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Music Ed

The Elephant in the Shower: Four Seasoned Music Educators Share the Same Concern

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By Stuart Hunt

Among the necessary, and at the same time, egregious choices in which education (choral education in particular) presently finds itself, perhaps we have (necessarily) focused on the immediate, and, at our own peril, not looked far enough down the road.  In our research, nowhere can we find this particular topic being significantly discussed. It affects all of the planning and “putting together” choral conductors do, with or without pandemic and curriculum adjustments. Following are some planning areas we need to attend to.

Recruitment

Consider the methods and means you “normally” employ to demonstrate to your incoming students for next year or in the next few years. Usually, we

  • perform concerts for them
  • invite them to our concerts
  • send them printed or email information
  • talk with colleagues about the students or singers they have and, perhaps, who they might recommend even if they are not currently singing
  • other strategies
  • lots of other strategies

So…waddawegonnado? 

  • Do we actually know who we will have in our choirs when rehearsals resume?
  • Do we know when we could hold auditions or enrollments? 
  • Can we engage with counselors or parents (if private school choirs)? 
  • If you conduct church or adult private or children’s’ choirs, what are your plans and what resources will you need?

Perhaps we’d better discuss this – as a profession.

The Four

Long-time conductor, composer, administrator, and publisher Kenneth Kraintz (ChoirMix.com) shares his concern:

“I have come to the realization that not all public schools (districts) in America are created equal. This is a very broad statement and one that can almost be taken for granted. However, there are some glaring similarities that make outstanding music programs regardless of location.  A dedicated, knowledgeable instructor, supportive administration and parents, access to a wide variety of students, an adequate budget and good facilities all add up to a successful, high quality music program. 

“Another glaring similarity is how quality music programs are quickly damaged, dismantled or done away with entirely. I’ve observed that it takes several years of consistent, quality instruction to build a strong music program. But it only takes one year (or less) to destroy what had gone on before. We are now facing one of those “years” that could potentially ruin quality music programs throughout the entire country. 

“Having gone through nearly a year of dealing with the COVID-19 pandemic, we have an idea of what we have to endure before we can resume regular classroom routines. When we are finally able to return to face-to-face classroom activities and rehearsals, what will we have left?  I sincerely wish we could just pick up where we left off and recent times would become a distant memory soon forgotten. However, I just don’t believe there is any possibility of that happening.

“When we do return to our schools, administrators will be faced with some very interesting scenarios. First will be a diminished budget because of the stress individual states will have gone through. Lost tax revenues, closed businesses, mass unemployment and strained parental support will all have a negative effect. It could easily be several years before these factors begin moderation. As we have known for decade after decade, when there is a financial crisis of any sort facing public schools, the “arts” are first to suffer the consequences. This is something we live with and quite frankly it has made us work harder and become more accountable.

“The COVID-19 pandemic and all its negative consequences could not have been imagined just a few short months ago. It is my fear that the aftermath of the pandemic, coupled with decreased revenue and expanded curricular demands in our schools could possibly be the death knell for many fine music programs nationwide. 

“Second, any sign of weakness (like falling enrollment) could mean music teachers assigned to other areas of the curriculum, part-time contacts or even total music program elimination. With the rise of STEM and increased graduation requirements, secondary curricula are already stretched to the max. I strongly believe that now is the time to begin a rigorous plan of recruitment to ensure the continuation of our quality music programs.

“Third, recruitment for music programs is like food to the body, without it, you will shrivel and die. Quality music programs in our schools don’t just appear overnight. They are planned, nurtured and developed into a living entity. What keeps them alive is an active recruitment regimen that is maintained over a period of time. Because of the pandemic, this regimen has been interrupted and will need radical intervention to get back on course.

“Therefore, I strongly suggest that anything we do at this time to bolster interest, enrollment and participation in our music groups will have an immense impact on the future of our standing in the curriculum when this disruption ends. A positive, proactive approach is needed to ensure our music programs survive and flourish in the future.”

