Article The Cornerstones for Program Success

The Cornerstones for Program Success

March 14, 2023

Article excerpts from:
“Student Leadership Workbook Vol. 2,” published by GIA Publications, Inc.

[Author’s note:] We all know there is no guaranteed “instant success” formula in the field of music education. Everyone has to go through a pathway of self-discovery, and it is often not an easy journey. Our colleges and universities continue to prepare some of the finest aspiring young artists who have indicated they want to commit their lives to the world of band/choir/orchestra education. While some of these candidates do become lifetime members of the music world, far too many leave the teaching ranks after a very short tenure. WHY? After many personal interviews (with some of many of these one/two-year veterans), it is apparent their choice to seek-a-new-career had little to do with their love of music, but rather with their perceived sense of ineffectiveness in dealing with the overwhelming “off the podium” responsibilities. In most cases, the beginning educator felt well prepared to embrace the rigors of “teaching music,” and – in fact – pointed to this aspect of the teaching schedule as the best part of the school day. However, dealing with all else was simply more than they could bear…and, sadly, the passion for teaching music became secondary to vocational survival.

We have discovered there are many who have profited from a close association with a seasoned teacher who assumes the role of a mentor, a guide, a coach, a trusted listener, a loyal friend, etc. With this option at hand, the new teacher has a reliable source-of-information offering a tried-and-proven set of possible answers to a myriad of questions. Those who have been to the well have much valid advice to bring to the forum, and in many cases it has been the saving factor.

Please read the following thoughts knowing the data is derived from
“observing” many of the finest master teachers in the profession. By no means will a bird’s eye view of five select cornerstone success-components shift the course of anyone’s teaching habits, but it can alert the reader to the opportunities possible in every musical teaching/learning environment.

By definition: CORNERSTONE

– something that is essential, indispensable, or basic.
– the chief foundation on which something is constructed or developed.

Introduction

Why do we teach music? It is one the first philosophical inquiries serving as an introductory question for every music education student, and it is also one we all must revisit time and time again. Countless books, essays, and research documents have been devoted to this important query, and – perhaps – our challenge is to recognize the collective value of all these important contributions, and through this process, we then develop and create our own sense of purpose.

Simply put:

We are educating students in the realm of music literacy so they can connect to and tap the unlimited potential of their creative minds. Our educational goal is to teach the mastery of musical skills, so our students can access quality music and experience the joy of an ever-evolving sense of aesthetic expression.

There are certainly many spin-off benefits garnered by the students who are involved in music learning and music making. By being in a first-class music program, they develop better organizational abilities, they learn the value of teamwork, they have the opportunity to test their leadership talents, and they embellish many life skills that will serve them in every aspect of their personal and professional journey. These are ALL positive by-products generated via the music ensemble experience, HOWEVER, they do not constitute the fundamental WHY of our efforts-and-energies.

We teach music because it is, unto itself, a standalone academic subject. Music touches a part of our psyche that helps us regulate our lives. Music helps us understand and express our moods and attitudes. Music helps us reorganize our thoughts and feelings while keeping us on track. Music allows us to respond appropriately in social structure that is often confusing and complex. Participation in music avails the musician to the infinite journey of creative expression connecting to a language understood, communicated, and appreciated by all of mankind around the globe. MUSIC FOR THE SAKE OF MUSIC.

What role does the director/conductor/teacher/mentor play in bringing this philosophical blueprint to fruition? Why do some programs thrive while others struggle to survive? Isn’t it a combination of the MESSAGE and the MESSENGER? We all know the immeasurable value of THE MESSAGE; let us begin to investigate the key elements of the successful MESSENGER. What have these MASTER TEACHERS (messengers) discovered, and what can we learn from their studying (and replicating) their templates-of-success?

Observation:

After four decades of working with some of the finest music programs in the world, it has become obvious there are marked likenesses that serve as part of the predictable framework of the successful band/choir/orchestra program, and much of it is directly linked to the director and his/her approach to the art of teaching music. Above all, these people are dedicated students of musical growth; never arriving, always seeking, searching, and learning.

The following pages of this text reveal FIVE CORNERSTONE (off-the-podium) teaching areas that are found in MANY/MOST of the outstanding music educators. While they all have a unique style, the following “cornerstones” are predictably evident in all.

