I don’t really know any directors who in some part of their career have not uttered a phrase akin to “Percussion you are playing too loud”, or “Clarinets the eighth notes were not together”.  The director’s role on the podium can become as repetitive as the scale and rudiment exercises that we select for our students to study.  It is easy to lapse into being in “error-detection” mode to the point where our rehearsals become anti-music learning and we simply gather the output from the ensemble, offer our assessment and corrective measures, and then move on.  Given enough time, enough “No, that isn’t correct”, and desire to have a perfect product, important development and learning will get lost in the process.

I recently read several articles in nationally published journals that point out that a director should offer more detailed explanations as to why he or she has offered some corrective solution to an ensemble issue of musicality, precision, or balance.  Perhaps the percussion need it pointed out that their dynamic level drops over measures 36 to 38, or that the clarinets did not release as a section off the whole note tied over the bar and that is why they did not ascend the eighth notes together.  The point of this blog is not to disagree with those views at all, as there is certainly a time and place that we as a trained educator and musician must make a musical decision in the best interest of the ensemble and the music.  My concern is the neglect for making the students aware of these issues – are we conducting this music for ourselves, or do we want the ensembles to be more engaged and connected to the process of creating this experience?

Rehearsal time is precious. Sometimes when we break a rehearsal down to rehearse a small section of music with just one section of instruments it breaks the flow (or cools “white heat” as Robert Reynolds would say).  The attention span of other students is momentarily interrupted, and parts of the collective whole become disengaged from the common goal.  Perhaps we need to address multiple problems across the ensemble with three different groups.  The obvious solution here is to give each group a quick synopsis of what the problem was, where you want to start, and what you want them to do while you are working with other groups (i.e. review fingerings, write in rhythm syllables).  That still leaves other sections disengaged from the process of making music.

Here is where asking better questions of our ensemble and students may begin to pay dividends moving forward through our rehearsals:

Percussion Example

Question to the section: “Percussion, what is happening to your part from a standpoint of musical expression at measure 36 through the end of measure 38?”

Question to the ensemble: “Band, do you feel that the percussion is making that decrescendo happen beginning at measure 36?”

Comment to the ensemble: “Let’s try that section again. Percussion be aware of your decrescendo, band evaluate their expression at measure 36, and percussion when we stop again tell the band why that decrescendo is important.”

Clarinet Example

Question to the clarinets: “Clarinets, is the rhythm problem with where the eighth notes start, or before the eighth notes start?”

Question to the ensemble: “Band as the clarinets play this section, would you listen to and identify what beat the eighth note pattern gets out of sync?”

Question to the ensemble: “Look at your parts, and listen to this section as we play it without the clarinets. Which section of the band could the clarinets listen to assist them getting a clean release off the whole note into their ascending eighth note pattern?”

If we want our ensemble to be engaged and invested in the product of the music we have selected for study, then it is upon us to involve them in the process of listening, describing, and evaluating (someone should make that a national standard…).  One thing I frequently stress to my own ensembles and honor bands that I have guest conducted is that “We need to learn to listen to each other – the world is a better place when we learn to listen”.  It is one thing to tell our ensembles, but it is better to tell them and give them a reason as to why they should listen.  Have the ensemble compare articulation of unison rhythm passages between the brass and woodwinds – who is playing with a better staccato? Have students listen to the breathing and phrasing by a section playing a unison melody – who is breathing in the wrong place? Where is the right place to breathe? Ask your students what they think is the right answer – you may be very surprised.

For those who may be concerned about the debasement of authority in the rehearsal hall, I would urge you to place your fears aside.  My experience thus far with students and this concept has been very positive, and for the most part they are appreciative of the fact their opinions and ideas may be voiced, can be utilized to hear the musical result, and provides them with a sense of ownership in the ensemble and the music making process.  The idea here is to give them reasons to listen and evaluate their own ensemble, give them an opportunity to assist in the interpretation process, and to understand how subtle changes in the attention to details of a group of people can make a large difference in terms of the musicality of an ensemble.  Calling on students to answer or play by name is a powerful reward and indication of their worth to the group – involving them by name into interpretation strengthens your reputation as a leader, educator, and musician.

I have found asking better questions and involving more student input in the process of interpreting, shaping, and performing music has resulted in more engaged rehearsals and meaningful performances.  It becomes paramount that we equip those students with the necessary tools (conceptually, verbally) to speak about the music they hear being performed.  This process has forced me to be a better musician on the podium – in terms of knowledge of the score, knowledge of terms, and personal performance ability. Critical reflection and self-evaluation using objectives concepts to evaluate an aural art form – I bet the educational authorities and policy makers who are trying to fix education with standardized testing had no idea that our best answers are questions.  Happy new year – now get out there and ask some questions!

