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

Dr. Stephen Gage is one of my favorite people on God’s green earth.  It usually takes about 5 minutes of talking with him to feel better about life, faith, and music.  His status on Facebook was the impetus and with his permission I will share it here:
“I am beginning to worry that in our quest to ‘get it right’ that we forget why we became musicians, that we lose sight of what is really important, and that we compromise what we know down deep in our musical souls. When all of these things are in an alignment, EVERYONE grows and everyone falls more in love with music!”

Love is a pretty important word in that last sentence.  But to get all Tina Turner on you for a second “What’s love got to do with it?”  Is love a second-hand emotion?  For the musician – absolutely not.  I am sure there are physicists that love calculus, but it is hard to see that.  Football players love to play football – thus the over-extended celebrations when they score a touchdown.  But a football player cannot play forever – and even from the booth or the sideline a retired player will never get that degree of love back again.  But musicians have the opportunity to extend their love over a lifetime, and whether it is conductor of community band, a local rock group, or a church organist they have the opportunity to keep making music.  Whether its covers of the Beatles, Corialan Overture by Beethoven, or hymns by Martin Luther, the love affair never has to stop and it is a relationship they never have to leave.

But we as educators, where is our love?  Where is our love for our students in which we profess to “have the best interests”?  Do they see our love and passion for this art that we teach? Do we model it? Do we help them build their own loving relationship with music? It saddens me when I meet a student teacher from another discipline in the building in which I teach, and they tell me “Oh, I used to be in music in high school…”.   I will ask them why they stopped, and usually the answer often turns into a rehearsal schedule and expectation level for competition that pursued a trophy on the wall instead of instilling a song in their heart.  Competition can be healthy – but if it is destroying student’s love of music, I am not sure that in the grand scheme of life it is appropriate or worth it.

How many of our students will play that final concert their senior year, and never consider how they can continue playing their instrument later in life? Too many.  How many of us as educators consider ways in which we can offer them avenues to pursue to keep playing? Too few.  Do we love teaching music? Do we share our love of music with students?  If the answer to those two questions is yes, why don’t we think about ways in which this future music-lover can engage with music? Unlike the song by Meatloaf folks, two out of three ain’t good enough.  I have already extolled on the possibilities of one avenue we can pursue, and I encourage you to read it about in my post entitled “Small Ensembles and the Chamber of Doom?”.

I would like to share a comment by Brian Balmages in response to Dr. Gage’s response that I think is particularly appropriate when we consider our role as an educator: “I think the biggest problem is not the music itself – it’s the passion for music. When everyone started playing an instrument, they did so because they were excited about it …just a pure love and excitement for music itself. We need to instill that same passion for music in our youth. I try to do that every time I guest conduct. Passing on our passion is a sure way to keep music alive. Many of our students will not go on to be music majors or educators – but some of them will be community leaders, politicians, school board superintendents, etc. They can make as much a difference from the outside as we can from the inside. I love that we all discuss the irrelevance of getting a “1″ at festival, but the problem is deeper than that – we need to instill passion. Absolute love for music. Things like that do not go away as you get older.”

Bravo, Brian! Another great quote about music, its importance, and the passion that it brings out was shared with me by Francis McBeth at Midwest my Senior year of College: “Don’t forget why you became a musician.  It was because of a love affair with sound.  It was not a love affair with organization, techniques, or competition, no matter how commendable these efforts may be.  A musical experience has no substitute; and when it is experienced by the band, the conductor and the audience, it is desired above all else.”

The benefits of instilling passion and love of music are now coming to the forefront as an important role for which the music education profession must take seriously.  It is a passion and love of music we must instill – not in the sense of puppy-dog utopia love – but a passion to engage with all kinds of music and let the music work on us and we work on the music to transport us to a different emotional and mental state. In an article about brain research as it relates to emotion, Bennett Reimer (2004) wrote that music can designate any easily identifiable emotions, and though drawn out through its context, can make something musical out of any and all various images, stories or events.  Where else would people choose of their own free will to engage with sad music not to feel sad, but to move beyond sadness to where the music takes them?  As the music unfolds, feelings and emotions unfold that powerfully and precisely reveal the conscious condition achieved by the human brain and body (Reimer, 2004).  Reimer calls upon music educators to be nurturers of consciousness.  Music has a boundless capacity to expand the intricacies, depths, breadths, and range of conscious awareness made available to our minds and bodies through a felt, sonic experience.  Our true self begins to form and take shape as our experiences with music accumulate.