Steve Stevens, founder and conductor of the Columbia Choirs, is one of the most experienced conductors of community-based children’s choirs in the United States (https://columbiachoirs.org/). He posits:

“There is no question that the online choir experience for singers, conductors and accompanists pales drastically when compared to in-person rehearsals and performances. However, to survive and thrive through this we must forge ahead and adjust to this new, temporary reality and not give-in to the pressures to suspend rehearsals until medical authorities feel it is safe once again. What we do through this unfortunate situation will determine what our future holds or doesn’t hold.

“Why do we exist? What do we do beyond preparing for performance? This new, temporary reality of not meeting in person brings our purpose clearer focus   This causes us to do a gut-check about who we are as choral educators. What are the needs of the singers we are mentoring? Are we leaning toward mentoring singer-performers or singer-musicians? Is the content of our online sessions able to hold our singers’ interest and inspire them to come back each time?

“I believe the best thing to ensure the continuance and growth of your community-based choirs (children, youth, adult) is to keep rehearsing and adjust our approach; inspire your current singers by continuing to forge ahead with more compact (1 hr.?) rehearsal sessions online using Zoom or your choice of platform. Our singers need the social interaction to continue building choir relationships and community. Use “singer profiles” where each week a designated singer uses a form designed to guide sharing his/her personal profile. This is for the purpose of getting to know each other and to find out what we have in common. In your online rehearsal sessions, you can use screen sharing for a variety of purposes; to continue to offer sight-singing melodies, sight-reading rhythms, use Kahoot as a fun way to reinforce what they are learning. In addition, add brief components in breakout sessions for section rehearsals and for instruction in composition, music history, mystery recordings, guided listening using a listening journal, guest seminars on vocal technique, and so on.

“In short, we can

  • use focused content and a positive approach to inspire your current singers to want to continue and to invite their friends to join you
  • auditions can be done online, too
  • beef-up your website content to enthuse prospective members to want to join your choir in the future
  • enhance your online presence…your website/webpage. Everything prospective members see (photos, graphics, colors), hear (performance recordings, testimonials) and experience is an indication of the quality of the experience you offer

“We must do more than hang-in-there! Let’s use this set-back as an opportunity to enhance our skills as a mentor-educator and add even more substantive content to our rehearsal sessions.”

Erik Ronning, of Western Washington University and the University of Washington, is also the 2018 winner of Stanwood, Washington’s Community Man of the Year award. He is in year 26 of conducting choirs at Stanwood High School and his church choir, as well as musicals.

“It goes without saying that these times are challenging for choral music programs, yet the arts are more important than ever. We indeed need to hang on and do our best with our circumstances in the here and now, but we also need to have our eyes on the post-COVID-19 landscape.

“Recruitment is the lifeblood of a choral music program. Many of the opportunities that we usually have to reach out to prospective students are not available at this time. However, there are many areas we can still be active to keep our programs strong. As we strive to recruit kids and remind administrators that are programs are essential, here are a few things to consider:

  • Be a presence at your school in the ways you still can. Drop in to the office, even if you mostly run your online work from home. Stop by to talk with your administration and tell them how you are creatively handling your program.
  • Continue to create content, or at least send out archived recordings. Our communities are starved for current events. I have found such a strong response to anything new that we send out.
  • Our current students are almost always our best recruiters. Connect younger siblings to your program. Ask your students about who is not currently involved with the program that should be. Bring these conversations to the kids for their ideas.
  • Connect with the broader community. If you’re doing any virtual choir work, find a piece that you might be able to reach out to do with your school singers, alumni, community, and/or church choirs. Then be sure as many people get hold of that material as possible.

“There is no substitute for having that freshman tenor standing next to the senior in class, but we can still need to find ways to reach out to that freshman in the ways that we still can. Blessings on your endeavors.”

Stuart Hunt (ToolsforConductors.com), now in his fiftieth year conducting public and private choirs, is passionate about music literacy and helping colleagues:

“As conductors, we expend enormous amounts of energy planning and detailing a list of important tasks and skills to provide and present choirs of artistic musicians who touch the hearts and souls of our audiences. Every presentation represents an invitation to others to join in our artistry and fun. Without significant technical expenditures of time and money, those presentations are on hold.  It is critical we, as a profession, become proactive and craft cogent approaches to bridge this gap. Failure to realize the repercussions and failure to plan could easily engender truly drastic results in the short and long term. I do hope I am proved wrong, but many of our colleagues recognize that it is entirely possible that choirs may not sing together until September 2021. We all hope to move up the calendar start, but it may prove difficult to imagine starting in, perhaps, March or April, or what we would do at that stage.

