Welcoming a Student Teacher
The future of music education in part depends upon a new generation of teachers that develop in a comprehensive undergraduate music education program. A major component during that development is the culminating experience gained during student teaching. The cooperating/mentor teacher is an important partner to the college and university program and supervisor.
The interaction and influence of the cooperating/mentor teacher can have a profound impact on how a student teacher will develop. A prospective or first-time cooperating/mentor teacher might discover a certain amount of apprehension in opening their classroom and rehearsal hall to a student teacher. Their concerns could range from not having adequate insight and wisdom to impart, to their school setting not providing a comprehensive experience. While these concerns are a consideration, in-service educators should take heart in this kind of opportunity. There are no perfect teaching contexts, but an open door and inviting in-service educator is a perfect opportunity for a student teacher to learn and grow. Through a discussion with current in-service educators, the purpose of this article is to help potential cooperating/mentor teachers prepare for hosting a student teacher.
Before the First Day
Where possible, invite the student teacher to be involved prior to the start of the professional experience. Cooperating/mentor teachers could involve the student teacher in a band camp experience, giving an after school lesson, or assisting with an after school music program prior to the student teaching placement. Cooperating/Mentor teachers might also want to check with the college/university supervisor about potentially connecting via a campus visit to speak with a student NAfME group.
Open communication before and throughout the placement is a vital part for all those involved in the student teaching experience. The cooperating/mentor teacher should inquire about the college or university protocols for completing weekly evaluations and contributing to the final evaluation and discuss them in depth with the university supervisor. Mentor teachers should communicate with the student teacher expectations for arrival time, outline the daily schedule, highlight important dates during their placement (e.g., a music department trip, a festival the school is hosting), and any advance preparation that would be valuable to ease the transition (e.g., suggest examining several scores for pieces being rehearsed and possibly performed).
During the first few weeks
Mentor teachers should set aside time for weekly planning to set expectations for teaching responsibilities, sharing resources, and even collaborating on lessons. Other important aspects that mentor teachers provide during the first weeks of the placement are models in planning, presentation of effective teaching, professionalism, and even genuine human interaction. Mentor teachers should allow for an adequate observation period for the student teacher to make note of classroom and rehearsal protocols and structure. There are unique logistics to many classrooms and rehearsal spaces, so it is vital the mentor teacher makes the student teacher aware of how those aspects are handled (e.g., the band and choir share a room so where do the music stands go at the end of the rehearsal? Third grade uses Orff Keyboards during this marking period, but 4th grade is doing English folk dancing in class with only three minutes between classes). The mentor teacher sets the pace and tone for each class, lesson, and rehearsal. Neither the mentor teacher or student teacher should assume that every procedure or protocol is self-explanatory; a quick discussion will emphasize to the student teacher the many different levels they must consider during their day.
A gradual approach eases the transition from the cooperating/mentor teacher’s habits and mannerisms to the that of the student teacher, allowing the students to get used to the new personality in the room. As conversations about teaching and experiences occur, mentor teachers might tap into the strength of the student teacher by allowing them to take the lead in situations where they have demonstrated expertise and interest. For example, some student teachers may feel more comfortable and see themselves as a musician first, rather than an educator. Allowing them the latitude to tap into that strength and providing support for how to convert that perspective and strength into the art of teaching can further develop their identity as an educator.
Within the first few weeks, it is important for the student teacher to grasp the expectations for student behavior in the music classroom and rehearsal hall. The mentor teacher can provide this model for student behavior expectations by highlighting the classroom rules, or code of conduct. As often as possible, the mentor teacher might involve the student teacher, so they see positive examples of addressing behavior issues.
Mentor teachers should initiate internal networking and developing professional relations with other music educators in the district for the student teacher. This simple act provides support to the student teacher in the event the cooperating/mentor teacher is absent. It also gives the student teacher a better sense of the context in which learning is taking place and unique aspects of their placement that influence course offerings and instruction.
Throughout the Placement
It is important for the mentor teacher to establish an atmosphere that encourages growth with each teaching opportunity. Beyond that, the student teacher should be reassured that mistakes are part of the refinement process, and that part of the experience is discovering one’s personal teaching identity. Mentor teachers should be open to allow the student teacher the freedom to try their own ideas within lessons. While the result may not be perfect, these opportunities can help the student teacher grow independence and establish individual identity as a teacher. The mentor teacher can help the student teacher in assimilating ideas and techniques that help them grow beyond prior experiences and offer alternative strategies to improve instruction.
Taking time for a debrief after lessons helps to improve content, presentation flow, and reframing ideas to better connect with students. If there are multiple opportunities to teach the same lesson to different classes (e.g., a 1st grade General Music class), the initial debrief is an important part of the critique and improvement process in teaching. The benefit of having professionally trained eyes and ears to evaluate a lesson will serve the student teacher well moving forward. With just a cell phone, a mentor teacher can capture a short video clip to help illustrate a technique that may or may not be working and share it with the student teacher.
While there are unique situations that might prevent it, mentor teachers can encourage (and expect) the student teacher to live the daily schedule of the cooperating/mentor teacher. Student teachers can be present for afterschool and evening rehearsals, events, attending conferences and professional development sessions, and, when appropriate, staff meetings. Music teaching is often lifestyle that require many hours beyond the typical school day. Acclimating the student teacher to this schedule will only enhance their appreciation for the profession.
Although it might seem like a simple idea, taking time to eat lunch together each day may prove to be an ideal situation for the mentor teacher and student teacher to bond and connect both professionally and personally. The cooperating/mentor teacher must be open to supporting a variety of teacher identities, which puts a premium on having strong mentoring qualities and inter-personal skills. The life and professional experience of the cooperating/mentor teacher can inform, challenge, support and relate to the student teacher on their path of self-discovery as an educator.
At the end of the Placement
The cooperating/mentor teacher can provide additional support by providing feedback on lessons, perspective on philosophical ideas related to teaching, formatting on resumes and cover letters, and suggestions on the job search. It may be beneficial for a lunch meeting with the university supervisor present so all parties can discuss take aways from the experience, future goals and path in teaching, and employment opportunities that would align with the skills and interest of the student teacher.
Once formed within a positive experience, a professional relationship between a student teacher and their mentor teacher might never fade. There are many good educators who never have been able to welcome a student teacher in their music classroom or rehearsal hall. Now at a critical juncture for recruiting and retaining music educators across the country, it is imperative to find teaching contexts where a student teacher might grow and flourish. It is the goal and hope of this author that the ideas above help current in-service educators feel more confident about opening their classroom, rehearsal hall, students, and career to a new member of the profession.
The author thanks current in-serve music educators Emily Remp, Rachel Martin, Rebecca Redmond, Andrew Ritenour, Kyle Grabigel, and Paul Leskowicz for their contributions and perspective to this article.