I was surprised to find an article by David Elliot (2005) written about the same time that takes a similar stance to Reimer in relation to the emotional education of students.  It is Elliot’s view that “musical understanding” is often equated to reading music notation, knowing musical facts and concepts, and how to perform (I am sure he would they “music”…) by some parents, students, music teachers, and music education professors.   Elliot questions how often are teachers and students engaged in “expressional” musical meanings, and the role of such meanings in their enjoyment of music.

Elliot cites part of his own philosophy of music education when he states that musical expressions of emotion occur within specific musical-cultural contexts. For the listener to recognize a musical pattern as expressive of an emotion, that listener must understand the vocal customs or gesture customs that musical pattern seeks to resemble.  The implication for music educators then, according to Elliot, is to provide opportunities for students to listen, reflect and interpret works that are clear examples of emotion in music, and perform and create works that express emotion.  Furthermore, educators need to be musical role models by providing regular demonstrations of expressive music making, and use emotional language and emotional analogies so that students attend to the expressive features of a work.

Finally, the last piece of the puzzle for me came from an article that appeared in the NBA Journal by David Whitwell (2009). Whitwell discusses that language is an important form of communication, but anyone who has tried to write a love letter knows it is quite inferior in the realm of expressive emotions (Thank God for Hallmark!).  Language expresses ideas, while music expresses feelings, and expressing an emotion or feeling has something to do with becoming conscious of it.

Whitwell continues that music offers the listener the opportunity to discover his experiential right hemisphere of the brain, to discover individual emotional identity, and to contemplate his reaction to that discovery.  The student must be given opportunity to hear the emotion in the music, and through this process it causes him to become aware of his emotions.  As long as the music is authentic, the listener cannot fail to perceive the generalized form of the emotion.  So music education needs to be in the school where a child becomes aware of it, begins to explore and understand, and finds a means of expressing his own personal emotional being.

Any composer who wants his music to communicate joy can do exactly that – music in other words, is a form of communication that transmits emotion, and speaks about emotion in precise ways.  Musicians use this language in order to communicate emotions and qualities to others who recognize the language.  Whitwell contends that the great artist looks for the emotional content in music, and not the abstracted data elements, the “grammar” of music.

It is more than just love.  Music has a fundamental ability to communicate emotion.  We, as a profession of music educators, have an oath to present this dimension of music to our students as passionately as we contend that trombones should play B natural in 4^th position!  It is easy to get ground down by the bureaucracy of that is forced upon us by mindless state departments and politicians (see also Ed Rendell) who think that the only way to show a school is succeeding is to publish their standardized test scores in the local fish-wrap.  Despite their worst efforts, music and music educators continue to rise up and confront these problems.  We keep many different musical styles and traditions alive in the public schools because of knowledge and abilities as educators.  I contend that we make them attractive to students because of our passion for them.  Remember to take your scores, baton, metronome, and tuner to the podium at your next rehearsal – but don’t forget the love.  You and your students need it!

We are the music makers,
And we are the dreamers of dreams,
Wandering by lone sea-breakers,
And sitting by desolate streams;—
World-losers and world-forsakers,
On whom the pale moon gleams:
Yet we are the movers and shakers
Of the world for ever, it seems.

-          Arthur William Edgar O’Shaugnhessy, Ode from his book Music and Moonlight (1874)

Elliot, D. J. (2005). Musical understanding, musical works, and emotional expression: Implications for education. Educational Philosophy and Theory, 37 (1), 93-103.