“Fast-forward to September 2021:

  • Who is in rehearsal?
  • Who should be in rehearsal?
  • What is the skill level of those in rehearsal?
  • What level of music can they sing?

“Scary? As the picture becomes more real, we should be solving this together, because, well, no one will solve it for us.

To that end, our colleagues at Northwest ACDA (6 western states) have created an interactive web spot: https://www.nwacda.org/nn-discussionpost.

Please visit the site, offer concerns, solutions and comments.  We can and must solve recruitment challenges together. Students win, we win.

Prescient Questions

Regarding those who might desire to sing, we will wonder about their

  • previous choral experience         
  • ability to match pitch
  • ability to read
  • age or class year (freshman, sophomore, etc.)
  • part (for balance)
  • Tech skills to handle online rehearsing and part learning
  • digital equipment (computers, smart phones, microphones, earphones)

What might be your

  • seasonal plans?
  • concert plans (or no concerts)?
  • schools plan: Where will counselors and administration stand regarding support and solutions?

For your consideration: If we do not find / posit solutions, we tacitly give those solutions to others in the educational chain, and, likely, we may not be pleased at all with the outcomes. Therefore, it is our desire to make a point of contact available for interactive problem solving and ideas, as well as for further problems to consider. This is, we believe, already late and a significant cause for concern.

May we invite all to join in discussion? By collaborative communication and problem solving, we will, as a profession, have solutions to recommend to administrators, boards, and recruits. This challenge faces all those who depend on reaching new potential members.

Respectfully,
Kenneth Kraintz, Steve Stevens, Erik Ronning, and Stuart Hunt

Off The Podium: Universal Music Education

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Nashville School of the Arts Festival Choir in performance, May 13, 2013, Blair School of Music, Vanderbilt University, Nashville (click images to enlarge)

As we enter the third decade of the twenty-first century, the time has come for music educators to stop pussyfooting around and advocate for Universal Music Education. Indeed, it is long past time. We should stop wasting valuable time – time that belongs to us and to the children in our care – we should stop seeking compromise solutions that merely seek to preserve music education’s place in school curriculums, a place that is in most cases completely upside-down, a place that has fallen into neglect and disrepute over that last decades, a place that was rarely or never ideal in the first place. It is time to advocate for what is truly needed by our children and our society: a comprehensive music education for every child in every school.

Music Education belongs in the life of every child, and this means: every child who graduates from high school should have received a music education that provided her with the skills to: sing fluently, play an instrument fluently, and read and write music notation with enough skill to participate in musical ensembles with satisfying results; have a working knowledge of music history and music theory that provides them with an appreciation of the art form and its place in human culture; and experienced the profound moments of social harmony and personal fulfillment that can arise from the rehearsal and performance process.

Universal Music Education is music education for every child.

Even in most schools that boast of robust music programs, participation is by a minority of students. In the cities I have lived and worked in, some with vaunted music education programs, only about one fourth of high school students enroll in any music class during their high school years.

 

 

Our Music Education System Is Upside Down

Despite the fact that we know that the developmental “window” during which children have the greatest aptitude for learning all of the musical skills described above – the “golden age” of the elementary school years between the “age of reason” attained around age seven and the onset of puberty – most elementary school music programs do not provide children with the significant achievement of any of these skills before they reach middle school. This is by design: most elementary school music programs are not set up to provide children with the frequency, repetition, or intensity required to develop these skills.

Most middle school music programs therefore begin with a severe handicap: students are introduced to the experience of ensemble music when the time has already passed at which they would most readily embrace it and develop the skills to be successful at it. For most children, by the time they are offered the opportunity for any real musical training, it is too late. Because of this situation, in their middle school years the majority of children are discouraged from pursuing musical activity in school, even if they are introduced to music classes during an “arts rotation” or some other introductory survey, and by high school most students elect not to participate in music classes at all.