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.

Similar to the first assignment, they were given very specific guidelines to govern the creative process.  As they are writing 2 parts for their instrument, there were a couple of minor changes that would hopefully assist them. For example, the assignment due during tomorrow’s rehearsal used the following guidelines:

1) B-flat concert and Common Time
2) 8 measures in length.
3) Assigned notes per measure (notes listed in concert pitch)

m.1                        m.2                        m.3                        m.4
(B^b, D, F)             (E^b, G, B^b)            (C, E^b, G)                  (F,A,C)

m.5                        m.6                        m.7                        m.8
(G,B^b,D)            (C, E^b, G)             (F,A,C)                   (B^b, D, F)

The one thing I discovered is that I had to remind them frequently that there note choices for the harmony line were the same as the melody line.  In a couple of instances, we had some definite tension in the sound between the lines, but nothing that Stravinsky would say “wouldn’t work”.  In addition to the notes listed above, they may choose to use one beat of non-assigned notes per measure (For example, in measure 1 they could utilize an E^b or G as long as it does not exceed one and a half beats within the measure).

4) The Winds may use any of the following note values so long as it equals four beats:

The percussion may use any of the following note values for the snare drum part as long as it equals four beats:

After the winds finished composing, they would sit down with a partner and perform the duet for a percussionist.  After hearing the composition a couple of time, the percussionist would begin constructing a percussion part consisting of two different instruments.  While most used snare and bass, a couple of students chose to use triangle, tambourine, and woodblock to accompany the winds to which they were assigned.

Again though it was optional, students were encouraged to begin including expressive elements within their melody including varying dynamic levels (piano through forte), accents, slurs, and also make use of crescendos and decrescendos.

My rule of “If you write it, you better be able to play it” definitely clicked with a couple of students.  After playing through their initial melody sketch two different students looked at me and said “That’s not what I wanted at all.”  A couple more didn’t realize the awkwardness of what they wrote until they tried performing it – one clarinet in particular has new appreciation for going over the break!

One of the big concerns is evaluating each composition.  My biggest concern is not to pass artistic judgment, but find a way to evaluate their music.  There are some objective items that can be assessed, but also a number of subject ideas that may not fit so neatly into the assessment process.  For that reason, I am using a rating scale to show the students where they are standing with the assignment.

Tuesday will be a mini-recital during band periods with the students.  I am in the process of developing a check list so they can do peer critique of the compositions they hear. Our next assignment on which we will embark will be asking the students to compose in 12 bar blues form.

So three weeks into school, I have been challenging my middle school band students with a little project that is outlined by Standard #4: Composing and arranging music within specified guidelines.

If you follow out this parallel, the importance of taking time to have students write is pretty important.  In English they read great literature (Shakespeare).  They discuss great literature.  They analyze it from its intrinsic meaning to the structure of each sentence.  They re-enact it with their peers and teachers to give it new meaning.  They are asked to write about it. They are asked to compose their own stories based on prompts.

So in music…read it? Check. Discuss? Hopefully check. Analysis? Another hopeful check. Re-enact (Perform)? Check. Write about it? Check. Compose? Maybe not a check here.  For many programs, the large ensemble (band, chorus, orchestra) is sometimes the only music elective offered to students outside an appreciation class.  Allowing students to explore composition, arranging, and orchestration doesn’t need to be left to college coursework.  What I am presenting today are some ideas how to do it within the daily structure of the instrumental ensemble rehearsal.

During these opening sessions and introduction, I have asked each student to write for their own instrument.  In the case of the percussion, I have been using this to make sure they are acclimated to writing (and eventual reading and performing on pitched percussion) for battery, timpani, and mallets.  I am using only students in grades 7 & 8 in these assignments.

The first thing that you need to keep in mind is outlining specific guidelines to govern the students work.  For example, the assignment due during tomorrow’s rehearsal used the following guidelines:

1) B-flat concert and Common Time
2) 8 measures in length.
3) Assigned notes per measure (notes listed in concert pitch)

m.1                        m.2                        m.3                        m.4
(B^b, D, F)             (E^b, G, B^b)            (F,A,C)                  (G,B^b,D)

m.5                        m.6                        m.7                        m.8
(E^b, G, B^b)            (C, E^b, G)             (F,A,C)                   (B^b, D, F)

In addition to the notes listed above, they may choose to use one beat of non-assigned notes per measure (For example, in measure 1 they could utilize an E^b or G as long as it does not exceed one beat within the measure).

