With the amount of high quality recordings available and the multitude of ways in which they can legally be shared with students (via websites), increased exposure, as suggested by the research above, should be effective with students. Additionally, by addressing National Standards 6,7, & 8, students should be able to develop skills that will allow them to think critically about music to which they are exposed, make informed analytical decisions, and evaluate music from multiple perspectives including aesthetic, authenticity, entertainment, imagination and quality.

Effective Music Educators plan for success and capture emerging teachable moments: Effective teachers focus the success of their students, and are able to change behaviors and strategies in mid-lesson or rehearsal to acclimate themselves to the classroom conditions.  The most successful music teachers are student-centered, maintain a well-organized and creative classrooms and rehearsal hall, encourage student creativity and musical independence, encourage intrinsic motivation, and carefully plan and organize each rehearsal based on constant evaluation of students’ abilities and progress (Madsen & Madsen, 1981).  Madsen showed that effective teachers demonstrate the ability to change their social behavior dramatically at precisely the right time to affect student behavior, motivation, and performance.  Research by Goolsby (1997), Kelly (1997a), and Hendel (1995) indicate effective ensemble teachers talk less in class because students are capable of understanding and responding to many basic nonverbal gestures.  At times, I think of a rehearsal like a basketball coach thinks of a game – and for that reason I place a premium on planning for known variables for which I can control.  As the rehearsal (game) unfolds, I must be aware of ebb and flow of communication (both verbal and non-verbal) along musical pathways and make good on capturing an emerging teachable moment that may fall outside my initial rehearsal plan.  “Time-outs” are occasionally burnt to prevent a moment from slipping away, and I must be aware that everyone understands their role and responsibility as members of our “team”.

Effective Music Educators persevere: Many pre-service teachers express aspirations to teach but do not necessarily understand the daily demands of the profession.  Research has shown beginning teachers are more concerned about management and discipline, motivating students, accommodating differences among students, evaluating and assessing student achievement and dealing with parents (Woolfork, 1998).  DeLorenzo (1992) reported many first year music teachers are overwhelmed with the barrage of responsibilities.  Kelly (2002a) reported the student teaching experience is frequently very different from the initial full-time in-service position.  New teachers who receive guidance from mentor teachers allows for them to cope with their new classroom reality, including class management, administrators, and other nonteaching duties (Conway, 2003).  I can remember talking with Patrick Jones at our Honors Band in December 2005.  At that time, he was not yet Dr. Jones, and I was only 4 months into my position at Mercer.  His advice to me at the time was to survive!  Much of what he shared with me over dinner in December of 1995 was borne out in the research above.  I inherited a program that lacked some focus and positive synergy.  Had it not been for my college director, my co-op (both of whom were 10 miles away), and the choir director at Mercer I am not sure what I would have done.  Now in year 15, I am able to recognize patterns of how my professional views have changed and in turn, have altered my classroom approach and allowed me to be more effective. Mike Krzyzewski (Duke University Basketball Coach) would call Madsen’s research (1989) as “Being the face your group needs to see”.

This list is by no means complete as our role in the music education of young people continues to evolve.  But we are the agents of change.  We can no longer wait for a national organization to tell us when will the time be to transform our profession and the musical lives of our students.  Our time is now.  Now is the day of the effective music educator.

Bibliography

Abeles, H. (1980). Responses to music. In D. Hodges, & D. Hodges (Ed.), Handbook of music psychology (pp. 105-140). Lawrence, KS: National Association for Music Therapy.

Abeles, H. (2004). The effect of three orchestra/school partnerships on student interest in instrumental music instruction. Journal of Research in Music Education , 53 (3), 248-263.

Ballantine, J. (2001). The sociology of education (5th ed.). Upper Saddle River, NJ: Prentice-Hall.

Bandura, A. (1993). Perceived self-efficacy in cognitive development and functioning. Educational Psychologist (28), 117-148.

Conway, C. (2003). An examination of district-sponsored beginning music teacher mentor practices. Journal of Research in Music Education , 51 (1), 6-23.

DeLorenzo, L. (1992). The perceived problems of beginning music teachers. Bulletin of the Council for Research in Music Education , 113, 9-26.

Demorest, S. &. (2004). Children’s preference for authentic versus arranged versions of world music recordings. Journal of Research in Music Education , 52 (4), 300-313.

Goolsby, T. (1996). Time use in instrumental rehearsals: A comparison of experienced, novice, and student teachers. Journal of Research in Music Education , 44, 286-303.

Goolsby, T. W. (1997). Verbal instruction in instrumental rehearsals: A comparison of three career levels and preservice teachers. Journal of Research in Music Education , 45 (1), 21-40.

Hendel, C. (1995). Behavioral characteristics and instructional patterns of selected music teachers. Journal of Research in Music Education , 43, 182-203.

Kelly, S. (2002). A sociological basis for music education. International Journal of Music Education , 37, 40-49.

Kelly, S. (1997a). Effects of conducting instruction on the musical performance of beginning band students. Journal of Research in Music Education , 45 (2), 295-307.

Madsen, C. &. (1981). Teaching/discipline: A positive approach for educational development (4th ed.). Raleigh, NC: Contemporary.

Radocy, R. &. (2003). Psychological foundations of musical behavior (4th ed.). Springfield, Ill.: Charles C. Thomas.

Shields, C. (2001). Music Education and Mentoring as Intervention for At-Risk Urban Adolescents:Their Self-Perceptions, Opinions, and Attitudes. Journal of Research in Music Education , 273-286.

Woolfork, A. (1998). Educational psychology (7th ed.). Boston, MA: Allyn & Bacon.

Another guy that has really given me a shot in the arm of late is Drew Fennell.  Many thanks again to Drew who this afternoon debuted “Shine!” with the Carnegie Mellon Pre-College Summer Wind Ensemble!!! My respect and appreciation for Drew as a musician, conductor, and composer continues to grow.  The performance was great, and I really appreciate those students bringing this music to life!!!  Bump on over to myspace and check out the live recording from the July 18th concert – it even still has that new recording smell to it…I think!

More to come in the months ahead, so stay tuned! And if not, Korg makes a very affordable model (that’s free advertising you can’t buy anywhere!)….