This design for music education in our schools produces the current atmosphere of competition that dominates the entire music education culture, and perpetuates the myth that musical talent is a kind of giftedness reserved for a lucky minority of the population. The competition design is maintained, supported, and promoted by our professional music education organizations, whose primary activities are organizing competitions. (see Is Music a Sport?)

The exact opposite is in fact the truth. Musical talent is dirt cheap: everybody has it. The activity, solace, and joy of music is the birthright of every human being, and does not belong only to a select, “talented” few. Music is too important to be left only to the professionals – it belongs to everyone, and always has, in every culture, in every time and place. (see Is Music a Commodity?)

 

A Very Old Idea

The emphasis on music as a “core” subject which every student must study in school is not a new idea – it has been around for about three thousand years. The ancient Greeks included music as one of the seven essential components of a liberal arts education: grammar, logic, and rhetoric (the trivium) and arithmetic, geometry, music, and astronomy (the quadrivium). The founders of western civilization considered these skills – including music – necessary preparation for citizens to participate in a free society, with all of its attendant responsibilities. (see What the ‘liberal’ in ‘liberal arts’ actually means by Valerie Strauss, The Washington Post)

 

The man that hath no music in himself,
Nor is not moved
with concord of sweet sounds,
Is fit for treasons, stratagems and spoils

~ William Shakespeare
The Merchant of Venice, 5.1.83-85

This famous quote from the author generally regarded as the greatest ever to write in English (which I chose as the motto for Off The Podium when I began to write in 2015) describes the prevailing attitude about music education of the European Renaissance: those who have not received an education in music cannot be trusted.

 

 

The Purpose of Music Education

Opponents of Universal Music Education will protest that including music as a core subject is too expensive. But the costs to our society of not including music education as a core subject are much greater. Some 2.3 million Americans are incarcerated in the United States, more than in any other nation. Although I am not aware that a survey of the music education backgrounds of U.S. convicts has ever been attempted, it is a safe bet that only a small minority of those behind bars were given a comprehensive music education, and as children did not experience the positive social and emotional benefits that are central to music education. (See What Your Students Will Remember)

As I described in Wholehearted Attention, “students who sing in choir or play in band or orchestra must simultaneously perform a complex set of operations that call on more aspects of the human being than any other activity they face in school”. This wholehearted attention demanded by musical activity from every participant – complete absorption in the moment in which all other thoughts and concerns disappear – provides the rare opportunity for the child to experience the harmonious engagement of all parts of herself at once: physical, intellectual, and emotional engagement within a collaborative social context.

 

We do not learn from experience… we learn from reflecting on experience.

~ John Dewey
(1859-1952)

Musical activity demands wholehearted attention and this state presents the child with opportunity and means to integrate experience, thought, feelings, and sensations in a complete and challenging way that no other school activity can provide. When the music education environment is carefully cultivated, the child is presented with material that assists her in reflecting on experience in an emotionally safe social setting, and she returns to the state of wholehearted attention on a daily basis. In this way a fertile ground is prepared for the development of consciousness, which in turn makes it possible for the child to become acquainted with conscience in a manner that is free, intimate, and sustained. (see Walter’s Working Model)

The development of this relationship with the inner voice of the psyche – this practice of return to ourselves – this is the purpose of music education. Universal Music Education is a call to conscience.

©2019 Walter Bitner

 

 

Walter Bitner is a multi-instrumentalist, singer, conductor, and teacher, and serves as Director of Education & Community Engagement for the Richmond Symphony in Richmond, Virginia. His column Off The Podium is featured in Choral Director magazine, and he writes about music and education on his website Off The Podium at walterbitner.com.

Why Music Education Matters to Me

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The March 2015 issue of Choral Journal features an article titled “Why Music Education Matters to Me” by Kelsey Wickerham. You can read it in its entirety online at acda.org/choraljournal. Click “Search Archives” and choose March 2015 from the dropdown menu.
_____________________________

A “3,” another “3,” and a “4.” It was in that succession that I read the scores given to my choir at UIL Concert and Sight Reading my junior year of high school.

Average…average…below average.