4) The Winds may use any of the following note values so long as it equals four beats:

The percussion may use any of the following note values for the snare drum part as long as it equals four beats:

The mallet percussion are only required to use two half-notes per measure (as my percussion did not have experience using mallets, this assignment had two objectives for them: 1) Familiarize students with reading treble clef, and 2) Have students begin performing on mallet instruments).  Depending on the skill level of the mallet players, they may be able to write with as complex rhythms as the winds.

5) Consider developing a tonal or rhythmic sequence throughout the eight measures to establish connectivity within the melody.  We spent some time analyzing our current pieces looking for sequences by other composer, I shared some ideas in pieces on which I am currently working, and we explored several examples in class.

6) Though optional, students were encouraged to begin including expressive elements within their melody including varying dynamic levels (piano through forte), accents,  slurs, and also make use of crescendos and decrescendos.

Within these early exercises, I have some additional “unwritten” guidelines for their work.  The first of which is that you shouldn’t be afraid to mess up – I have a whole folder and sketch book of mistakes from my earlier writings, and in the past 3 months they have contributed to helping me find a better solution.  Another rule I have is that they should consider playing first, and writing second.  My final rule is that if you write it, you better be able to play it.

The results will vary based on the students’ motivation, their current level of skill on the instrument, and their general working knowledge of the theoretical components involved in the assignment.  It is definitely a departure from the standard rehearsal schedule, but it gives the students an opportunity to become the name in the top right hand corner and make some meaningful decisions about music.  I am interested to see whether or not students who engage in composition will improve their skill sets in performance on their instrument.  I will be updating the project as it progresses, and I hope you can borrow this idea for your groups.  If you have thoughts on how to expand the project, or questions let’s ask away and make music education better!

Our eventual performance on March 12^th by all the ensembles was superb.  It was probably the best concert I have put together in my 14 years of teaching.  Other program selections included Wagon Trail by Julie Giroux (excellent work), Cumberland Cross by Carl Strommen, and Cajun Folk Songs 2 by Frank Ticheli.  I am so proud of what they accomplished in the rehearsal hall, the auditorium, and now, as I begin to review the submissions for the interdisciplinary unit, in the computer lab.

The one main goal of the class last summer was to explore ways in which we as educators can help students make more authentic connections between the music we study and other subjects like art, music, history, and poetry.  The National Standards for Music make it pretty clear that we should be teaching students to understand disciplines outside the arts.  My view of the profession of band directors is that it must include becoming heritage bearers of the American Wind Band.  When that is translated into every day teaching, we must seek ways to help our students make more authentic connections with the music performed by the large ensemble.  It is no longer enough to just get music ready for the concert and adjudication or festival (Though noble goals they are).  We must find ways to engage them beyond the notes on the page so that their memories not only include the wonderful music they performed and studied but how that connects to their everyday lives and the culture in which they are living.

You can visit the website that I prepared by clicking here.  It was my first experience using iWeb, and the ease of use the software provided was appreciated since I am – as the commercial says – “PC”.  I am especially appreciative of Tracy Sevin, the technology coach in the building where I work, who provided me with a very easy way to collect the assignments from the students.  All the students are submitting their work digitally via Rcampus.  Within 15 minutes, I had registered myself as a teacher, set up 3 sections of classes, and provided links to the website and the learning activities.  The students are currently preparing their work in a Word Document, and then using a simple attachment option can send me the file electronically.  While we have used several of our rehearsal periods for the ensembles to access the computer lab, the beauty of this entire assignment is that it can be accessed and completed outside of school time.

Though very new to Rcampus, I am very impressed with their ease of use for both students and teachers.  A regular classroom teacher who creates projects for their students would be able to utilize Rcampus on a more regular basis.  It would provide a way for students to submit recordings for a playing exam or audition material, but there are issues of accessibility outside of school (several of my students do not have the internet), a student having the ability to record a sound file, and integrity of the person making the recording.  None of my students will be printing out any work – everything is handled through digital submission.

The student feedback so far has been very good.  Many of the upperclassmen have commented that the break from playing once every couple of weeks since January has made them refocus the next time a rehearsal begins.  I am planning on doing a post project survey to gauge their perspectives, and the open response section should provide some very interesting results.  The possibilities for future interdisciplinary projects are really endless, but it does take research outside our realm to bring authentic connections to the students.  I hope this sparks some interest and curiosity amongst our profession as move our 20^th century ensembles into a 21^st century educational setting.