* CORNERSTONE #1: CONTINUING EDUCATION

“I began my education at a very early age – in fact, right after I left college.” – Winston Churchill, 1874 – 1965

With modern technology and the ongoing exchange of breakthrough data, the educational process (school) is not something we do, but it is something we CONTINUE TO DO throughout our lives; it is never-ending and it is gaining momentum at warp speed.

Veteran educators are clearly aware: “The more we know, the more we know we don’t know.” Therefore it is necessary to constantly seek out the latest trends, techniques, discoveries, improvements, and educational benefits. It can be both exhilarating and exhausting, but it is a condition that is HERE TO STAY.

It is so easy and tempting to ignore the latest contributions, from the newest literature to technological breakthroughs. It’s far easier to “do it the way we’ve always done it,” (and not complicate the agenda with all this “new stuff” that really has not stood the test-of-time, often a convenient rationalization) than it is to venture into the realm of the unknown. It is also much safer, but how can our students grow unless we grow? Shouldn’t we be the role models of-and-for ongoing self-improvement?

Times are changing! Unlike days gone by, the teacher is no longer in a position of being THE ALL-KNOWING EXPERT. Our students (in many instances) are more technologically savvy than we are.

The Winston Churchill quote at the beginning of this article is a wonderful bit of wisdom; we must heed the message within, “The completion of the college requisites and the celebration of our graduation merely provided the gateway to THE COMMENCEMENT [the commencing/the beginning/the start] of our REAL education.” Today’s master teachers are also today’s master students as they embrace the responsibilities of their awareness.

* CORNERSTONE #2: THE VALUE OF TIME

The one equalizing factor in this world is time. We all have twenty-four hours in the day – no more, no less. We can’t bank it or save it, we either spend it or we lose it. It’s not a matter of “trying to get more time,” but rather “managing the time” we have. What are the secrets to effective/efficient time management?

* MAKE “TEACHER-ONLY” RESPONSIBILITIES A PRIORITY:

We often confuse “busy” with “productive.” All too often we are BUSY, but not we are not necessarily PRODUCTIVE. It is easy to get caught in escape activities and, in turn, lose valuable time. It’s important to focus on “teacher-only” tasks and develop a team of volunteers to take on other aspects of the work agenda.

Stuffing music folders, setting up the chairs and stands, taking attendance, etc., can be accomplished by a select group of student leaders and/or officers. It is beneficial to take the time to teach someone else the “right way” to prepare music folders and properly prepare the rehearsal hall/room for the upcoming class. The rewards are twofold; the students embrace more ownership of the ensemble’s success, and the conductor/director is now free to spend his/her time learning-the-musical score along with other “teacher only” duties (areas where the educator expertise is wanted-and-needed).

All of this is so apparent, and yet most of us find ourselves (from time-to-time) living in a sense of urgency because we do not have enough time. Why does this dilemma exist in the first place? The world of psychology suggests we subconsciously avoid the more difficult responsibilities because:

Doing the less-challenging duties helps us avoid the disappointment we experience in unknown territory. In other words, it is more comfortable and less taxing to stuff music folders and organize music stands than it is to analyze the thematic material of a new composition. We are not as likely to fail or feel as inadequate; it’s an attempt to feed our sense-of-accomplishment, but the impact is short-lived. Avoidance is a human condition; it is not that we do not know what to do, rather, we simply do not want to do it; in turn, we look for opportunities that will divert our focus and still keep us busy.
If we complete all the work there is to do, we might become dispensable…we will not be needed; therefore we must ensure we have a long list of responsibilities yet-to-accomplish. Subconsciously we really fear completion might jeopardize our perception of existence. Of course, the irony is, the moment we finish one project, two new ones appear instantly. Every master teacher knows, the more we do, the more there is to do.

The review of these two described conditions suggests we are at the effect of our own choices. If so, we then have the wherewithal to shift our emphasis and dedicate our time, effort, and energy to the “teacher only” obligations/duties, so we can have a greater impact on our programs.

Acclaimed author and time-management consultant, Stephen R. Covey, offers several suggestions we can easily tailor to our teaching forum/s. The following checklist is adaptation designed to accommodate the music educator in supporting a healthy program.