My tears flowed freely as I stared into the faces of the girls in my section while delivering the news. They went from expectant to disappointed when the first number fell from my lips. It were as if someone put weights into each word, coming down as crushing blows on their spirits. We did not look our conductor in the eye when he told us how proud he was of us in class the next day. We could not bear to look at our black binders. We could not accept the fact that despite our hard work—hours that must have added up to days in additional rehearsals for our music—three people delivered scores to us below our expectations.

Not superior…not even excellent…but average.

During the first semester of my senior year, I had enrolled myself in World Religions. The teacher was a man whom I deeply admired, the sole reason for me taking the course.

I remember the very first day of class he had a question projected from the overhead. We were to ponder it throughout the whole semester. It read: “Is it the journey that matters, or is it the destination?”

The question resonated throughout my entire being. Though it had been months since what had been perceived failure at UIL, it left behind an aftertaste that never dissipated. My disappointment with the destination caused me to forget all about the journey, and just how beautiful and meaningful and life changing of an experience it was for all of those involved. The hours that made up days of extra rehearsals were moments in our lives that shaped us as so much more than musicians.

We grew into people, forging friendships with our peers and laying a solid foundation for all future students who would be preparing for UIL through that program. On our journey, we made music. Beautiful music that echoed through our tiny choir room and down the halls of the music building. Inspiring music that kept us coming to each and every rehearsal, ready to create.

The destination in 2012 was not what we wanted it to look like, but it was not permanent either. While it took me five months to realize this, it shaped many of the philosophies I now hold as a future choir director. Straight “1s” do not mean a choir is more talented. It does not mean they worked harder or smarter or longer. The scores given at choral competitions are objective and based on one performance. The judges never see the breakthrough moments. They do not know from where a song is being sung.

_____________________________

Read the rest of this article (and more!) in the March 2015 issue of Choral Journal, available online at acda.org.

So…You’re replacing a legendary choral director…

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If you are about to face a group of middle school or high school chorus students in the upcoming school year who have been taught by a teacher they absolutely adored, you may be feeling like you’ve just been hired to replace

Robert Shaw…iconic 20th Century Choral Conductor!

Screen Shot 2016-07-20 at 8.50.47 AM

It is so scary.

Can you imagine replacing Robert Shaw?!?

In my very first job, I was hired to replace a beloved teacher, and I remember a student saying out loud in class one day while I was teaching (bombing)… “You need to call Ms. Yokley up and ask her how to do this.”

Ok…In that single moment, after having just completed 6 straight years of higher education, including obtaining a Master’s degree in Music, I knew lots about theory, music history and art song, but I had no idea how to actually teach middle school children, and I’ve just replaced a legend.

Whether it is your first year or your twenty-first year teaching, it is hard to replace a legend.

In this post, I want to share what I learned during the two times I replaced legends in the choral classroom.

Here they are:

1)  If possible, form a relationship with the teacher you are replacing.

Schedule a meeting with the teacher before you take over the program.  Ask questions about the program, the children, the administration, the counselors, the parents and anything else that you can think of to ask.

Ask the teacher if it is ok to be in touch during the school year to ask more questions via text, email or phone call.  You are likely to have many questions once the year gets going that you could not have anticipated, so having continued contact with the teacher you replaced is very helpful.

 

The children often find out that you and the former teacher have been in touch, and that can really help.  It means that you value what went on before you came, and that is very important in terms of helping them accept you in this new position.

 

2)  Either formally or informally, as early in the year as possible, sit down with key upperclassmen to ask questions about what they’ve enjoyed about their time in chorus under the previous leadership.

Listen.  Learn.

Taking the time to learn about their experiences goes a long way toward building relationships that will help you as you move through the year.

I’ve learned so much from the two legends that I replaced.  By following suggestions #1 and #2.   I learned new ways to do things, new songs to teach, new classroom management ideas and so much more.

3)  Repeat #2 with key parents.

Parents are the backbone of my program.  I couldn’t teach my 342 children without their support.  Show that you value them by taking the time to create channels of communication.  I reach out to them early in the year via email and using Remind.com to share what is going on in our classroom.

I take the time to learn what their areas of expertise are, and I put the willing volunteers to use.  From helping with my spring musical to organizing and maintaining my chorus folders and choral library, parents save me enormous amounts of time that allows me to give more time to what I was hired to do:  teach.