Reimer, B. (2004). New brain research on emotion and feeling: Dramatic implications for music education. Arts Education Policy Review, 106 (2), 21-27.

Whitwell, D. (2009). Music education of the future: Two paramount new purposes. NBA Journal, 50 (2), 43-60.

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.

Presented for your approval Governor are a series of thoughts about the arts in public education, and what they can bring to the lives and future careers of students.  I am certainly not telling you that it has to be all our way like the way you have run the state during your term – but this is more from an informative perspective that your agenda is hurting our ability to reach and provide skills to students that serve them far beyond their high school years. Okay, so maybe I am being a little hard on the Ed, but if you are going to be head chef you better be able to stand the heat in the kitchen.

The arts can be a powerful tool for students to develop competence in as they compete in a 21^st century job market.  When he was interviewed by Business Week former PNC CEO Paul Chellgren (1996) had this to say about the arts:

“Today’s students need arts education now more than ever.  Yes, they need the basics.  But today there are two sets of basics.  The first – reading, writing, math – is a prerequisite for a second, more complex, equally vital collection of higher level skills         required to function well in today’s world….The arts provide an unparalleled opportunity to teach these higher level basics that are increasingly critical, not only to tomorrow’s work force, but today’s.”

There is significant discussion in education today about “Transformative Assessment” and its use in the general classroom.  Elliot Eisner (2002), Stanford Art Professor, would argue 5 points that demonstrate this component is evident in everyday practice amongst visual and performing arts educators.  These artistically rooted qualitative forms of intelligence reveal themselves in transformative assessment as students 1) experience qualitative relationships and make judgments, 2) encounter “flexible purposing” (capitalizing on emerging features of a work), 3) understand not everything knowable can be articulated in a propositional form, 4) that form and content is most often inextricable, and 5) realize the aesthetic satisfaction that makes the work possible.

The fine, visual and performing arts open many career doors to students because of the transitive learning that is encountered and then applied to a new field.  But we must not forget that the arts are a unique way of demonstrating intelligence in knowing, creating, doing, and appreciating within that domain.  Education in the arts should help individual students achieve whatever potentials they possess to be intelligent within that domain.

I realize that the many school districts are under a tremendous burden to make AYP in their PSSA.  This added pressure of the PSSA’s might influence the resources and time allotted for non-tested subjects like the arts.  Recent research in this area conducted by Thorton (2007) demonstrates that many Pennsylvania students who voluntarily participate in music programs such as band, choir and orchestra perform significantly better on PSSA tests than students who choose not to participate is such activities. It is necessary to note that these results do not indicate that students achieved higher scores on their PSSA tests because they were in music. The purpose of this study was to examine whether music participation negatively impacts PSSA test scores, and the data demonstrated that music students’ scores are not lower than those of non-music students.

I must again defer to the wisdom of Bennett Reimer (2003).  As I referenced on a recent post, there are 5 dimensions that cannot be ignored that music educators impart to our students.  By doing so in the unique way that music can, these values – which so many of us can extol – make the musical experience a life changing one.  The values of trust (depending on others who are depending on us), competence (achieving it means there is work to be done), cooperation (with people, with the medium, and with the situation), respect (granting others a sense of worth in a shared enterprise which all of us contribute), and courage (are willingness to risk, be open to the unknown, and deal with challenges) can be instilled in the lives of students within the arts.  Those students become new members of society that move forward and contribute positively to careers, their families, and their communities – no matter what their profession.

Beyond that we teach unique subjects with unique ways of knowing.  We learn to appreciate the intrinsic value of what we experience through direct interaction and production of art celebrating noble expression of man’s ability to create.  We are moved to great extremes of emotional depth, and experience a fantastic set of skills which are required to produce them. The arts will never cure cancer, help the stock market rebound, or rebuild a town devastated by disaster.  The arts will make us better people who appreciate beauty.  They were meant to enlighten our thinking, and bring out the very best our minds can offer.  The arts belong in the public schools for all the right reasons.  They make a bold statement to all who experience it about real education progress.
Notes:

Eisner, Elliot W. (2002) “What can eduction learn from the arts about the practice of education?”, the encyclopedia of informal education,      www.infed.org/biblio/eisner_arts_and_the_practice_or_education.htm .