What needs to be done right now? (What has to be accomplished immediately to meet a deadline and avoid a crisis situation?)
Does the task require personal attention or can it be assigned? (If it can be delegated to a responsible person, do so and move ahead to the next responsibility on the list.)
Is the energy being used within a personal sphere-of-influence to produce a positive result? (Beware of spinning your wheels; don’t waste time if you don’t sense forward motion.)
Is there an alternative way to create better results? (Avoid the “we’ve always done it this way” pattern-of-thinking.)
Does it feed the mission-of-excellence? (If it does not, do not do it.)

No, this prioritizing-template will not solve every problem, but it will clear up much of the confusion that prevents us from making logical choices concerning the investment of our time. It is also brings with it a tone-of-honesty so we are not tempted to fall in the all-too-familiar trap of: we don’t have enough time.

* AVOID COMMUNICATION BOTTLENECKS:

In any ensemble (multi-person) class/rehearsal, we must measure quantum time. If there are fifty people in the room, and someone asks a question, the amount of time needed to respond (complete the conversation) must be multiplied by fifty. For example: Two minutes devoted to a verbal exchange concerning a misprint in the second clarinet part, is really one hundred minutes of used time. (2 minutes multiplied by 50 people = one hundred minutes of “product potential.”) This is not to say the problem should be ignored, but if it can be resolved outside the priceless ensemble time, it will be to everyone’s advantage.

* ESTABLISH A CULTURE OF EXCELLENCE:

From the moment the young musicians walk into the room until the end of the rehearsal, there should be a detailed plan for the most advantageous use of time. It is important to create, maintain, and support an attitude of positive learning through the establishment of a safe, challenging, encouraging environment reflecting-and-respecting the integrity of the musical art form. Unfortunately, much time can be squandered because the EXPECTATION OF EXCELLENCE has not been properly explained (and reinforced) for the members of the organization. It is imperative we link self-discipline and group maturity to culture of the learning climate. (This is not to thwart the social aspect of the ensemble experience, however, rehearsal time IS for rehearsal; let’s use the time accordingly.)

* CORNERSTONE #3: EMPHASIZING THE WHY

– The good teacher tells.
– The excellent teacher explains and demonstrates.
– The master teacher inspires.
(William Arthur Ward)

Mr. Ward’s words ring true in every aspect of our educational community, and perhaps they are MOST vivid in the world of music education. If we analyze the wisdom of his quote, we can apply it to our daily teaching habits and help us create a healthy atmosphere supporting the entire spectrum of music learning, music making, and music listening.

THE GOOD TEACHER TELLS

THE WHAT

The very essence of educational process is, “passing information from one source/mind (teacher) to another source/mind (student).” This represents the WHAT in the curriculum. From WHAT year did Columbus land on the shores of America to WHAT is wrong with the intonation in the low brass section? We are all trained to bring to our classrooms and rehearsals rooms a library of evolving valuable data (WHAT) to expand and improve the lives of our students. Even as we continue our own education via workshops, graduate school, seminars, conventions clinics, etc., we add to our own informational library. WE KNOW MORE WHAT.

However, if all we do is TELL our students this important data without holding them accountable for integrating it into their lives, we may be nothing more than yet another source of facts-and-figures. The overriding question is, “Is the material communicated in a way our students will realize it has a positive impact in relation to their well-being,”? Rather, is it relevant to their lives, and does it have a lasting effect? Most certainly the WHAT is a crucial foundation block, but we certainly cannot stop at this point in the process.

THE EXCELLENT TEACHER EXPLAINS AND DEMONSTRATES

THE HOW

This area of music education is one of the most exciting since our discipline begs for EXPLANATION and DEMONSTRATION. Successful music teachers know it is the “hands-on” learning-processes required for high-level achievement. We simply do not instruct WHAT to do, but we show our students HOW to do it. We are participants as we sing, play, or explain by performing a phrase on a chosen instrument. Not only do we address the HOW of each vital skill, we demonstrate the tone we are seeking, the needed style, and the musical picture we are trying to paint. The class/rehearsal requires so much more than simply “telling the students WHAT to do,” it is a matter of discovering countless ways to EXPLAIN the various avenues of efficiently and effectively reaching the given goal.