Building relationships with the parents will help you in your classroom, and it will help build trust as you make the transition as the new teacher in this legendary program.

4)  Respect tradition.

Some of the traditions the community has may seem completely silly to you, but in your first year there, respect as many of those traditions as you can while being true to yourself and your own future vision for the program.  It can be quite a delicate balancing act.  Eventually, you will create your own traditions, but if you walk in and refuse to honor the most important ones, you will lose support.

5)  Be humble and don’t take anything personally.

You are going to meet resistance because you are not

Mr. or Ms. _________.  You can’t change it, so just accept it during that first year.

Your rehearsal techniques will not be the same.  They may rebel against your new ideas. Don’t take it personally.

6)  The students in the lowest grade level you teach are yours.

They have no experience with the previous teacher.  While some of them may have had siblings who were taught by the previous teacher, essentially, they are yours.  Word of mouth is not the same as true experience.  So, if you who that you care about the students, and your teaching skills are solid, their daily positive experience in your room will soon wipe away what they are hearing from their older siblings.   The youngest students who never had the previous teacher are more pliable.  You can treat them as yours from day 1.  Enjoy your time with them because, at times, you will be very frustrated with the older children who question you, your techniques and your vision.

7)  Believe in yourself and in your long-term goals for the program.

With each year that passes, the program becomes yours.

When you are replacing a legend within a school community, it is going to be difficult, and there is no way around it. Parents, and even faculty and administration may also challenge your ideas. You may lose some students.  You may get phone calls.

It is going to take time.  Be patient.  You will build your own legacy in time.

The second time I replaced a legend, I had been teaching for a long time, so it was quite difficult for me when I met resistance.  Each time, I took a deep breath, and I listened with respect.  I asked questions.  I made sure that I did not reveal what I was thinking…(i.e…..”I know what I’m doing!!!  I’ve taught for XX years…Just let me do it!”).

…And in doing so, I was able to slowly gain the support of the people with the biggest concerns.

Your new school community members don’t care what you’ve done before.  It means very little to them in their daily experience with you as their current teacher. Mostly, they care about what you are doing now.

Remember:  They just want the program to be great!  We should be thrilled they care enough to speak up!

Hope that helps some of you who are facing what feels daunting at the moment!

Hang in there!

Dale Duncan

Creator of the S-Cubed Middle School Sight Singing Program for Beginners

Screen Shot 2016-07-20 at 11.20.11 AMClick here to hear my students at adjudication.

 

 

 

 

Check out my blog!

 

Mastering the music ed job hunt, with Kyle Karum

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Kyle Karum is an expert music ed interviewee and shares his tips on creating a compelling cover letter, resume, and portfolio that your potential employers will love!

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Episode 053

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LISTEN TO THE EPISODE HERE!

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KYLE KARUM’S BIO

Kyle Karum is a music educator originally from Muskegon, MI where he graduated from Mona Shores High School in 2006. He then attended Western Michigan University for his studies in music education. While at WMU, Kyle studied conducting under Dr. James Bass, Dr. Ronald Oliver, and Dr. Kimberly Dunn Adams as well as music education with Dr. Dee Gauthier. He graduated in 2012 with his Bachelor’s of Music: Music Education (Choral/General Emphasis).

Kyle recently held the position of Director of Choral Music and General Music Teacher at Prairie Heights Community School Corporation in LaGrange, IN where he taught two general music classes and five choir classes. In addition, he also taught Music Theory/Composition and Music History/Appreciation as well as acted as the Assistant Director/Conductor of the Theater Department.

Kyle is currently the Director of Choral Music at Seymour High School in Seymour,IN where he teaches over 200 students in five choir classes. Under his direction, the four choral ensembles at SHS attended the ISSMA District Choral Festival on 2016. There each ensemble was awarded a Gold rating in not only performance, but also sight-reading. As a part of his appointment, Kyle is also responsible for directing the spring musical each year.

Kyle continues to sing with the Bloomington Chamber Singers in Bloomington, IN.

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RELEVANT LINKS MENTIONED IN THE INTERVIEW

Sheet music: Dominis Vobiscum – by Sydney Guillaume

Episode 29 with Dominick DiOrio

Episode 47 with Helmuth Rilling

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