Reimer, B. (2003). A philosophy of music education: Advancing the vision (3^rd ed.). Upper Saddle River,  NJ: Prentice Hall.

Thornton, L. (2007). A Comparison of PSSA Scores between Music and Non-Music Students:Summary Report.  PMEA Research Committee and The Pennsylvania State University (available at http://pmea.net/researchadvocacy.html)

What good is arts education? Educating the workplace through the arts. (1996, October)   Business Week,12.

Pick your artist and they have skeletons in their closet – I am not sure there is a musician alive who can say they are completely clean, honest, and devoid of some sort of crutch – except maybe Brittney Spears…just checking to make sure you are still reading.  Thinking about Mozart, who definitely died too young – was his personal life a detriment to others? Perhaps to his family, but to others I would guess no.  What about Liszt? My recent work at Kent State (which has been burying me lately – sorry for the long stretches with no new blogging) has involved a lot of reading about Beethoven.  The one side of him that I never really connected with him is how he elevated the expectation levels for the performers, the music being created, and the audience.  He elevated his position to that of being the “superstar” of his day and probably had to endure some unkind public critiques at one point of his career.  We know he had a temper, but what was his conduct like when nobody was watching him?

But another side of Beethoven was the advancement that music can have strong ethical content.  Once that concept was accepted, then the world owed the composer a living.  The composer would create a serious and intellectually respected masterpiece that would outlive its day and the impetus which led to its creation (Longyear, 1988).  But did it mean it created more ethical musicians who created it?

One part of Reimer’s 3^rd Edition of his Philosophy of Music Education was his open questioning “should it be claimed that the point and purpose of music education is to create more ethical human beings?”.  He outlines 5 dimensions that are clearly part of our responsibility as music educators to impart to our students.  By doing so in the unique way that music can, these values – which so many of us can extol – make the musical experience a life changing one.

Read on in Chapter 4 and you won’t be sorry.  The value of trust, competence, cooperation, respect, and courage cannot be measured in our programs by trophies and plaques, but the people that move forward and contribute positively to society – no matter what their profession.  Another day we will discuss those five dimensions and the attitudes that can be cultivated from using the musical experience to not only make great musicians, but also make great people.

Longyear, R. M. (1988). Nineteenth Century Romanticism in Music (3^rd ed.). Upper Saddle River, NJ: Prentice Hall.

Reimer, B. (2003). A philosophy of music education: Advancing the vision (3^rd ed.). Upper Saddle River, NJ: Prentice Hall.<–>

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.

One of the more interesting conversations I had over the past month was in regards to who is in fact next? ESPN’s The Magazine asks this same question each year as they look for the next greatest thing to come along in sports.  Dr. Pisano and I had this conversation a little over two weeks ago.  There is always a passing of the torch that occurs in any profession.  Sometimes it is graceful, and sometimes it is not.  Sometimes leaders make awesome exits at the top of their game (take James Keane last year at the Midwest Clinic with the Illinois Wind Ensemble), and sometimes they hold on too long (not to mention any names like Al Davis and the glorious debacle that is the Raiders).  Is there another Alfred Reed or Clifton Williams? What about a Kenneth Bloomquist or John Bourgeois?  And I say that with realization that there will never be another, but will there be someone that will accept the mantle and has earned the respect of our profession to follow in their legacy?

So who in our profession is next? Before I get to my list a disclaimer – I can only go by who I have seen, who I have worked with, who I have spoken to.  I am sure my list does not encompass all who deserve to be considered.  I don’t mean to exclude, but I will also not put out list that I can not substantiate either.  I would hope that like the Fire I lit a year or so ago about band literature, that we could open up some dialogue and start supporting others in the profession who might be utilized or contacted for someone else’s festival, music conference, a comisssion, or a clinic. 

Stick Men:

Dr. R. Tad Greig from Westminster College - My first nominee is right in my back yard, but I have really been impressed with him over the past 14 years as an educator, and conductor.  He and his Wind Ensemble will be performing this spring at our State Convention in April.  Tad’s knowledge of repertoire and his choice of engaging programs for festivals and his own students always impress me.

Dr. Stephen Gage from Youngstown State University – My second nominee is only about 35 minutes away.  I have had two students play in his youth orchestra, and have seen him work ensembles at festivals on four different occasions.  If you have never had the pleasure of watching him work a group, it is worth it.  Impeccable knowledge of his score, and he has a wonderful ability to convey the music to group.  I am most impressed with the core of his character.

Dr. Dennis Fisher from North Texas State University - The other guy at UNT.  It is hard to think of Dr. Fisher as a #2 to anybody.  I have spoken with him at both festivals at which I observed him work, and two things are readily obvious: He knows his stick work well, and he is one the sharpest education guys in our profession as well.  Dr. Corporon gets the lions share of recognition (and much of it deservedly so), but Dr. Fisher’s reputation is growing and I think he will be next.

Andrew Boysen, Jr., University of New Hampshire - Yes, yes, Boysen also writes like nobody’s business.  But I was even more impressed with him in person at an Honors Band festival two years ago.  The benefit of being a composer I definitely feel gives him an advantage on the podium in bringing another writers music to life. 

ADDENDUM!!! (updated on December 15, 2008)

Dr. Stephen Peterson, Ithaca University – I had the opportunity to observe Dr. Peterson last Thursday through Saturday with our local Honors Band.  He studided and worked with Paynter, and it was displayed brilliantly as his command of  Prelude, Siciliano, and Rondo was fantastic.  His ability to unlock and interpret a score was really impressive (loved his treatment of His Honor by Fillmore), and his personality really clicked with the ensemble.

Composers:

Mark Camphouse, George Washington University - His conception and creation of the large form of music for wind ensemble and concert bands is tremendous.  While Movement for Rosa, Watchman Tell Us of the Night, and Yosemite Autumn are just tremendous, I am convinced that his best works are yet to be created.

Patrick Burns, Montclair State University - Patrick’s writing is really taking off over the past few years.  He recently sent me a score to his score I loved well those cities… (for narrator and band) and I was really blown away. His Toccata is one of the most exciting pieces I have heard in a long time.  If you are worried this is too heady for your group, check out his Gothic Dance  and (my personal favorite) Suspended Animation.

Brian Balmages - I am somewhat envious of Brian’s position – he is a composer.  While he does handle editing for the FJH Music Company, he is really developing some fantastic pieces for ensembles of all kinds.  It was a pleasure bringing him in last year via Skype as my ensemble performed his Summer Dances.  One of the more dynamic pieces I have heard from him recently is Fusion – a multi-movement work that fuses a variety of styles.

Clinicians:

Jess Beblo, Beaver Area School District - Listen up PA educators (and those from around the world) – if you are looking a young, vibrant educator that is passionate about her work, great perspective, and understands how to put curriculum together in today’s schools contact Jess.  She presented at our PMEA in-service for District 5 this fall, and I could not have been more impressed.  She is in a great situation at her school working with two other very polished people in Susan Metelsky and Carl Newyear.

Dr. Joseph Pisano, Grove City College - We have been friends for years, but I do have to step back from time to appreciate what he has accomplished since we met in the summer of 1991.  Joe has such great vision for what our profession could become, and when you consider this whole blogger movement you start to realize this isn’t some dream – the framework is going up as manyof us are examining our practices, sharing ideas, and rethinking music education in a positive way.  And to think, all because we chose to share some thoughts on line.  The practioners of the “universal language” engaged in a global conversation.

Tim Loest – Tim has so many great works for young band.  Tim has also spent a lot of time working on method books.  Throw in some of his studies at Northwestern with some guy named Reimer, and I really think he is the total package when it comes to educational presentations for band.  If you get a chance, ask him about coal and diamonds – trust me, it will change the way you teach.  There is great depth to the core of Tim’s character, and great perspective as he is a public educator, clinician, father, and composer.

So that is the short list, or at least my list.  I would love to hear from all of you with some contributions in any category (including orchestra & chorus).  The “old guard” will always have their place, and they certainly have earned my respect and admiration.  But a new guard needs to be ready to step forward and assume the mantle of leadership in the world of music education, and as a community of professionals we need to do our part to make sure that people know about them.

It was nice this colleague took the time to email.  It was so dissapointing he was so flippant and sarcastic.  Before anyone puts fingers to keyboard, yes I am perfectly guilty of sarcasm from time to time.  But as the only response to a colleague in need of some input? As I approach the midpoint of my career I am becoming less and less tolerant of unprofessionals.  Those among us who do what we do, but see no greater good in sharing their thoughts and experiences.  Perhaps they feel that if they share, they will somehow elevate someone else’s program instead of their own.  Maybe they do not teach in a good situation, and don’t feel compelled to help anyone else succeed because it will only make them feel worse.  Whatever the case – it has to stop.

Competition is healthy. I will not disagree with that as it raises the quality of the musical product.  But when it comes to a point where competition is our motivation to tear someone else down professionally, something is definitely wrong and it isn’t the judges score on interpretation.  Are we still focused on building an empire? Is our strive to compete so strong that we do not feel we can share and communicate with each other? The one thing I have enjoyed over the past few years is the other directors in my county and our honest and sincerity.  When one of us has a great show on the night of the county band festival, he or she hears about it.  There is mutual respect and support.  I know that if I called any one of them right now with a question, I would get answers that could help.  We do have an official county association, but our membership supports each other because it is the right thing to do.

Since taking over as an executive officer for our four county music association, it has been very rewarding to begin connecting with music teachers in different situations, teaching levels, and ensembles.  I am thankful to guys like Corky, Sal, Jim, Tom, Jamie, Gary, Steve, and Chris who were good enought to take me under their wing at various times and teach me how to be a professional, and what it would take to be an effective leader.  They played by the rules.  They encouraged their students to work hard, and be the best.  They acted in the best interest of all students.  They showed respect to their colleagues. I am the leader I am partially because of the advice they gave me.  They never jerked a colleague around or didn’t play by the rules.  Fair was fair. Right was right. Wrong was wrong. 

Hanging on my wall is a picture of Nolan Ryan with a young Robin Ventura in a head lock delivering a healthy haymaker.  This is a daily reminder to always be mindful, always listen, and don’t fly off the handle with something to prove.  I will not forget watching that baseball game as a youth and seeing a young, hot-headed star dashing out to the mound to teach one of the greatest pitchers of all time a lesson about throwing inside.  What happened afterwards will always remind me to repsect my elders – they have been there, they have done that.  Ignore what they are trying to tell you, and you might get famous for being part of a famous “beat-down” of the musical kind. 

I am many things to many people this year.  The one thing that I am trying to maintain is pretty simple: I am a man of my word, not a man of many words.  That means being up front and being honest with all of my colleagues.  It means not short changing them because I don’t want them to succeed.  Or I don’t feel like getting my forms in on time.  Or returning their call.  Or responding to their email.  Like Tom and Jamie always told me, if they pick up the phone to call you and you don’t call back- you are the one with a problem.

Do we not have a responsibility to leave our ego out of professional matters?  Don’t we have a responsibility to each other on some level to provide input or advice? Don’t we have a responsibility to be…er…just be responsible? Be courteous? Be supportive?  I think we are in a day and age where we must start getting out of this “me-monkey” mindset, and get to a point where real communication and collaboration can start occuring.  A situation where real competition can make us all better educators, and our students aware of the true value of competition (hint: it isn’t trophies on the wall). My advice to anyone reading this post who has taught less than 14 years – if you want to go out and prove yourself, prove that you are a sincere, dedicated, respectful, and responsible educator.

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